Thunderbolts* (2025) Review

Title: Thunderbolts*
Year: 2025
Director: Jack Shreier
Country: US
Language: English

Thunderbolts* markets itself as the antidote to superhero fatigue - but it assembles itself very much like Earth's Mightiest Heroes meets Suicide Squad. Here we have a bunch of defective losers who team up to take on a threat bigger than themselves. It would be predictable cookie-cutter stuff if not for the fact the film is far more about their humanity & dealing with emotional turmoil; rather than set-pieces, visual spectacle and action. Rarely does Hollywood tackle such themes in such and honest and humanistic way. 

After finding themselves ensnared in a death trap, an unconventional team of antiheroes must go on a dangerous mission that will force them to confront the darkest corners of their pasts.

My biggest let-down from Avengers: Endgame was how they treated Thor's (Chris Hemsworth) mental health struggles as a joke. The character was clearly struggling with PTSD, and binge-eating to cope as a result - yet anytime he interacted with another character it was to be a joke at his own expense. Thunderbolts* has some humor -  but it grapples mental health issues in a very serious way. It's a pretty heavy film that deals with suicidal impulses; and overcoming overwhelming shame; but it still manages to be an immersive entertaining film that challenges your pre-conceptions regarding mental illness. 

Cinematographer Andrew Droz Palermo, gives the picture an intimacy and naturalness that is absent from most of Marvel films. The score by avant-garde band Son Lu, gives the film a strong soulful presence that will stick with you throughout its run-time. The film's pacing and editing is appropriate for its tone. Though it deals with distressing themes; the film never feels like it slows to a crawl or lingers in one place for too long. 

Thunderbolts* is refreshing; a change of pace from Marvel's over-the-top absurd fares in the last few years. This makes me feel like Marvel can get past its rough post-Endgame lull and give us emotionally complex films that lead up to a big Avengers-like event. 

Superman (2025) Review

Title: Superman
Year: 2025
Director: James Gunn
Country: US
Language: English

First and foremost; I hated Man of Steel and Justice League - and I'm including the Zach Snyder cut. I thought Henry Cavill was a decent actor for the role of Superman, but the writing & directing really ruined the character. Christopher Reeve made Superman an inconic mythical figure that stood for hope and justice; whereas Snyder's Superman was a crying emotional mess that didn't really stand for anything. Thankfully James Gunn is a competent director who has reintroduced a sense of joy, hope, and optimism to the character. This is Superman. 

In this entry, Superman must reconcile his alien Kryptonian heritage with his human upbringing as reporter Clark Kent. As the embodiment of truth, justice and the human way he soon finds himself in a world that views these as old-fashioned.

Superman has an intriguing premise; how would the hero's unshakable morality fit into our politically intense world? In the film Lois Lane (Rachel Brosnahan) questions our hero as to why he intervened in another country. She confronts him with the complex geo-political bureaucracy - and he can't help but see things in black-and-white, "People were going to die!". It's a different take on the a character, adding a lot of depth to a genre that rarely goes so deep. 

The relationship between Lois Lane and Clark Kent/Superman feels very grounded in realism; both actors have great chemistry and the stakes in their relationship feel very tense. Gunn does a great job at giving each side character a good amount of emotional depth. Lex Luthor (Nicholas Hoult) is the definition of a hater; I appreciated that he was an actual despicable villain & I wanted to see Superman defeat him in the end. Too many films nowadays make the bad guy cool; Luthor is just a pathetic hater. 

Despite the themes and relationships being very grounded, Gunn's Superman often deviates from reality and embraces the unorthodox. That part is a little hard to get into without spoiling some of the plot. I did also appreciate the unique cinematography - by Henry Braham. Many of the shots do a great job at enhancing Superman's mythical stature. Overall I was very happy with this entry. 

