Tag: movie

“Left-Handed Girl” Review: A Subtle, Heartfelt Triumph of Connection and Perspective

November 23rd, 2025

Left-Handed Girl is a new film that premiered in the Critics’ Week section of the 2025 Cannes Film Festival before receiving a limited theatrical release on November 14. It is scheduled to debut on Netflix on November 28. The film is Taiwan’s official submission for Best International Feature Film at the upcoming Oscars. Written by Shih-Ching Tsou and Shaun Baker, and directed by Tsou, the film stars Janel Tsai, Shih-Yuan Ma, Nina Ye, Brando Huang, Akio Chen, and Xin-Yan Chao. The story follows a single mother and her two daughters as they relocate to Taipei to open a night market stall, each struggling to adapt to their new environment while striving to preserve their family unity.

Given Shaun Baker’s involvement as co-writer, co-producer, and editor—fresh off multiple Oscar wins this year—it felt like a no-brainer that this was a film I needed to see. Surprisingly, however, the movie has been receiving far less attention than expected. Although its critical reception has been positive, it doesn’t seem to be generating much conversation. International films often face unpredictable visibility with audiences; it sometimes takes a phenomenon like Parasite to break through to widespread recognition. I hope Left-Handed Girl finds that kind of reach, because it contains all the elements of a Shaun Baker film that could resonate universally.

Left-Handed Girl. (L-R) Janel Tsai as Shu-Fen and Nina Ye as I-Jing in Left-Handed Girl. Cr. LEFT-HANDED GIRL FILM PRODUCTION CO, LTD © 2025.

Admittedly, I ended up watching the film twice. On my first viewing, I kept noticing parallels to one of Baker’s earlier films, The Florida Project. Combined with the fact that I got distracted during the second half, I walked away remembering very little. I knew I liked it, but it wasn’t until my second viewing that the film truly clicked for me. I began noticing nuances that deepened my appreciation. While it shares some similarities with The Florida Project—particularly in its focus on family dynamics—it ultimately distinguishes itself thematically in ways that make it feel even more universal.

The film engages with themes of culture and global issues, grounding its story in experiences that resonate across borders. Inflation, for example, is a struggle faced by nearly every character in the film—and by people worldwide. It’s an immediate, relatable hook that draws viewers in. As the narrative unfolds, the characters’ choices become increasingly understandable and emotionally compelling. And without revealing any spoilers, there’s a late-film twist that reframes everything that came before it, making my second watch all the more rewarding.

Left-Handed Girl. (L-R) Shih-Yuan Ma as I-Ann and Nina Ye as I-Jing in Left-Handed Girl. Cr. LEFT-HANDED GIRL FILM PRODUCTION CO, LTD © 2025.

Nina Ye shines as the titular left-handed girl, delivering one of the year’s most endearing performances. As someone who is also left-handed, I immediately connected with her character. Even though I grew up in a different part of the world, I remember the strange looks and small judgments that came simply from using a different dominant hand. That personal connection made it easy for me to stay invested. Ye conveys her character’s complex emotions with remarkable subtlety—often without saying a word. While the entire cast is excellent, it’s Ye’s performance that anchors the film and allows its themes to resonate. Her portrayal brings warmth, humor, and emotional honesty to a story that is both dramatically grounded and quietly funny.

The film also employs a distinctive visual style that gives it a documentary-like feel. In many ways, watching it as though it were a documentary makes the experience even more affecting. The cinematography positions you as a fly on the wall, observing these characters as they navigate difficult choices shaped by their environment. This approach serves a clear purpose: it invites viewers into a different corner of the world and offers a fresh, intimate perspective on the lives within it.

Left-Handed Girl

The score evokes a sense of childlike wonder, perfectly capturing the world through the young girl’s eyes. It makes her surroundings feel innocent and pure, reflecting the experience of still being a child while navigating adult-like challenges. At times, the film is haunting, particularly when the girl genuinely believes her left hand is “evil.” Yet, through moments of honest vulnerability, the story reassures us that it’s okay to live with our own flaws.

That said, there are moments that echo Baker’s earlier work, such as The Florida Project, which can occasionally drift into familiar territory. In particular, the older sister’s storyline sometimes feels overly dramatic, shaped by the questionable influences around her. While the motivations behind her actions are understandable, her arc could have explored a slightly different path. The film also experiences minor pacing issues; at one hour and 48 minutes, trimming certain subplots might have tightened the narrative and improved its overall flow.

Left-Handed Girl. (L-R) Shih-Yuan Ma as I-Ann and Nina Ye as I-Jing in Left-Handed Girl. Cr. LEFT-HANDED GIRL FILM PRODUCTION CO, LTD © 2025.

Overall, Left-Handed Girl succeeds in its exploration of themes and its strong performances, bolstered by Shaun Baker’s involvement. While there are echoes of his earlier films, they largely work in this context, adding depth rather than distraction. The film leaves a lasting impression, inviting viewers to feel seen, connected, and deeply understood.

VERDICT: 4/5 – Great
“The Testament of Ann Lee” Review: Seyfried Shines in a Dreamlike Musical

November 22nd, 2025

The Testament of Ann Lee is a new film that premiered at this year’s Venice International Film Festival, where it was nominated for the Golden Lion, ahead of its limited theatrical release on December 25. Written by Mona Fastvold and Brady Corbet and directed by Fastvold, the film stars Amanda Seyfried, Thomasin McKenzie, Lewis Pullman, Tim Blake Nelson, Christopher Abbott, Stacy Martin, Matthew Beard, Scott Handy, Viola Prettejohn, Jamie Bogyo, and David Cale. It tells the extraordinary true story of Ann Lee, founder of the devotional sect known as the Shakers.

