Film Review: The Last House (2026)

 

There's an abundance of tropes in The Last House, and most of the time, the film doesn't seem like it has any problem with that. Instead, it is content to try its best to create what I believe is a new, hopefully sci-fi horror franchise like A Quiet Place, but with a water/sea theme in this case. In that sense, the role of The Last House is to establish the lore - one day, after a storm came, everyone was locked into their house, with no way of escape. One family is determined not just to keep their sanity through that, but to even thrive under these absurdly difficult conditions that are only deteriorating. 

However, that approach does involve a small twist there, which is the passage of time through the story. For some reason, the very first trailer immediately signals this, killing the surprise. Those who enter the film without this prior knowledge will likely have a somewhat more interesting time, even though I suspect it won't be a massive change when it comes to the overall experience. Like the tropes it uses, the plot progression of these kinds of films is not very divergent.  

Thanks to a good cast and well-written dialogue, which never stray into banal or ridiculous territory, The Last House is a modestly entertaining but very predictable film. I'm not sure if the success it generates allows for a full franchise. Yet, it will likely have a long shelf life for streaming viewers who want something not overly clever, but watchable.  

Film Review: Project Hail Mary (2026)

 

Light and optimistic is probably the best way to describe Project Hail Mary, but these adjectives are not the only things that describe this excellent science fiction film. Below the endless optimistic atmosphere lies a more complex story of perseverance and determination through collectivism, rather than individualism, regardless of the circumstances. The story of the film supports this approach through its character-centric take on the famous book by Andy Weir. 

In this case, Weir created a world where no one is stuck on Mars, but humanity is stuck with a dying Sun. The only shot to reverse this planetary calamity is Ryland Grade, played by Ryan Gosling, a middle school teacher who figures out that the solution might be in a distant star system. There, however, challenges await, but so does one unexpected extraterrestrial friendship.

Phil Lord and Christopher Miller directed the film and somehow managed to blend their comedy background with this hard sci-fi story. But they also didn't turn it into a parody and instead blended both the drama and the humor into a truly unique output. I'm certain that Project Hail Mary became a hit due to its action and jokes, but I'm also sure that it will age really well because it, in the end, tells a tale about a journey and those who ended up alone in the endless dark, only to find each other. In a world where we’re getting more somber and dystopian stories like the one in Leave the World Behind, having a story about Rocky and Ryland is hugely refreshing. 

Odyssey: Returning Home | A Cinematic Short Film - Celebration of the Resilience of the Human Spirit

"Now I return not as the man who left, but as what remains. And still, he knows me. Not by my face, not by my voice, but by something time cannot break. Loyalty does not remember the years; it remembers the soul"

This is one of the lines from the start of Odyssey: Returning Home, a cinematic short film by Devendra Tak, presented on the Infinity of Space and Time YouTube channel. The film takes on the timeless story of Odysseus and his long journey home from the Trojan War. In this case, however, the same epic tale is not told only through its most dramatic and incredible moments. Instead, Tak, using the latest cutting-edge audio and video generating technology, tries to dive deep into the man that Odysseus was. Here, it takes a long and hard look into him and the motivations and regrets behind his decisions. 

Here, this presents the very essence of the question: what is to be human, to be a being that yearns to love and to be loved. The circumstances of this Greek hero might be drastic, but behind them is just a man, nothing more and nothing less. This is where the film truly shines - moments like Odysseus, now an old man, meeting his faithful dog and the lines from the top that come at that tearful reunion. 

Then, there is that flash of remembrance of him, not as the king of Ithaca, but as a father, teaching his son archery in a past that seems to him nothing more than a myth, or a tale of someone else who is no longer there. Yet, that love still beckons after so many decades and so many trials and tribulations. That love is still a beacon calling Odysseus to the only truly important place - home.

In these moments, the film explores not only the question of psychological identity, but also how the past, memory, hopes, and dreams all bind us into what we are. The grand cinematography that seems to always evolve and change also complements that notion perfectly. Yes, there are battles and raging seas, there are monsters and armed duels, but it is in the quiet contemplation that offers the most of what this short but very impactful film provides - through understanding this hero, we get the possibility to better understand ourselves. 

The film is set to premiere on Friday, 31 July 2026 and become available to all on the official Infinity of Space and Time YouTube channel. "The Long Way Home", the film's Original Soundtrack, is available now on all leading music platforms. If you enjoy works of art that explore the very essences of what it means to be human, watch Odyssey: Returning Home and set off onto a dream-like, impactful journey like few before it who took the challenge of reinterpreting Homer's timeless masterpiece.

Film Review: The Housemaid (2025)

Things truly have changed in the housemaid industry, as Merry Poppins would likely notice after watching The Housemaid. Back in the good old 19th century, there would have been a much smaller chance of the lord of the manor meeting their young, attractive maid watching TV in his man cave. But this is just one of the situations that takes place in this thriller. Like almost anything where Sidney Sweeney appears, her body is a big element of this film, further building on this myth that anything alive right now has to find her simply irresistible or repulsive.

In this case, Sweeney brings her universe-spanning sex appeal to a wealthy family where she, having a troubled past, arrives as a live-in housemaid. Immediately, the setup of "everyone has countless secrets and then some" starts playing out, along with Sweeney's dress-up and show-off process. But, even though the film at moments feels like some low-key comedy and in the next moment something like a misdirected soap, it's still entertaining. There's a lot of inspiration in it, including things like Misery and even a hint of subtle social criticism and a hands-on type of feminism. All of that is happening along with abundant Sidneyploitation.

