The Tic Tac Incident

I have listened to Anirudh's DC soundtrack like a hundred times at this point and I don't see myself stopping anytime soon.

Quick review here

I’m not saying Spider-Man: Brand New Day is a slam dunk, but the direction feels intentional, the chemistry between the actors is strong, and the visuals are more interesting, so it does feel more satisfying than a lot of the more mediocre post-Endgame entries.

Quick review on YouTube here

I mean this as a compliment, but there’s an episodic quality here that makes Christopher Nolan's The Odyssey feel like watching a season of the most premium of prestige TV—but elevated into the stratosphere by Hoyte van Hoytema's IMAX cinematography and Ludwig Göransson’s score.

Quick thoughts on YouTube here (just avoid the comments if you don't want to see a barrage of horrible nonsense.)

At one point in The Invite, Olivia Wilde has a one-word line that created an explosion of laughter in the theater. 

It's a performance masterclass from Wilde, Seth Rogen, Edward Norton, and Penelope Cruz, expertly weaving tension into humor and deeper discussions about relationships.

Quick review on YouTube here

Venkatesh Maha's new Telugu film, Rao Bahadur, is a stunning visual delight that thrives in complexities and gray areas. 

With Satyadev's phenomenal performance at the core, we get a protagonist who is definitely not a hero, not entirely a villain, but a complex character who is simultaneously despicable and fascinating. 

This allows Rao Bahadur to deliver its themes in creative ways that give the message impact without ever feeling preachy or heavy-handed. 

Quick review below. Full review on Trashwire here.

You just can't keep Jason Momoa away from a Targaryen queen

The most frustrating part of Supergirl's lackluster story—and what will almost certainly be similarly disastrous box office performance—is that this is not actually a reflection on the failure of female superheroes, but rather the failure of studios to give us great superhero stories in general. 

Supergirl is very much a mediocre movie, but it’s not a mediocre movie because it’s a female-led superhero flick. It’s a mediocre movie because it’s got a weak screenplay, bland visuals, and it feels like a messy, by-committee adaptation of a beloved comic book storyline. 

Just saying, I didn't hear anyone saying men shouldn't lead superhero movies after Ant-Man and the Wasp: Quantumania. 

Few directors in the world speak the language of film quite as fluently as Spielberg. With Janusz Kaminski’s beautiful cinematography, John Williams swelling score, and the push in on an actor's face, he just taps into something in all of us and he never fails to create a sense of awe and wonder. 

That’s still true in Disclosure Day, but the impact feels dampened here because the screenplay often prevents the scene from feeling particularly wondrous or awesome.

The masterful filmmaking tells us to feel something, but the story doesn’t quite pull it off.

There are hints of Spielberg classics like Close Encounters and E.T., as well as larger themes similar to impactful sci-fi films like Arrival, Contact, and even Signs, but the story can feel disjointed and the pace uneven enough to prevent the emotions from resonating in a deeper way. 

The wide-eyed idealism that this “disclosure” could improve the world actually takes a lot of steam out of the film in the third act when the driving forces of the separate storylines crescendo and all the characters finally converge. The film wants us to feel the awe, the hope, the inspiration, but it just doesn’t land with the desired emotional punch—possibly due to the grim reality of our actual world. 

Even with the lack of emotional resonance, Disclosure Day is certainly not a bad film—due in large part to the G.O.A.T. delivering his unmatched filmmaking skills—it’s just that it’s a pretty good film when it should be an outstanding film.

Full review on Trashwire here and quick review on YouTube here.

With the success of young directors like Kane Parsons and Curry Barker changing the horror genre, Abhinav Sunder Nayak's Mollywood Times couldn't have arrived at a better moment. 

Naslen stars at Vineeth Madhavan, an aspiring director who wants to make the scariest Malayalam film of all time, but quickly realizes that the real horror is in trying to keep any shred of integrity while navigating a career in the film industry.

It made me want to rewatch Neninthe, The Player, and The Ba***ds of Bollywood, as well as more uplifting movies about movies like Dolemite is My Name and Cinema Bandi.

Featuring stylish visuals, great performances from Naslen, Sharafudheen, Sangeeth Prathap, and the entire cast, and a script from Nayak and Ramu Sunil filled with betrayal and frustration, Mollywood Times is a story about unshakable drive for greatness in the face of unforeseen obstacles. 

Quick review on YouTube and Inatagram

Young director Kane Parsons’ viral YouTube short film series comes to the big screen with A24’s Backrooms, exploring the eerie mundanity of liminal space and the internal turmoil of its original characters.

The short films build on the mysterious aspects of the backrooms and the strange threats lurking in the seemingly endless maze of yellow-wallpapered corridors and faintly buzzing fluorescent bulbs. 