By now, most cinephiles are well acquainted with Fastvold and Corbet. After last year’s The Brutalist, the real-life romantic and creative partners left a considerable impression with their collaboration on that film. Now, only a year later, the duo returns—this time with Fastvold taking the director’s chair. While The Testament of Ann Lee shares certain thematic parallels with The Brutalist, particularly in its portrayal of characters encountering America for the first time, Fastvold distinguishes the film with her own assured directorial voice, delivering work that feels both confident and full of promise.

Amanda Seyfried in THE TESTAMENT OF ANN LEE. Photo courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

I wasn’t very familiar with the Shaker movement led by Ann Lee, and in some ways, I experienced the film as a Shaker counterpart to something like the 2018 film Climax. At the same time, it’s clear that Fastvold was intrigued by the idea of “What if God were a woman?”—an idea she communicates subtly rather than stating outright. There’s a single moment when the film directly notes that God could be male or female, but otherwise Fastvold lets the theme resonate through imagery and character rather than exposition. Given the arc of Ann Lee’s life, it’s easy to understand why she might seek to create a movement capable of reshaping the world beyond her homeland.

The film’s opening and final passages do feel somewhat rushed, yet they remain compelling in their own way. Rather than following the familiar rhythms of a traditional biopic, the film leans into the musical genre to propel its narrative. The choreography—how the characters move within the space—creates the impression of a living painting, guiding emotion and meaning through motion. While the film offers glimpses into Ann Lee and her brother’s backgrounds, it offers little explicit explanation of what drew them to the movement in the first place. Instead, Fastvold lets the musicality carry that weight, inviting the audience to feel their spiritual pull rather than be told about it directly.

Amanda Seyfried and Lewis Pullman in THE TESTAMENT OF ANN LEE. Photo courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

This may be the most self-aware musical I’ve seen. In fact, calling it a “musical” almost feels like a stretch. The people surrounding the Shakers recognize that the characters are singing, yet there’s no sense of traditional musical accompaniment magically materializing. Viewed realistically, the characters are simply dancing and singing; the instrumentation we hear is essentially what they perceive—the inner rhythm that enables their movement and expression.

As a director, Mona Fastvold distinguishes herself from her partner, Corbet. She draws out one of Amanda Seyfried’s strongest performances—arguably the best of her career. Fastvold’s command of movement is remarkable. The way she guides the cast through each scene creates a sense of constant motion, shaping the film’s emotional landscape through carefully imagined choreography. The confidence she instills in her performers radiates through every gesture, infusing the film with passion and emotional clarity that carries the story from beginning to end.

From L to R: Stacy Martin, Scott Handy, Viola Prettejohn, Lewis Pullman, Amanda Seyfried, Matthew Beard, and Thomasin McKenzie in THE TESTAMENT OF ANN LEE. Photo courtesy of Searchlight Pictures. © 2025 Searchlight Pictures All Rights Reserved.

While the choreography is impressive on its own, the cinematography enhances it by capturing movement in a way that feels almost illusory. There’s a striking shot near the end in which the camera observes a group of dancers from above. It’s difficult to tell whether the characters are moving or the camera is—perhaps both—but the seamless interplay between choreography and cinematography creates a dreamlike sequence. Complementing this is one of the most beautiful scores of the year, a musical landscape that’s impossible to ignore.

As mentioned earlier, the beginning and ending do feel a bit rushed. The opening offers a strong emotional hook for why Seyfried’s character begins expanding this movement, yet I still found the motivations behind her and her brother joining somewhat unclear. Rather than laying out their reasons explicitly, the film communicates through tone and atmosphere—how they feel within this community becomes the explanation. The conclusion, meanwhile, transitions abruptly from the dramatic climax into the final moments. Although the film is fairly long, its pacing keeps the runtime from ever feeling burdensome. Still, a bit more connective tissue between the climax and the ending could have offered a more complete resolution for the characters. Even so, the film’s visual and auditory experience leaves a lasting impression.

Amanda Seyfried and ensemble in THE TESTAMENT OF ANN LEE. Photo by Searchlight Pictures/William Rexer, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures. All Rights Reserved.

Overall, The Testament of Ann Lee is not to be missed. Amanda Seyfried delivers arguably the best performance of her career, while the cinematography and choreography work seamlessly together to create a grand & immersive experience. The film’s haunting score lingers long after the credits roll. Though the beginning and ending could have benefitted from additional development, the film’s visual language alone provides plenty to ponder. In fact, the more I reflected on it, my rating grew—from a 3.5/5 to a solid 4/5.

VERDICT: 4/5 – Great
“Wicked: For Good” Review: A Bittersweet and Bold Finale

November 19th, 2025

Wicked: For Good hits theaters November 21 as the sequel to last year’s Wicked. Written by Winnie Holzman and Dana Fox and directed by Jon M. Chu, the film stars Ariana Grande, Cynthia Erivo, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Colman Domingo, Michelle Yeoh, and Jeff Goldblum. As an angry mob rises against the Wicked Witch, Glinda and Elphaba must come together one final time. With their unlikely friendship now the fulcrum of their futures, they’ll have to truly see one another—with honesty and empathy—if they hope to change themselves, and all of Oz, for good.

It’s been only a year since we first returned to the world of Wicked, and a lot has happened since then, but I still remember what it felt like seeing that film for the first time. What I experienced made me an instant fan—which says a lot, considering I’m not usually drawn to musicals. The world of Wicked evoked the same wonder I felt growing up with Harry Potter and The Lord of the Rings, and it’s a shame that after only a year of rediscovery, this chapter is already coming to a close. After watching the sequel, I gave myself a night to sit with it to see if my score would change. It didn’t, though I can understand why this installment is receiving more mixed reactions than the first.

Ariana Grande is Glinda in WICKED FOR GOOD, directed by Jon M. Chu.

In many ways, the first and second parts feel like two sides of the same coin. Where the first film is packed with energy and world-building, the second slows down and becomes more character-driven, focusing on the consequences of everyone’s actions at the end of Part One. I’m not deeply familiar with the stage musical, but from what I’ve heard, its second act is generally considered weaker than the first. That doesn’t mean this film fails to deliver a meaningful adaptation—because it absolutely does. The challenge it faces, however, is how tonally jarring it feels compared to its predecessor.