Fantastic Four: First Steps (2025) Review

Title: Fantastic Four
Year: 2025
Director: Matt Shakman
Country: US
Language: English

The Fantastic Four first debuted in Marvel Comics' The Fantastic Four #1 in 1961. The group, who gained their superpowers after exposure to cosmic rays during a space mission, were created in response to DC comics' incredibly popular Justice League of America. To date, more than 150 million Fantastic Four comic books have been sold, with the first comic going for 1.5 million dollars at auction. Hollywood has tried to capitalize on this team, but with little critical success. Roger Corman's adaptation was dated, even for its time. The 2005 & 2007 adaptations made a lot of money ($500 million combined) but received negative press. The 2015 reboot was neither a critical or commercial success. Hopefully Fantastic Four: First Steps will be a step in the right direction. 

Forced to balance their roles as heroes with the strength of their family bond, the Fantastic Four must defend Earth from a ravenous space god called Galactus and his enigmatic Herald, Silver Surfer.

Fantastic Four doesn't waste time on exposition, and dives into the film's story with precision, narrative drive, and a clear vision for what its end-goal is. This entry is far more focused on exploring personalities - and complex areas of morality, rather than glamorizing their superpowers. Reed - smartest man on Earth - feels a tremendous amount of frustration and inadequacy. 

The film's production design, by Kasra Farahani, is a Jetson's esque retro-futuristic style that evokes creativity and wonderment. This by itself would make Fantastic Four standout amongst every other Marvel movie. The 1960s-style split-screen montages and faux archival footage, in addition to its impressive editing, also add to the film's remarkable style. 

I suppose my main negative criticism of Fantastic Four is that its very much style over substance. It does introduce some depth to our characters, but ultimately I don't think it goes as deep as say, Thunderbolts (2025) was able to accomplish. This is a film that is certainly a visual spectacle, but much of the plot elements are questionable. Depending on your view of the ongoing situation, Fantastic Four can come off as selfish jerks. 

It isn't the best superhero to come out this year - or even this month (see Superman)- but Fantastic Four is a decent escapist movie that is certainly worthy of seeing once on the big screen. I appreciated that this film did something a little different with the material. 

Sinners (2025) Review

Title: Sinners
Year: 2025
Director: Ryan Coogler
Country: US
Language: English

After a long hiatus from the movie theatre, the word-of-mouth buzz around Ryan Coogler’s Sinners was enough to draw me back. Drawing inspiration from Robert Rodriguez’s From Dusk Till Dawn (1996), Coogler delivers a bold, genre-blending film that fuses action, horror, and drama—while also functioning as a compelling period piece. Sinners not only stands out as one of the rare vampire films that’s genuinely entertaining, but it also brims with sharp, subversive commentary that elevates it beyond its genre trappings.

Trying to leave their troubled lives behind, twin brothers (both played by Michael B. Jordan) return to their hometown to start again, only to discover that an even greater evil is waiting to welcome them back.

From a visual perspective, Sinners is a stunning film. The cinematography leans into rich, moody palettes that give the film a gothic vibe, while also staying true to the film's historical setting. the lighting is used masterfully - whether to show us dimly lit interiors or sun drenched plains - it emphasizes both horror and humanity. The film's pacing is deliberate - it takes a while to get to the horror element of the picture - but the building of suspense and intrigue certainly enhances the experience of Sinners. 

Coogler deepens Sinners’ visual and thematic resonance by using music as a powerful, omnipresent force throughout the film. The vampires weaponize haunting Irish folk songs, their eerie harmonies used to unsettle and intimidate. In contrast, Sammie and Delta Sim channel the soul of the Southern Black experience through the blues—playing with such raw, aching authenticity that it feels timeless, "so true it can pierce the veil between life and death." In one unforgettable sequence, Coogler orchestrates a layered audiovisual polyphony where performers, dances, and rhythms from across centuries converge. It’s a breathtaking moment—part spiritual, part surreal—that lingers long after the credits roll.

