Weapons (2025) Review

Title: Weapons
Year: 2025
Director: Zach Cregger
Country: US
Language: English

In Weapons an unthinkable tragedy hits a small town, and the citizens' difficulty with coping - ranging from rage, addiction, nightmares, and obsessing - creates a compelling narrative that Rashomon's itself through the central mystery at play. Split into perspective-driven chapters, the story delivers in becoming increasingly bizarre throughout its run-time. It's a very smart film that relies on atmosphere and intriguing characters rather than shock.

When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.

The emotional turmoil of each character presents a truth; this is how a community of people would react if their kids went missing. We often see this hostility, fear, sadness, and distrust when big loss events (like covid, school shootings etc.) happen. It's far more than allegory for shootings however; the story reminds me of how Stephen King's best novels unfold. We see the failings of our friends and neighbors come to light, and then a supernatural revelation tests their soul. See: The Shining.

Weapons is a deliberate, slow boiling film that has a novelistic approach in the way it approaches characters - and having their stories intersect in an satisfying way. The film has a fairly good tone; its atmospheric horror, but there are funny moments aspersed throughout that relieve some tension. It feels like a Grimm's fairytale in the way it "weaponizes" its magical elements. 

Prior to watching, I heard a lot of great things about Weapons. I was seriously considering watching it in theaters, but I was concerned that it wouldn't meet the expectations I had built up for it. I'm glad to have seen this. It's easily in my top 10 of 2025. 

Shin Godzilla Re-Release (2025) Review

Title: Shin Godzilla
Year: 2025
Director(s): Higuchi & Anno
Country: Japan
Language: Japanese

Godzilla originated as a metaphor for the nuclear bomb America dropped on Japan during World War II. Mutated by nuclear waste dumped into the ocean and powered by nuclear fission, Shin Godzilla's King of all Monsters glows red just under his skin, making him an awe-inspiring sight even after he knocks out the Tokyo power grid. Unlike most other interpretations, this Godzilla evolves into different forms throughout the film; first as a harmless armless creature, and then into a force of nature that can shoot laser beams out of its back.

In Shin Godzilla something has surfaced in Tokyo Bay. As the Prime Minister of Japan pleads with the public to remain calm, a horrific creature of tremendous size makes landfall in the city, leaving death and destruction in its wake.

When it was initially released in 2016 I had a great time with Shin Godzilla. It was far better than the American 2014 version starring Bryan Cranston, as that one had very little actual Godzilla in it. However, I can't help but compare Shin Godzilla to the film that came after it; Godzilla Minus One. I was far more impressed with that version of Godzilla - and I also thought the human element made for an incredibly compelling story. Shin's story is a political satire about how bureaucracy fails us when we need them most, but it's VERY dialogue heavy and feels a bit cold. There are a lot of characters, but few I feel I connected with. 

That being said - it does a great job at showing how inept bureaucracy can be - I laughed when I noticed that a person's title had become so long it filled up the bottom of the screen. There is one scene - which is shown on many of the re-release posters- that is awe-inspiring. When Godzilla takes out the power grid, glows purple, and shoots out his fire breath I really felt impressed. This scene of destruction could be the best in the franchises' history. 

The end conflict is a little anti-climatic, and the dialogue heavy scenes go a bit too long, but I can see why Shin Godzilla has such a large audience wanting to see a sequel. I wouldn't mind this version of Godzilla coming back, but hopefully in a story with a more enticing human element. 

The Naked Gun (2025) Review

Title: The Naked Gun
Year: 2025
Director: Akiva Schaffer
Country: US
Language: English

The comedy team known as ZAZ, a trio that included David Zucker, Jerry Zucker, and Jim Abrahams, had a short but successful series of spoof comedies like Airplane! (1980), Top Secret! (1984) and a television series on ABC called Police Squad! (1982). The television series was so successful that they were able to make the classic Naked Gun Trilogy. This spoof comedy genre started strong, but faded in popularity with time. In the early 2000's, the genre hit rock bottom with films like Not Another Teen Movie (2001) and Meet the Spartans (2008). After a decade-or so- hiatus, audiences are ready to see the spoof make a comeback. Thus we get a Naked Gun reboot of sorts. 

Liam Neeson plays an inept cop who  investigates a recent death that appears to be a suicide, but the victim’s sister, Beth Davenport (Pamela Anderson), thinks otherwise. She’s convinced billionaire Richard Cane (Danny Huston) is behind it. 

I bought tickets to this film out of hesitancy; I was certain it couldn't compare to the original Naked Gun, and could possibly be an awful experience. Thankfully, I was wrong. Liam Neeson has great comedic timing; perhaps even better than Leslie Neilson. Naked Gun feels like more of a passing of the torch, than a cash grab for nostalgia's sake. Writers Dan Gregor, Doug Mand, and Schaffer fill the run-time with clever sight gags and fun word-play - largely avoiding references that would be out of date in a few years' time. This kind of comedy is timeless; the deadpan delivery of the absurd scenarios is quite fun. 

Seriously, Neeson - and Pam Anderson - play foundational roles that bring this film's material up a few notches in terms of my enjoyment of Naked Gun. Their chemistry is undeniable; it is no wonder that they became a couple offscreen. They both deliver their lines with such deadly seriousness; it's as if Neeson thought he was on the set of Taken.

Naked Gun captures the tone and energy of the original film, while also being careful not to be an exact copy. The plot, while a little on the nose in its Musk-esque villain, is certainly relevant to the 2020's. I was very impressed overall. 

 

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.