The first half of the new film is much slower than I expected—so much so that I found myself wondering whether it was dragging things out too far, or if the story really needed two films in the first place. But truthfully, there isn’t a single thing I would have cut from the first movie, and splitting the musical into two parts was still the right call. I ultimately appreciated how much the sequel lingers on where the characters are emotionally and mentally; the quieter pacing gives their journeys room to breathe. In many ways, it reminds me of Pirates of the Caribbean: At World’s End—a slower, weightier continuation that initially divided audiences but gained appreciation over time. I can see this film following a similar path.

Cynthia Erivo is Elphaba in WICKED FOR GOOD, directed by Jon M. Chu.

The second half of the film picks up the pace once Dorothy enters Oz. We never see her face, which works well—this story isn’t about her, and the choice avoids unnecessary comparisons to The Wizard of Oz. This installment also runs about 30 minutes shorter than the previous one. When Dorothy does arrive, the film does start to feel rushed. While that may sound like a criticism, I actually think it works in the film’s favor. The slower, more introspective first half sets the stage, and the second half shifts into the kind of excitement and momentum that keeps viewers engaged. Yes, the Dorothy subplot could have been more fleshed out, especially for those unfamiliar with The Wizard of Oz, but it still brings something fresh to the narrative—something that distinguishes this film from the first while also bringing things full circle by answering questions raised earlier.

If the first movie is told through Elphaba’s perspective, this one is unmistakably Glinda’s. We saw Elphaba as a child in the first film, and here we get the same treatment for Glinda. It’s a clever way of highlighting how both characters anchor the story, making their dual arcs feel cohesive and intertwined. As the film progresses, you can even see how their signature colors become more pronounced in their costumes, visually marking their growth on each other. Interestingly, I felt Cynthia Erivo delivered the stronger performance in the first film, while Ariana Grande shines brightest here. Grande was terrific before, but this time you can truly see her stepping into a leadership role while maintaining the quirky charm that defined her character in Part One.

Jonathan Bailey is Fiyero in WICKED FOR GOOD, directed by Jon M. Chu.

As I mentioned, I’m not big on musicals. It’s the one genre I tend to be most critical of because musical numbers often pull me out of the story. But it wasn’t until the end of this film that I even had to remind myself I was watching a musical. These films simply wouldn’t work without their musical elements. While the songs in the first film matched its lighter, more playful tone, the numbers here reflect the darker, grittier atmosphere of the sequel. They still feel immersive and integral to the narrative. And, much like in the first film, the final musical number is guaranteed to stir up some strong emotions.

The sequel continues to impress with its costume design, production design, and cinematography. This time, I did notice the darker color palette—a common criticism of the first film. Even so, I think it adds a sense of realism and visually communicates how the world has changed under Oz’s leadership. The film is almost certain to earn another Academy Award nomination for Best Costume Design. The attention to detail in what each character wears not only looks stunning but also deepens their characterization. As for the cinematography, there’s a mirror shot that left me genuinely puzzled in the best way—I still have no idea how they pulled it off.

L to R: Ariana Grande is Glinda and Cynthia Erivo is Elphaba in WICKED FOR GOOD, directed by Jon M. Chu.

Overall, Wicked: For Good is an epic and satisfying conclusion to what came before. Its tone and pacing differ noticeably from the first film—something that may not work for everyone—but in many ways, those differences give this installment its own identity. Cynthia Erivo and Ariana Grande have brought these characters to life in iconic fashion, with Grande delivering a performance that could very well put her on the path to an Academy Award.

VERDICT: 4.5/5 – Amazing
“Rental Family” Review: A Cross-Cultural Drama That Subverts Expectations

November 17th, 2025

Rental Family is a new film arriving in theaters on November 21. It first premiered earlier this year at the Toronto International Film Festival. Written by Hikari and Stephen Blahut and directed by Hikari, the film stars Brendan Fraser, Takehiro Hira, Mari Yamamoto, Shannon Mahina Gorman, and Akira Emoto. The story follows an American actor in Tokyo who’s struggling to find purpose—until he lands an unusual job with a Japanese “rental family” agency, performing stand-in roles for strangers. As he immerses himself in his clients’ lives, he begins forging genuine connections that blur the line between performance and reality.

Seeing Academy Award–winner Brendan Fraser front and center in the marketing is already a strong selling point. Paired with the film’s emotionally charged, dramatic tone, it seems poised for success. The decision to release it on the same day as Wicked: For Good is curious—unless the studio is secretly hoping audiences will treat it as a quirky “Wicked Family” double feature. If that becomes a trend, you heard it here first.

Regardless, Rental Family delivers exactly what its marketing promises. It skillfully blends Western and Japanese cultural perspectives in a way that broadens its appeal. And with Fraser leading the charge, it’s hard to resist giving this film a chance.

Brendan Fraser in RENTAL FAMILY. Photo by James Lisle/Searchlight Pictures. © 2025 Searchlight Pictures. All Rights Reserved.

Perfect Days isn’t just one of my favorite films—it genuinely changed my life. Although it was released only two years ago, I can already see many parallels between that film and Rental Family. Both center on male leads whose backgrounds are kept intentionally vague, yet we’re given just enough pieces to understand who they are and what drives them. Because of this, neither film relies on forced or clichéd exposition. Instead, we’re dropped straight into the story, experiencing the world through the eyes of flawed but deeply passionate human beings.

Often, when an actor wins a major award and the studio leans on it for marketing, the film itself doesn’t always measure up. But let me be clear: Brendan Fraser earned that award for a reason. We’re still feeling the full force of the “Brendaissance,” and it’s hard to imagine him delivering anything less than exceptional going forward. This film captures both his charm and his vulnerability, and his seamless transitions between English and Japanese language are nothing short of impressive. Everyone else around him also gives commendable, stand-out supporting performances.