Sinners is a remarkable, entertaining, feature that works as surface-level horror and a deep criticism of colonialism, religion, community, fellowship, freedom, racism - and more. Coogler takes a tired genre, and delivers a thoughtful spectacle that is certainly worthy of many accolades. 

Mission Impossible: Final Reckoning (2025) Review

Mission Impossible: Final Reckoning
Year: 2025
Director: Christopher McQuarrie
Country: US
Language: English

Social media has made actors far too accessible to the public. Once distant, almost mythic figures, actors are now constantly "online" — posting personal content, engaging directly with fans, and sharing behind-the-scenes glimpses of their lives. The mystery is gone. The larger-than-life movie star is now a rare phenomenon, preserved only in a select few.

Tom Cruise — Scientology aside — is one of those few. He embodies the classic star power that makes any film he touches feel like a major event. Mission: Impossible: Dead Reckoning was a must-see the moment it was announced, simply because of his involvement. He doesn’t just star in movies; he turns them into spectacles.

Ethan Hunt (Tom Cruise) and the IMF team continue their search for the terrifying AI known as the Entity - which has infiltrated intelligence networks all over the globe - with the world's governments and a mysterious ghost from Ethan's past on their trail. 

For this - perhaps last- entry in the Mission Impossible franchise, director Christopher McQuarrie blends plot points and characters from over thirty years, giving them added weight by adding their storylines into this one. Even though Hunt's character has faced seemingly impossible circumstances before - this film seeks to out-impossible all of them, by having a $400 million big-budget & "end of the world" stakes at the heart of the story. 

Dead Reckoning takes its time to find its footing, but once it does, the film delivers jaw-dropping action sequences that will leave you squirming in your seat, asking, "How on earth will Ethan Hunt survive this?!" Part of the enduring thrill of Mission: Impossible is watching the odds stack impossibly high against Cruise, only to witness him claw his way out with sheer determination (and some mind-blowing stunts). The title Dead Reckoning adds a layer of uncertainty and tension — I found myself genuinely wondering if this could be the end of Ethan Hunt. 

I had a very fun time with Mission Impossible: Final Reckoning. If this is the last MI then the franchise went out on a very high note. The stunt work, effects, and cinematography are all impressive. This film makes me want to re-watch the others. Perhaps I'll do a marathon when this comes to streaming. 

In Defense of Snow White (2025)

Title: In Defense of Snow White (2025)

Over the decades, Disney has tried to remake their first ever feature animated motion picture Snow White & The Seven Dwarfs (1937), but found screenwriting challenges in trying to modernize the nearly century old material. Disney executives weren't sure how to handle potentially sensitive material, such as the handling of the dwarves, but they were determined to figure things out, especially considering their live action remakes were raking in billions.

One of the earliest controversies from Snow White (2025) stems from Peter Dinklage, who said that the story was an insult, "fucking backwards". He thought the film, if it cast real dwarves, would reinforce negative stereotypes and be a detriment to the community. Disney, ever so careful of their image, decided to agree & made the characters CGI instead.

The controversy didn't let up however, as a leaked photo from the set surfaced. It showed seven people, of diverse heights & ethnicities, in a field. Conservatives had a field day with this, with one right-wing website making an article with the headline EXCLUSIVE: Snow White and the Seven … Politically-Correct Companions? There were sooo many people talking about how the dwarves were woke, dei, liberal (insert random buzzword) and it turns out this image was of different characters who were also in the movie, also there were eight of them, but the fake outrage sites cropped the photo for clicks.

The next controversy is in regards to the casting. A mixed race woman, Rachel Zegler (West Side Story) was cast as a character whose skin was described as "white as snow" in the original fairytale from 1812. Again, conservatives doofuses (doofi?) ran with the fake outrage this caused. "THeY CaN't ChAnGe HiStOrY." Bro, it's 2025. We live in a world where an all-black musical about real-life white guy Alexander Hamilton won a Tony for Best Musical. The origin of her name is explained in the film. She is called Snow White because - in this adaptation- she was born during a blizzard. 

