• Fantastic Beasts: The Secrets of Dumbledore

    Fantastic Beasts: The Secrets of Dumbledore

    One of the most tedious and lackluster films I’ve seen in a long time, THE SECRETS OF DUMBLEDORE exemplifies all of the problems in its predecessors to the point where the movie becomes unwatchable. Everything that has been set up with character arcs and plot development once again makes no sense in this film, with every motion made seeming more and more absurd. I stopped caring about these characters after the first movie, and everyone involved should probably start doing the same. I hated everything about this movie, and oh, how could I forget? Fuck J.K. Rowling.

  • Chip 'n Dale: Rescue Rangers

    Chip 'n Dale: Rescue Rangers

    CHIP ‘N DALE: RESCUE RANGERS comes close to matching the quality of WHO FRAMED ROGER RABBIT in certain scenes throughout, as the inspiration is evident. Coming from Schaffer and Samberg, their love for these characters and the various IP intertwined was a surprise as the film progressed, and kept adding more cameos. The fact that Disney allowed Schaffer to use their characters and stories in the ways that he did is shocking, with the result being far better than I could’ve imagined.

  • Death on the Nile

    Death on the Nile

    A murder mystery where the first murder doesn’t happen until around halfway through, DEATH ON THE NILE was such a slow and tedious film that doesn’t have much payoff for suffering through the first hour. Casting certain actors in movies have downsides as the extent of the whodunit was apparent from the start, even if it took seemingly forever to get to the meat of the story. Branagh’s second film in this universe contains too much nonsense and incoherence because of the script and actors involved, holding it back from being the murder mystery of the year that everyone involved seems to think it is.

  • The Lost City

    The Lost City

    It is always exciting watching movies with unusual pairings of actors that one would never expect to see together, as Bullock and Tatum are two who surprisingly have some laugh-out-loud moments sprinkled throughout. As with most films within this genre, THE LOST CITY is stupid and predictable. However, these kinds of big-budget studio comedies are exactly my kind of movie, even in all of their absurdity. Oh, and who could forget to mention? Brad Fucking Pitt.

  • The Worst Person in the World

    The Worst Person in the World

    Reminiscent of multiple stories to depict identity and love, Trier’s The Worst Person in the World was not the film I was expecting based on the title alone. As others have noted, Trier’s narrative is similar to Before Sunrise or Normal People, however, his approach in the use of chapters to structure the film was accomplished with much more depth and emotion than anticipated, based on these comparisons. On top of that, the build-up to the conclusion was heartbreaking as…

  • Turning Red

    Turning Red

    Getting past the uncomfortable and incredibly cringe first 5 minutes, Turning Red takes an interesting approach in exploring identity and family expectations that unfortunately didn’t always stick the landing. Maybe it’s my disconnect to the main character and her specific situation, but I wasn’t enraptured as much as anticipated, even when many parts of the story are familiar. Seeing as this film is coming from the same person behind the short Bao, this story seems like an extension of what…

  • The Adam Project

    The Adam Project

    From Free Guy to The Adam Project, there is a certain quality that one can expect to come from Levy and Reynolds. Even going in with low expectations, it’s surprising how I was still let down by practically the film in its entirety. As it is blatantly noticeable at this point, in every role after Deadpool, Reynolds has played the same character just in varying circumstances. Depending on your fondness of this character will ultimately determine whether you will enjoy…

  • Spider-Man: No Way Home

    Spider-Man: No Way Home

    As most people have seen No Way Home, I was more than excited to finally give it a watch once it hit VOD, even if a lot of the movie was already (intentionally and unintentionally) spoiled. I, unfortunately, didn’t love this as most others have, rather, I admire it more for what it was trying to accomplish. Apart from the absurd amount of reveals and fan service to garner audience applause, the issue occurring in many MCU films is the…

  • West Side Story

    West Side Story

    From the opening sequence, there’s a strange nostalgic feeling that engulfs the viewer, pulling them into this acquainted world and characters. Having no prior knowledge of the original, to Spielberg's credit, he immerses the audience into this story, never letting up on the theatrics of it all. This immense joy and happiness that washed over me made this love story all the more effective (even in its absurdity) through his apparent deep affection for the source material. West Side Story

  • After Yang

    After Yang

    I’ve been highly anticipating Kogonada’s After Yang ever since I heard about it a couple of years back, as I have a profound connection to his debut Columbus. From the incredible and instantly memorable opening sequence, Kogonada’s sophomore feature pulls the viewer in, however, from then on, the movie slows down, becoming a quite reflective and meditative exploration. A perfect example of a slow burn without the loud theatrics at the forefront, with the quietest and subtle scenes being the…

  • Scream


    As many others feel similarly, Scream is one of my favorite franchises not only in meta-horror but just in general. Unfortunately, its quality has staggered throughout the years, but the iconic original still holds up decades after its release. With this reboot of the franchise, I don’t know if I was more excited to be a part of the conversation or seeing the original actors reprise their roles, but I was ecstatic (yet weary too) when I heard that this…

  • The King's Man

    The King's Man

    What makes the original rewatchable (if nothing else) seems to be stripped away in this prequel, with much of the story and action subdued and lacking in comparison. Vaughn’s attempts at matching quality and substance as he did the first time around seem to be difficult for him to accomplish, with a noticeable decline in every department. Most of the story is difficult to follow with less than satisfactory payoffs, alongside a bloated runtime that is noticeable within 30 minutes. Making franchises out of every film that is even remotely successful doesn’t always pay off, and The King’s Man is a great example of this.