Mari Yamamoto and Brendan Fraser in RENTAL FAMILY. Photo by James Lisle/Searchlight Pictures. © 2025 Searchlight Pictures. All Rights Reserved.

The film explores a lot of ideas—most of which work. While we can understand and sympathize with why these characters lie, there are always complications simmering beneath the surface. Thanks to the emotional depth Fraser brings to the role, his character feels like the perfect fit for this line of work, even as he recognizes its flaws. He sees what’s broken and still tries to make life better for the people around him, which can also be read as his attempt to build the family he never had. And just when you think the film won’t fully hook you emotionally, it does—often in surprising ways.

Those surprises, though, can also serve as the film’s weaknesses. Early on, it almost feels like Fraser’s character lacks enough definition. But much like Perfect Days, the film benefits from keeping his backstory and motivations at arm’s length, allowing viewers to project themselves onto him and form a deeper connection. Still, the movie occasionally tries to juggle one storyline too many. While I enjoyed each thread individually, the film might have been even stronger had it committed to a single narrative focus.

Takehiro Hira and Brendan Fraser in RENTAL FAMILY. Photo by James Lisle/Searchlight Pictures. © 2025 Searchlight Pictures. All Rights Reserved.

When the film first opens, it’s easy to mistake what you’re seeing for a commercial. It’s a clever, symbolic touch that reflects the work Fraser’s character has grown accustomed to. The cinematography makes Japan look both grand and cinematic, yet the pacing and editing lend an intimate feeling—as though we’re quietly observing moments rather than simply watching them. The score is equally strong, complementing the script’s heartfelt tone without ever overwhelming it.

The script has plenty of strengths, and I suspect it will play even better on a second viewing. Still, while Japan is a vast place, there are a few moments that feel like potential plot holes—particularly regarding how the Rental Family business operates. For example, the film never fully addresses the likelihood of running into someone from the agency who is currently portraying a different role. It almost feels like the system itself would function better with a touch more honesty, a theme the film hints at but doesn’t fully explore amid everything else it’s tackling.

The story contains a number of surprises, but it got me thinking: what if this had been a miniseries? Following Fraser’s character through multiple families over several episodes could have offered something truly unique, giving the themes more room to breathe and avoiding moments that feel a bit rushed.

Brendan Fraser in RENTAL FAMILY. Photo by James Lisle/Searchlight Pictures. © 2025 Searchlight Pictures. All Rights Reserved.

Overall, despite juggling a wide range of ideas, Rental Family remains a compelling film that subverts expectations and delivers genuinely hard-hitting emotion. Fraser gives a remarkable performance—one that reaffirms exactly why he’s an Oscar winner. I also love how Japanese culture is woven so naturally into the story, and I hope American audiences are drawn to it not only because of Fraser’s likability, but because the film itself is well worth seeking out.

VERDICT: 4/5 – Great
“Peter Hujar’s Day” Review: Ben Whishaw Delivers a Career-Best Performance

November 16th, 2025

Peter Hujar’s Day is a new film currently playing in select theaters. Written and directed by Ira Sachs, it stars Ben Whishaw and Rebecca Hall. The film draws on a recently uncovered 1974 conversation between photographer Peter Hujar and his friend Linda Rosenkrantz, offering a vivid glimpse into New York City’s downtown art scene and the intimate struggles, revelations, and creative tensions that shape an artist’s life.

I have a feeling this one may slip under the radar for many. Despite receiving a theatrical release, it hasn’t generated much attention. Given that it’s distributed by Janus Films, I suspect it may find a wider audience once it lands on a streaming platform—whether that ends up being Max, MUBI, or The Criterion Channel remains to be seen. Still, I’m grateful it made it into theaters this year, because Ben Whishaw delivers a performance that feels truly Oscar-worthy. Will he be recognized for it? Probably not—but don’t let that stop you from seeking this film out.

I’ve always enjoyed the work of Ben Whishaw and Rebecca Hall, so even though this film hasn’t gained much popularity, receiving an invitation to see it immediately piqued my interest—especially after hearing so many people say it was not to be missed. They weren’t wrong. While I wasn’t familiar with the figures they play beforehand, the film does an excellent job capturing who they were, offering something meaningful for both newcomers and those who already know their history.

The film feels almost like listening to a podcast brought to life—something we’re accustomed to in today’s media landscape—but this is different. It recreates the original conversation with striking authenticity, and the visual approach makes it feel as though you’re truly watching these characters speak in the 1970s. From the cinematography to the editing, it’s an incredibly immersive experience, unlike anything else I can readily think of.

Even at just 75 minutes, the film feels longer—and not in a negative way. You could even argue that it might work as a stage play, given how heavily it leans on dialogue. Films that embrace a slower pace and prioritize conversation often create a sense of presence, allowing the moments to breathe and unfold naturally. Still, a brief prologue might have helped ground us more clearly in who these characters are and what drives them. Even so, the film ultimately succeeds in giving us a deep sense of their identities and inner lives, despite its compact runtime.

Ben Whishaw delivers one of the standout performances of the year—arguably the best of his career. This is exactly what I think of when I imagine an Oscar-worthy performance. It’s striking that someone like Dwayne Johnson is receiving far more awards chatter for The Smashing Machine. While his work there is strong in its own right, it doesn’t feel as transformative as what Whishaw achieves here. The way he speaks, the way he allows every line to breathe—his control, nuance, and presence are extraordinary.

It’s easy to overlook Rebecca Hall’s performance because it isn’t as overtly transformative as Whishaw’s—but it isn’t meant to be. In many ways, she serves as the audience’s echo, voicing the questions and uncertainties we might have ourselves. While I would have liked a bit more insight into her character’s motivations, there’s still something quietly mesmerizing about the way she listens to Peter. She never overshadows him, yet she remains an essential presence—an anchor in the film’s emotional landscape.