Rachel Zegler is a very talented actress who proved, with Speilberg's West Side Story, that she is a great singer as well. Zegler has the image & grace of a sweet, kind, caring person. She is exactly the person you'd cast as Snow White. 

I think there is an argument to be made that instead of race-swapping roles (ex. Hailey Berry in Little Mermaid), Disney should be making more stories about POC. Moana, Coco, and Raya are great recent examples of successful stories representing a variety of people. The people creating fake backlash against Snow White aren't going to argue for more diverse representation however.

Then there are memes comparing Gal Godot & Rachel Zegler, typically with the caption "Why would the queen be jealous of her looks?". Apart from the undeniable fact that Zegler is an attractive lady, the "fairest of them all" part is clearly about Snow White's inner beauty. Fair as in "impartial and just, without favoritism or discrimination". Do conservatives have any media literacy!? This movie was made for children. Even children can understand what the movie is getting at when the mirror says she is the "fairest of them all."

The film itself is not my cup of tea, but I'm a dude in my thirties and I'm clearly not the target audience. I'm not really a fan of the original animated film, and I'm not going to be one of those dude bros who is going to pretend I read fairytales from the 1800's. Fifteenth Century Chaucer or gtfo. I need a Disney remake of Canterbury Tales please!

I'm just writing to say the fake outrage over Snow White (2025) is a bit much. It is a fairly inoffensive film - apart from Godot's acting - that young girls will enjoy because Disney musicals can be a fun time when you're that age. Whistle While You Work is a fun song. The film is no better, and no worse, than the other Disney live-Action remakes. 

The Florida Project (2017) Review

 Title: The Florida Project
Year: 2017
Director: Sean Baker
Country: US
Language: English

After Sean Baker's Anora won 5 Oscars at the 97th Academy Awards (Best Picture, Best Editing, Best Director, Best Actress, and Best Original Screenplay) I decided to check out Baker's other works. On Best Pick Podcast, one of the co-hosts said that The Florida Project, was his better film, so I viewed that next. Baker's interest in exploring marginalized communities is very well highlighted in The Florida Project. I was very impressed by it - this film should have been very big during the 2017 Oscars. 

In this, a single mother (Bria Vinaite) and the manager (Willem Dafoe) of a roadside motel do their utmost to maintain the innocence of a six-year-old girl's (Brooklynn Prince) life.

The Florida Project depicts the "hidden homeless" of society - people who do not live in the streets, but lack stable housing. These cheap long-term motels, which do actually exist in the United States, are a constant source of stress for those who live in them due to the stress of housing insecurity. The social stratification in society - where economic and social resources are unevenly distributed - is very apparent in the setting of this film as the "hidden homeless" live on the outskirts of Disney World. There is clearly a divide between the poor locals & wealthy tourists, a conflict which comes up numerous times throughout its run-time. 

The title of the film has a double meaning. Walt Disney initially called Disneyworld "The Florida Project" as it was being built & "projects" typically refers to housing in low-income urban neighborhoods. Baker has these ideas clash & what we end up seeing is a remarkable film about childhood poverty & the failures of institutions. Baker also suggests that social policies may hinder those in marginalized communities and that the stigma of being poor may keep those in the lower class from progressing in society. 

The Florida Project is a really smart, well crafted, film that had me deep in introspection long after the film ended. I think, considering the current political climate - where billionaires who don't pay taxes are saying that the poor are "parasites"- we should cherish a work like this & frequently re-watch it to humble ourselves. 

Anora (2024) Review

 Title: Anora
Year: 2024
Director: Sean Baker
Country: US
Language: English

At the 97th Academy Awards, Sean Baker's Anora won five Oscars. These were Best Picture, Best Editing, Best Actress, Best Director, and Best Original Screenplay. It was a very well liked film prior to the Oscars, having won Palm D'or at Cannes, but it wasn't really considered a front-runner until a few weeks prior to the show. I'm pretty happy that such a low budget movie won such a prestigious award. Made for $6 million, Baker proves that great storytelling can surpass big budget spectacles. 