The film, however, is more concerned with the psychological trauma of our lead characters, failed-architect-turned-furniture-store-owner Clark (Chiwetel Ejiofor) and his therapist, Mary (Renate Reinsve). While both performances are excellent, the focus shift can sometimes bring the pace to a halt.

The film boasts great cinematography and production design (they actually built 30,000 square feet of backrooms across four separate soundstages), along with a score and sound design that really add to the vibe, with occasional distant footsteps breaking the quiet room tones of the uncanny parallel world and building visceral tension. 

Despite some narrative and character stumbles, Backrooms is at its strongest when it lets us marinate in the uneasy feeling of liminal space horror, questioning every unentered doorway or unexplored room. 

Full review on Trashwire here

Can you guess what movie I’m seeing tonight?

YouTuber-turned-filmmaker Curry Barker’s Obsession is like Get Out for "nice guys", blending funny, disturbing, and highly entertaining horror with surprisingly impactful themes about male entitlement, mutual consent, and female autonomy.

In this classic monkey’s paw story, Bear (Michael Johnston) is a timid guy with a huge crush on his co-worker, Nikki (Inde Navarrette). After purchasing what he thinks is a novelty toy, he makes a wish for her to fall in love with him, and of course, everything seems great until the grave consequences begin.

Navarrette gives one of the best performances of the year. It’s horrifying one minute, hilarious in another, and tragic in a way that makes the film linger with you emotionally.

Full review on Trashwire here.

As someone who was feeling pretty burned out on Star Wars, I greatly appreciated that The Mandalorian and Grogu was a standalone story. It’s much easier to have fun when every scene isn’t trying to set up a spinoff, create an applause break for a legacy character, or push forward a larger phase of a cinematic universe. 

We also get some solid action and a lot of great creatures—some CGI, some puppets, and some stop-motion. It’s a refreshing visual change that adds a vintage vibe to the film, making it feel more like classic Star Wars than streaming Star Wars. 

And, of course, it wouldn’t be The Mandalorian without the incredible music of Oscar-winning composer Göransson. A major highlight is a sequence set in an urban underbelly reminiscent of Blade Runner with a synthy score that elevates the whole experience. 

But even with all these solid elements, that’s not to say that The Mandalorian and Grogu is a great film. 

The structure is strange. In many ways, it feels like a bundle of episodes squeezed together for a feature film. While that three-episode arc structure worked for Andor, in The Mandalorian and Grogu, it feels like the story concludes, only to keep going into the next story block with a major lag in the middle. Even the die-hard audience in my packed theater was visibly fidgety at the start of the second half.

Some of the dialogue is clunky and obvious, almost as awkward as the prequels. Rotta, in particular, spends the majority of his lines repeating the same two or three sentences about how he wants to be different from his father. It completely limits the character, making me wonder why they even bothered to put Jeremy Allen White in the role.

Overall, if you like the show, you’ll probably like The Mandalorian and Grogu. It’s not particularly memorable, but it’s a fine time at the movies—and at least we didn’t have to endure any CGI legacy characters to come take all the agency away from our protagonists. 

Full review on Trashwire here.

Exit 8 taps into the game’s frustration and tedium of starting back at zero, the confusion of second-guessing your own memory, and the unsettling tension of wondering what’s awaiting you around the corner, and stitches these game elements into themes and messages. What begins as a relatively simple challenge becomes a harrowing affair for The Lost Man as he’s confronted with his own apathy, his inner fears, and opportunities to break out of the repetitive loop of his own life.

Full review on Trashwire here 👇

It feels bold to release a movie like The Drama when media literacy has declined so much.

Robert Pattinson and Zendaya star in Kristoffer Borgli’s jet-black comedy about a happily engaged couple whose love is put to the test after a shocking revelation during a party game.

While the humor certainly won’t hit for everyone, I appreciated the twisted humor, especially the way Pattinson plays Charlie awkwardly attempting to appear chill and carefree while masking his complete crash out. 

Quick review below.

This is now a Carl stan account. 

Project Hail Mary hits a perfect balance between sci-fi, humor, and heart. We get the enormous scale of space, with some stunning cinematography from Greig Fraser, but also an intimate story grounded in emotion, due in large part to a phenomenal performance from Ryan Gosling. 

The science stays grounded, allowing the story to feel real while leaving room to focus on larger themes of connection, collaboration, and compassion. Similar to The Martian, it’s just complicated enough to make it believable, but never overwhelming. 

This also opens the door for a Spielberg-like sense of wonder, reminiscent of E.T. the Extra-Terrestrial or Jurassic Park. The blending of sci-fi and sentiment works wonders here, filling us with a sense of hope and optimism that feels so needed right now. 

Full review on Trashwire here 🔗

Between this and the infamous Variety headline, media outlets really are incapable of celebrating Sinners.