As mentioned earlier, the film excels at transporting us visually back to its era, which is crucial for understanding both the characters and the themes at play. Whenever the two are shown speaking on a rooftop with the New York skyline stretched behind them, the film manages to make something familiar feel like a different time entirely. It subtly underscores how much has changed between then and now—and how the concerns, desires, and artistic impulses of that moment continue to resonate, even fifty years later.

Overall, Peter Hujar’s Day is not a film to let slip under the radar. It’s unlike anything I’ve ever seen. Ben Whishaw delivers a career-best performance, while Rebecca Hall masterfully reflects the audience’s perspective. Combined with its striking visual storytelling, this is a film that demands to be experienced.

VERDICT: 4/5 – Great
“Now You See Me: Now You Don’t” Review: Legacy, Illusions, and a Touch of Cheese

November 15th, 2025

Now You See Me: Now You Don’t is the third film in the franchise and is now playing in theaters. Directed by Ruben Fleischer, it stars Jesse Eisenberg, Woody Harrelson, Dave Franco, Isla Fisher, Justice Smith, Dominic Sessa, Ariana Greenblatt, Rosamund Pike, and Morgan Freeman. The original Four Horsemen team up with a new generation of illusionists to take on Veronika Vanderberg, a powerful diamond heiress presiding over a criminal empire built on money laundering and trafficking. Old and new magicians alike must set aside their differences to pull off their most ambitious heist yet.

Nine years after the last installment, we finally have a sequel with the title many felt should have belonged to the second film. I remember seeing the first movie back in high school—it was a favorite among my peers, and I watched it repeatedly at friends’ houses. The second film came out while I was in college, and I recall it being noticeably weaker. Normally I enjoy revisiting a franchise before a new entry releases, but nothing about the first two compelled me to rewatch them this time—and honestly, I think that was the right call. While the newest film is undeniably fun, I do worry I would have finally hit my limit with just how much “cheese” this series delights in serving.

Nomad. Photo Credit: Katalin Vermes

Even after a nine-year hiatus, the latest installment treats itself like a legacy sequel. The original cast returns, but a brand-new ensemble is added—clearly setting up the possibility of continuing the franchise with fresh faces. Many franchises attempt this kind of generational handoff, but I honestly can’t think of a single one that’s pulled it off gracefully. The newcomers are talented in their own right, but after such a long break, fans mostly want more of what they already love, not a reinvention that feels like it’s trying to replace the original identity. In many ways, this feels like the Star Wars: The Force Awakens approach.

Unfortunately, leaning so hard into being a legacy sequel becomes the film’s biggest misstep. The dialogue feels like more of the same—sometimes to a fault. Even at the franchise’s lowest points, the cast has always been the saving grace, often elevating material that doesn’t quite hold up on the page. But the characters continue to speak in convoluted, nonsensical ways. It’s easy enough to let it wash over you and enjoy the film’s popcorn appeal, but there were plenty of moments when I simply wanted the characters to stop talking.

Woody Harrelson as Merrit McKinney and Morgan Freeman as Thaddeus Bradley in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes

When the characters finally stop talking, the film truly shines thanks to its grand action set pieces. Even though each Now You See Me film has had a different director, the action has never lost its entertainment value. This installment becomes a sort of Zombieland reunion with Ruben Fleischer stepping in as director, and he knows exactly how to bring out the best in the cast while delivering energetic, crowd-pleasing spectacle. With several magic-infused sequences, it’s easy to get swept up in the illusions and enjoy the ride.

Although I still feel the expanded cast makes the film feel bloated and pulls some attention away from the returning players, Rosamund Pike emerges as arguably the franchise’s best villain. She fully embraces the tone the film is aiming for, striking the right balance between menace and theatrical flair. Let’s face it: Pike makes everything she’s in better.

Rosamund Pike as Veronika in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes

Like many legacy sequels, this one doesn’t do much to set itself apart from its predecessors. In particular, there’s a creative choice involving one key character that I strongly disagreed with. The film attempts to elevate itself with an emotional twist, but instead it undercuts what has traditionally made this franchise work. I also think it leans too heavily into the new cast’s storyline, which ultimately overshadows the returning characters and dilutes the appeal of seeing them back together.

Still, for a film built on illusion, there are some genuinely delightful surprises. One twist in particular caught me off guard, and I suspect many viewers will call it one of the movie’s highlights. Impressively, it’s not treated as a quick, throwaway gimmick—the film actually commits to it. I’m honestly amazed the marketing managed to keep it completely under wraps.

Justice Smith as Charlie, Ariana Greenblatt as June, Dominic Sessa as Bosco, Jesse Eisenberg as Daniel Atlas, Isla Fisher as Henley Reeves, and Dave Franco as Jack Wilder in Now You See Me: Now You Don’t. Photo Credit: Katalin Vermes

Overall, Now You See Me: Now You Don’t delivers more of the same—sometimes for better, sometimes for worse. The main cast returns with the same energy as before, while the new additions, though talented, contribute little to the story. The dialogue remains occasionally cumbersome, but the impressive action set pieces and strong performances make it an entertaining watch nonetheless.

VERDICT: 3/5 – Good
“Jay Kelly” Review: A Film of Highs, Lows, and Lasting Impressions

November 13th, 2025

Jay Kelly is a new film currently playing in limited theaters ahead of its global Netflix debut on December 5. Co-written by Noah Baumbach and Emily Mortimer and directed by Baumbach, the film features an ensemble cast that includes George Clooney, Adam Sandler, Laura Dern, Billy Crudup, Riley Keough, Emily Mortimer, and Greta Gerwig. The story follows celebrated movie star Jay Kelly as he embarks on a journey of self-discovery, confronting both his past and present with the support of his loyal manager, Ron.