In Anora, a young escort from Brooklyn (Mikey Madison) meets and impulsively marries the son (Mark Eydelshteyn) of a Russian oligarch Once the news reaches Russia, her fairy tale is threatened as his parents set out for New York to get the marriage annulled.

Written, Directed, and Co-Produced by Sean Baker, Anora is a film with relentless energy. Despite it being 2hr 30min, it feels like a film with half that run-time as we go from Cinderella fairytale to Slapstick comedy to meaningful reflection on capitalism & class division. Baker really pulls us into Anora's world - giving us an empathetic glimpse of a life of a sex worker on the fringes of society. We relate to her because we are the same working class trying to not be exploited by the careless 1%.

We also empathize with the hired goons, Igor (Yura Borisov) and Nick (Paul Weissmann), who are men also exploited by capitalism & have to disrupt Anora's marriage as part of their job. They are fairly non-violent, which adds to the escalating tension & funny-as-hell slapstick that permeates the middle of the film. They have to restrain Anora, while getting beaten up by her. This results in a broken nose, falls through the table. It feels very much like a Three Stooges routine. 

I was very impressed by Anora. it had me interested in Sean Baker's other works like The Florida Project (2017). Baker does a great job at highlighting marginalized people & bringing awareness to people who are lower class. After watching the film, I had a lot of thoughts regarding class, gender and how we can improve society for people like Anora. Baker has made an important film that, hopefully, will be regarded as a classic in the future. 

Every Best Picture Ranked (Best to Worst)

 Title: Every "Best Picture" Ranked (Best to Worst)

The 97th Academy Awards have come and gone. We have a new "Best Picture" in Sean Baker's Anora. I thought Conclave would win, but I'm happy to be wrong. Anora was a great film, that was equal parts comedy and tearjerker. In 2024 I made it a goal to watch EVERY Best Picture Winner. Sometimes this goal was easy, like watching Hitchock's Rebecca (1940), and sometimes it was a brutal slog, like having to watch Cimarron (1931). At the time I didn't do a Best Picture ranking, but with Anora's win I feel like finally writing one. So here it is: 

1. All About Eve (1950)
2. Casablanca (1942)
3. Schindler's List (1993)
4. Moonlight (2016)
5. West Side Story (1961)
6. How Green Was My Valley (1941)
7. The Best Years of Our Lives (1946)
8. Lawrence of Arabia (1962)
9. The Apartment (1960)
10. The Godfather (1972)
11. The Godfather Part II (1974)
12. Mrs. Miniver (1942)
13. On the Waterfront (1954)
14. No Country for Old Men (2007)
15. Gone With the Wind (1939)
16. Parasite (2019)
17. Rebecca (1940)
18. Oliver! (1968)
    
19. Silence of the Lambs (1991)
20. My Fair Lady (1964)
21. Amadeus (1984)
22. An American in Paris (1951)
    
    
    
    
23. Hamlet (1948)
24. Tom Jones (1963)
25. In the Heat of the Night (1967)
26. The Departed (2006)
27. The Sound of Music (1965)
28. It Happened One Night (1934)
29. From Here to Eternity (1953)
30. Titanic (1997)
    
31. The Life of Emile Zola (1937)
    
32. Return of the King (2003)
33. The Bridge on the River Kwai (1957)
    
34. Anora (2024)
35. Unforgiven (1992)
36. Ordinary People (1980)
37. A Man for All Seasons (1966)
38. Annie Hall (1977)
39. Terms of Endearment (1983)
40. Marty (1955)
41. Rocky (1976)
42. Midnight Cowboy (1969)
43. Chariots of Fire (1981)
44. Chicago (2003)
    
    
    