I first encountered Baumbach’s work with The Meyerowitz Stories in 2017—a film that also starred Sandler and became one of my favorites of that year. Between that and 2019’s Marriage Story, I quickly became a devoted fan. Even Baumbach’s lesser-known projects or those where he only contributes as a writer tend to be strong. I’ve grown up watching Clooney’s work, so I’m inclined to see anything he’s involved in, for better or worse. But what initially caught my attention for this film was the poster: Sandler’s name was featured prominently, yet his face was nowhere to be seen, which only heightened my curiosity.

After watching Jay Kelly, I can say it’s the kind of film audiences will either wholeheartedly embrace or find difficult to connect with—and I completely understand both reactions.

Jay Kelly. (Featured L-R) Lars Eidinger as German Cyclist, Ferdi Stofmeel as Dutch Cyclist and George Clooney as Jay Kelly in Jay Kelly. Cr. Peter Mountain/Netflix © 2025.

The film opens with a strong first act, highlighted by an impressive one-take sequence that beautifully captures the magic of filmmaking. It carries a classic, almost nostalgic charm that made me question why more of Baumbach’s work isn’t made specifically for the big screen. He clearly has a distinct vision and a genuine passion for cinema, which makes it somewhat ironic that he continues partnering with a streaming platform. Still, I appreciate that Netflix gives him the space and resources to bring his projects to life theatrically when possible. The opening is engaging across the board—from the performances to the character work. Even though the story centers on an A-list actor, it remains grounded enough to make viewers care about him.

And then the second act arrives. While I understand what the film is aiming for, the writing does it no favors. Several creative choices feel tonally jarring, to the point where I found myself asking why any of it was happening. The narrative leans heavily on exposition and flashbacks, and what began as something promising and relatable quickly becomes unfocused and, at times, careless. The dialogue doesn’t resemble how people naturally speak, characters disappear without explanation, and a significant portion of the second act takes place on a train, which only amplifies the feeling of stagnation. It’s frustrating to see the film drift in this direction—especially when it had already established compelling themes in the first act.

Jay Kelly. (L-R) Patrick Wilson as Ben Alcock and Adam Sandler as Ron Sukenick in Jay Kelly. Cr. Netflix © 2025.

By the time the third act arrives, the film begins to find its footing again. We finally gain insight into why Jay Kelly behaves the way he does. His actions throughout the film often left me cold and frustrated, yet they ultimately underscore an interesting idea: that actors can feel profoundly lonely despite being surrounded by fans who don’t truly know them. The third act still makes a few creative choices that feel somewhat unrealistic, but its themes manage to shine through—culminating in a powerful final line of dialogue that stayed with me long after the credits rolled. Who knows—maybe a second viewing will shift my perspective. For now, I feel fairly indifferent about the film.

George Clooney, however, delivers a quietly impressive performance. I wouldn’t call it his best, but it’s certainly one of his most memorable in recent years. With a title that echoes his name and a scene seemingly tailored to a performer of his stature, it’s easy to imagine Baumbach writing with someone like Clooney in mind. In that sense, his performance feels especially authentic.

Jay Kelly. Laura Dern as Liz in Jay Kelly. Cr. Netflix © 2025.

However, I’d argue that the film could have been much stronger if it had centered more on Sandler’s character. Every time he appeared on screen, the film truly came alive. Had the story been told from his perspective, its themes might have felt clearer and viewers could have connected more deeply with a character who is genuinely trying to do the right thing. It’s frustrating that Sandler doesn’t take on dramatic roles like this more often—time and again, he proves just how naturally suited he is for them. While I may feel indifferent toward the film as a whole, this is the role that finally makes him feel Oscar-ready.

The film certainly has moments of movie magic, which makes me genuinely happy it’s receiving a theatrical release before heading to streaming. From the seamless transitions that take Clooney’s character into the past to the gorgeous cinematography showcasing Europe, there’s plenty to admire. And while the themes are present and often compelling, the writing also makes some bizarre choices that left me cold. I suppose what I’m really trying to say is that, despite the elements I appreciated, the film takes some odd creative swings that may end up isolating viewers. Given Baumbach’s talent, it’s unfortunate that the writing is ultimately the weakest part of the experience.

Jay Kelly. George Clooney as Jay Kelly in Jay Kelly. Cr. Peter Mountain/Netflix © 2025.

Overall, Jay Kelly is the kind of film that will either resonate deeply or leave you feeling empty—but even if it doesn’t fully work for you, I wouldn’t dismiss it outright. It still gave me something to reflect on, from how we treat the people around us to how we perceive celebrities. At the end of the day, they’re human too—flawed, complicated, and often struggling beneath the surface. As suggested by the film’s opening quote, Jay Kelly is someone who has had to “fake it to make it,” or risk fading into obscurity. Though the film doesn’t offer nearly enough resolution, its final line lingers, helping to elevate some of its missteps and leaving you with something meaningful to carry with you.

VERDICT: 2.5/5 – Okay
“In Your Dreams” Review: A Heartfelt Family Adventure That Shines Through Its Animation

November 11th, 2025

In Your Dreams is a new fantasy adventure arriving on Netflix on November 14. Written by Alex Woo and Erik Benson and directed by Woo, the film stars Craig Robinson, Simu Liu, Cristin Milioti, Jolie Hoang-Rappaport, Elias Janssen, Gia Carides, Omid Djalili, and SungWon Cho. The story follows Stevie and her younger brother Elliot as they journey through the wildly surreal landscape of their own dreams to find the Sandman and ask him to grant them the perfect family.

Whenever a film like this comes along, it immediately goes on my radar. It’s not usually the kind of movie I gravitate toward, but it’s the kind that helps me reconnect with my inner child. I originally received a theatrical press screening for this one—ironically at the same time as Is This Thing On?—and both films explore the theme of divorce. Funny enough, I chose to attend the latter, only to receive a digital screener for this the very next day. So, I guess it all worked out in the end.

IN YOUR DREAMS – In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true… the perfect family. Cr: Netflix © 2025

While my tastes have evolved over the years, it’s still refreshing to embrace films like this. Given that it received a theatrical press release, I initially thought it might have the potential to be something truly groundbreaking. When you think about it, there hasn’t been a clear frontrunner for Best Animated Feature this year. That said, while I can see In Your Dreams being enjoyable for kids and families, I can’t imagine it resonating much beyond that.

Between its animation and storytelling, this film is definitely onto something. The visuals are stunning—truly a treat to look at. As a kid who loved animation, I probably would’ve had this on repeat. The story itself is heartfelt and surprisingly relatable. Funny enough, whether I went to see this or Is This Thing On?, both deal with the subject of divorce. While the latter feels more geared toward adults, In Your Dreams is better suited for families, offering a thoughtful way to spark communication and understanding.

IN YOUR DREAMS – In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true… the perfect family. Cr: Netflix © 2025

That’s not to say the film doesn’t wear its influences on its sleeve. That’s not necessarily a bad thing, but it doesn’t do quite enough to stand apart from what’s come before. It often feels like a filmmaker demonstrating their ability to make a film like those that inspired them rather than redefining the genre. When compared to Pixar’s early work, it’s not nearly as groundbreaking as it could be. Still, as a standalone effort—and within Netflix’s already vast animation catalogue—it marks a promising first step.

It’s easy to draw comparisons to films like Toy Story and Inside Out—or even the video game It Takes Two. In a way, this film feels like a blend of all those influences, made for anyone who doesn’t have a gaming console or a Disney+ subscription.

IN YOUR DREAMS – In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true… the perfect family. Cr: Netflix © 2025

For the most part, the film plays it safe. Beyond its themes and influences, the humor doesn’t leave much of an impression. It’s often too silly to fully engage adults, yet not clever enough to truly stand out for older viewers. If the film aimed to set itself apart, a sharper sense of humor that could appeal to a broader audience would have made a real difference.

If you’re familiar with the voice cast, you’ll find plenty to enjoy here. Craig Robinson is a perfect fit as the toy, bringing his trademark humor and warmth to the role. Simu Liu and Cristin Milioti add just the right amount of charm to make their characters believable and likable as the parents. But it’s Jolie Hoang-Rappaport and Elias Janssen who truly anchor the film with their grounded, emotional performances as the two leads.

IN YOUR DREAMS – In Your Dreams is a comedy adventure about Stevie (12) and her little brother Elliot (8) who journey into the absurd landscape of their own dreams. If the siblings can withstand a snarky stuffed giraffe, zombie breakfast foods, and the queen of nightmares, the Sandman will grant them their ultimate dream come true… the perfect family. Cr: Netflix © 2024

Overall, In Your Dreams is a charming and entertaining addition to Netflix’s family lineup. It may not reinvent the wheel, but it doesn’t have to—its stunning animation and timely themes are more than enough to make it worth watching.

VERDICT: 3/5 – Good
“The Running Man (2025)” Review: Glen Powell Runs the Show

November 11th, 2025

The Running Man hits theaters on November 14. Written by Michael Bacall and Edgar Wright, and directed by Wright, the film features an all-star cast including Glen Powell, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, Colman Domingo, and John Brolin.

Desperate to save his ailing daughter, working-class Ben Richards agrees to compete in The Running Man—a brutal, high-stakes reality competition engineered by a charming yet ruthless producer. But Ben’s defiance, instincts, and determination make him an unexpected fan favorite—and a dangerous symbol of rebellion. As the ratings soar, so does the peril, and Ben must outsmart not only the elite Hunters but an entire nation obsessed with watching him fall.

I’ll admit, this film wasn’t high on my radar at first. Edgar Wright is always a dependable filmmaker, but the idea of a remake—especially of a film I hadn’t seen—didn’t immediately grab me. I decided to watch the original beforehand for context, and I’m glad I did. Compared to the original, this version is a massive improvement. On its own, it’s an entertaining and ambitious ride—flawed, but undeniably fun.

Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”

Given how busy he’s been lately, it’s remarkable how fully committed Glen Powell is here. Ever since his star-making turn in Top Gun: Maverick, he’s become one of Hollywood’s most sought-after talents—and this film proves exactly why. It’s hard to imagine anyone else in the role. Powell delivers both physically and emotionally, bringing depth and intensity to every moment. His performance not only drives the film but makes it effortless for the audience to connect with him throughout.

Alongside Powell, the film features a dynamic ensemble—some cast members steal the spotlight, while others feel more like glorified cameos. Michael Cera continues his strong year with a performance that breaks away from his usual typecasting, and Colman Domingo brings a confident, standout presence to the screen. On the other hand, I’m not quite sure what William H. Macy or Emilia Jones saw in their limited roles; removing them altogether might have made the film tighter and more focused.

Colman Domingo stars in Paramount Pictures’ “THE RUNNING MAN.”

The true standout of the film is its action—a spectacle from start to finish. While the energy feels slightly more restrained than in Wright’s past work, the sequences remain undeniably thrilling. The camera work almost becomes a character of its own, capturing the chaos and rhythm of each scene with unpredictable flair. There aren’t many extended one-take shots, but the ones we do get are long enough to draw you in completely. One sequence in particular—a shot from inside the trunk of a car—is something I’ve never seen before, and it’s the kind of bold, inventive touch only Edgar Wright could pull off.

While Wright excels in crafting exhilarating action, the film does lose momentum at times. It’s not necessarily a flaw, but the pace noticeably dips whenever the adrenaline subsides. The third act will likely be the most divisive element for audiences. I appreciated the film’s final shot—it lands perfectly—but the buildup leading there feels uneven and clunky. Much like Baby Driver, the finale doesn’t fully stick the landing. Wright’s attempt to subvert expectations is admirable, yet the tonal shift ends up feeling slightly disconnected from the rest of the film.