    
45. One Flew Over the Cuckoo's Nest (1975)
46. The Deer Hunter (1978)
    
47. Braveheart (1995)
48. All Quiet on the Western Front (1930)
49. Oppenheimer (2023)
50. The Great Zeigfeld (1936)
51. Grand Hotel (1932)
52. 12 Years a Slave (2014)
53. Gladiator (2000)
54. The Lost Weekend (1945)
55. Nomadland (2020)
56. You Can't Take it With You (1938)
57. Gigi (1958)
    
    
    
    
58. The Sting (1973)
59. Kramer vs. Kramer (1979)
60. Spotlight (2015)
61. The French Connection (1971)
62. Wings (1927) 
63. Mutiny on the Bounty (1935)
64. Everything Everywhere All At Once (2022)
65. Forrest Gump (1994)
    
66. The Last Emperor (1987)
    
67. The Artist (2011)
68. American Beauty (1999)
69. Shakespeare in Love (1998)
70. The English Patient (1996)
71. Going My Way (1944)
    
    
    
    
72. Coda (2021)
73. The Broadway Melody (1929)
74. Gentleman's Agreement (1947)
75. The Shape of Water (2017)
76. Million Dollar Baby (2004)
    
77. Ben Hur (1959)
78. The Hurt Locker (2009)
79. Slumdog Millionaire (2008)
80. Birdman (2014)
81. Argo (2012)
82. Rain Man (1988)
83. The King's Speech (2010)
84. Around the World in 80 Days (1956)
85. A Beautiful Mind (2001)
86. Platoon (1988)
87. Patton (1970)
88. Gandhi (1982)
89. All the King's Men (1949)
90. Out of Africa (1985)
91. The Greatest Show on Earth (1952) 
92. Dances with Wolves (1990)
93. Driving Miss Daisy (1989)
94. Green Book (2018)
95. Crash (2005) 
96. Cavalcade (1933)
97. Cimarron (1931)

Junior (1994) Review

Title: Junior
Year: 1994
Director: Ivan Reitman
Country: US
Language: English

I watched Junior (1994) when I was far too young. This movie was recurring nightmare fuel for an impressionable 6 year old boy, who thought the plot was real. "Boys can get pregnant!?". My anxiety went through the roof as I struggled to understand basic anatomy & was convinced I could get myself pregnant at any moment. "How do babies even get made!?" After a few weeks of trying to protect myself from whatever made boys pregnant, "Does eating apples cause it!?" I went to my parents who informed me of some pretty basic common knowledge.

As part of a fertility research project, a male scientist (Arnold Schwarzenegger) agrees to carry a pregnancy in his own body

Even in 2024, I'm quite baffled by that a film - where Arnold Schwarzenegger gets pregnant - was greenlit and financed at all. How did so many people think this would work!? In the 90's he was at the height of his popularity as an action star; Terminator 2: Judgement Day (1991) was a critical and commercial hit. It takes a tremendous amount of courage to say "how about in the next film I get pregnant?" The most shocking part is that it works as a concept & proves to be a fairly entertaining - albeit sometimes terrifying- film. 

In Roger Ebert's review, he says that actors should be envious of Schwarzenegger's range, and I certainly agree with that sentiment. Arnold can be vicious (Terminator), funny (Kindergarden Cop) and somehow sweet (Junior) without losing his aura of being a marketable action star. Junior will have you on a different emotional journey depending on when in your life you watch it. Over the decades I've found it sweet, disgusting, creepy, absurd, funny and just about every emotion you can think of. I don't know if I hate the film or am fond of it. 

Sometimes I find the "acting like a pregnant woman" humor sexist and off-putting, while other times I think it's hilarious because of the way Schwarzenegger expresses himself. It's juvenile humour that, (sort of?) rises, above by making a statement about how hard it is to grow a kid inside you. I don't know where this would land with audiences in the 2020's. For now I'll say, watch it with reservation.