Lee Pace stars in Paramount Pictures’ “THE RUNNING MAN.”

One reason the third act doesn’t quite land is the dialogue, which already felt uneven earlier in the film. At times, it seems intent on echoing lines from the original, which is understandable, but it breaks the immersion of what’s otherwise a more grounded, modern take. The result is dialogue that often feels unnatural—people simply don’t talk like this. There are moments where it even comes across as if the film is angling for quotable sound bites to use in marketing rather than letting the conversations flow organically.

Compared to the original, this version has much more to say thematically. While it doesn’t push its ideas as far as it could, the film still makes its message clear—about how society exploits people and how, inevitably, people push back against that treatment. From what I know of Stephen King’s source material, I’m actually glad this adaptation takes a different approach—one that feels more accessible and digestible for American audiences. In that sense, it reminds me a bit of last year’s American remake of Speak No Evil.

Glen Powell stars in Paramount Pictures’ “THE RUNNING MAN.”

Overall, while The Running Man stumbles a bit in its writing and pacing, it more than makes up for it with spectacular action and standout performances. It’s an energetic, wildly entertaining ride that still carries Edgar Wright’s unmistakable style—even if it feels a bit more restrained than usual. I wouldn’t mind seeing another Powell–Wright collaboration in the near future.

VERDICT: 4/5 – Great
“Frankenstein” Review: Immersive, Ambitious, and Unforgettable

November 8th, 2025

Frankenstein is the latest film now streaming on Netflix. Written and directed by Guillermo del Toro, it stars Oscar Isaac, Jacob Elordi, Mia Goth, Felix Kammerer, David Bradley, Lars Mikkelsen, Christian Convery, Charles Dance, and Christoph Waltz. The story follows Dr. Victor Frankenstein, a brilliant but egotistical scientist who brings a creature to life in a daring—and ultimately disastrous—experiment, setting in motion a chain of events that leads to the downfall of both creator and creation.

Frankenstein wasn’t as high on my list as it was for others. While I’ve always admired Guillermo del Toro’s work, I’ve never given any of his films a perfect score—until now. I missed the chance to see it in theaters, even though it was playing nearby, so I waited until I could watch it on the largest screen at home to approximate a theatrical experience. From the moment I finished the film, I knew it would be etched into my mind. The next morning, it was still impossible to shake. Frankenstein isn’t just one of the best films of the year—it’s one of the most inventive and daring movies in recent memory.

Frankenstein. Oscar Isaac as Victor Frankenstein in Frankenstein. Cr. Ken Woroner/Netflix © 2025.

The film’s opening is unlike anything I’ve ever seen. I knew going in that it would show two perspectives—one from Frankenstein and one from the Creature—but I didn’t expect a prologue that could just as easily have served as the epilogue. Normally, I’m not a fan of stories that start at the end, as it can make the events leading up to it predictable. That wasn’t the case here. The introduction is utterly riveting, immediately establishing just how dark, complex, and violent the film is going to be. I can’t think of a better way to begin.

As the story shifts into Frankenstein’s perspective, I initially thought some flaws began to emerge. Like many viewers, I’m wary of voiceover narration, as it can detract from what’s unfolding on screen. But after reflecting on it, I grew to appreciate this choice—it mirrors who Frankenstein is and how he tells his story. He recounts events to someone who has just lost part of their crew, and at first, his detached, almost clinical tone felt jarring. In hindsight, it makes perfect sense: it underscores his selfishness, which becomes even clearer as the film progresses.

FRANKENSTEIN. Jacob Elordi as The Creature in Frankenstein. Cr. Ken Woroner/Netflix © 2025.

Oscar Isaac once again proves why he’s such a formidable talent, portraying a morally complex Frankenstein with depth and nuance. Mia Goth is perfectly cast, effortlessly conveying the right mix of emotion and intensity. But it’s Jacob Elordi who truly stands out—his transformative performance as the Creature is exceptional, easily ranking among the year’s best. It would be a shame if he didn’t at least earn a Best Supporting Actor nomination at the Oscars, as his performance embodies the film’s central themes. I honestly can’t imagine anyone else inhabiting the role as he does.

The film’s dual-perspective storytelling further elevates it. One might assume Frankenstein is the “good guy” and the Creature the “villain,” especially based on where the story begins—but the perspectives quickly challenge those expectations. Frankenstein’s viewpoint reveals his selfishness and the irreversible consequences of his actions, while the Creature’s perspective offers insight into his humility, pain, and justified frustration toward his maker. The story concludes on a thematic note that lingers long after the credits roll.

FRANKENSTEIN. Mia Goth as Elizabeth in Frankenstein. Cr. Ken Woroner/Netflix © 2025.

While the film makes use of a fair amount of CGI, it blends seamlessly with the practical effects, resulting in a visually stunning experience. As I’ve grown older and seen thousands of films, I’ve developed a strong preference for practical effects over CGI—and Guillermo del Toro ensures they are used throughout. The visual effects that are present integrate so smoothly with the practical work that not a single sequence ever breaks immersion, making the world of Frankenstein feel fully alive.

At two-and-a-half hours, some viewers might question the pacing, but I never once felt the runtime. Frankenstein’s perspective may occupy more of the screen time, yet the Creature remains integral, and the balance between the two perspectives is expertly maintained. The film covers an impressive amount of ground while never feeling overly long. It stands as one of the most meticulously crafted films of the year, and with its exceptional editing and design, it’s easy to see this film earning recognition in numerous technical award categories.

Overall, Frankenstein is a masterful film that continually subverts expectations. Only a filmmaker like Guillermo del Toro could create a work that so perfectly marries his distinct aesthetic with a compelling story and profound themes. The performances are consistently outstanding, with Jacob Elordi delivering what is easily a career-best turn. This is a film you simply cannot miss, and any recognition it receives is entirely deserved.

VERDICT: 5/5 – Perfect