In many ways, The Housemaid is like Sweeney herself. You might have different takes about her looks, acting abilities, talent, and even possible political alignment. But, chances are that despite those opinions, you're still looking to see what will happen next. This film, too, takes us on a journey, and if you accept its offer, you'll also, in all likelihood, stick out until the end.

Film Review: Mickey 17 (2025)

 

When Parasite came out in 2019, I wasn't as impressed as I was with  Memories of Murder, a film that blew me away nearly two decades ago. But it did show that the voice of Bong Joon Ho is an evolving artistic presence and, strangely enough, that his time in the global limelight is only starting out in earnest.

When great directors suddenly get massive budgets, the same money is often tied to a gentle chokehold of producers and studio executives. For Bong Joon Ho and his sci-fi satirical comedy, that chokehold was not an option. Instead of making something dumbed down, he made probably one of the better films of this type in many years. On some levels, this film, showcasing the life of a constantly dying and reprinted indentured worker, Mickey on a colonising mission, rivals Terry Gilliam's Brazil. It also shares many of the key points that it explores, but here, the exposition is about mass media spectacle as it is about inalienable human rights.

It's wonderful to see that Bong Joon Ho commanded such a massive budget and a cast including Robert Pattinson, Toni Collette, and a fantastic Mark Ruffalo, but still remained so very much his own man. Mickey 17 is resonant, touching, bizarre, grotesque, and funny, all at the same time. There's a massive lesson there for the likes of Denis Villeneuve and Christopher Nolan. In other words, your talent and vision are important, but only if you are able to stick with them even when the stakes are very high. If not, you get to direct the new James Bond film or make the 100th version of Homer's Odysseus. I’m not seeing Bong Joon Ho move in any of those directions anytime soon.

Hey Chris TV Series - Balancing Family, Ambition, and Faith

 

Every life is always an endless stream of good moments, bad moments, and everything in between. Finding both the drama and the humor in those moments is often where great art is found, and the same applies to Hey Chris, a TV series available exclusively on Tubi. Its story focuses on Chris Kingston, a man devoted to his family. Chris is also very ambitious and a man of faith, who is constantly working to find the right balance in his life. But destiny is also ever-ready to throw some unexpected twists and turns, which the entire Kingston family has to resolve and overcome. 

 As a family comedy-drama, this series is all about the will and determination needed to keep a household together and resolve anything life has in store. It also deals with the realities of a regular family working, living, and loving in the modern United States. This makes it particularly impactful as it tells the tale of ordinary people meeting everyday problems, just as the same thing happens to countless others this very day across the US. The same allows for both the drama and the humor of the experiences of Chris and his loved ones to be even more relevant and impactful.

If this sounds like something you might be interested in watching, check out the official Facebook group of the series to get more information about the show. But, once you do that, head on to Tubi and watch Hey Chris right now to share the tears and the laughs with the Kingstons family!

Counterfeit Kids - Crime Drama Diving Deep into Emotional Realism

Set in 1980s Baltimore, Counterfeit Kids stars seemingly ordinary people. As a directorial debut of Screenwriter James Sclafani, it seeks to explore the characters and situations that are not overtly dramatic, but carry the hardship and difficulties that can be easily recognized in any context or time period or place. By doing this, it offers a slow-burning crime drama that is not only about real emotions and different mind states, but also characters who, because of that, seem all too real.

The film places the audience inside a foster home, where two teenagers dream of something better. They are Nic and Jude, both young and completely aware of the instability and toxicity of their newfound circumstances. This is especially seen in the form of the leeching and manipulative Jerry and Trisha, who run the same home. Nic is close to Jude, who is her best friend, but also conflicted about her relationship with her mom Trisha. During a time when Nic was suffering from leukemia, Trisha was there to take care of her. But, as time passed, that relationship turned toxic. 

 

On the other hand, Jude is a talented and resourceful artist who comes up with a simple idea - to use his skills to make counterfeit money. Nic, on the other hand, has both charm and personality that allow the pair to pass off the fake money in places like local stores and flea markets. As the scheme seems to work, Trisha and Jerry find out about it and decide to steal some of the counterfeit bills. This sets the film on an escalating path where Nic, in particular, will have to make some hard choices, especially when it comes to Trisha. 

This film is not a massive crime spectacle, and most definitely isn’t something that romanticizes the necessity and the drive to commit these illegal deeds. Instead, Sclafani draws on his previous experience to build a small but believable world of two young people who desire to change their lives no matter the cost. Instead of resigning to their cruel and unfair fate, both Nic and Jude are determined to change their fortunes, however possible. A story like that has an inherent, timeless power and with it, all-encompassing ability to connect to the audience. 

If this sounds like something you’d be interested in experiencing, Counterfeit Kids will screen at the New Jersey International Film Festival on Saturday, May 30, 2026, at 7:00 PM. The screening will take place at Rutgers University’s Voorhees Hall in New Brunswick, New Jersey. Tickets, as well as all relevant festival information are available here.

STAR WARS: Fruut & Hari [feline fan series] - #1 "Order 66" - A Must-Watch for All Star Wars Fans!

The realm of fan-made movies is built through a long and proud tradition reaching back decades. The same creative space even produced a handful of films that were close to rivaling its source material, like it's the case with The Hunt For Gollum from 2009, which turned into a true masterpiece. Now, there's a new contender for the fanflick crown, but the focus is on a different fictional universe. This time around, that universe is Star Wars, but one inhabited by, among others, Jedi... cats! The name of this creation is STAR WARS: Fruut & Hari, and it first episode is simply called "Order 66". You can watch the entire creation right here!

From the first moment, there's so much stuff happening in this fan series that it's nearly overwhelming. But, just as fast, the episode finds its footing that quickly turns the viewing process into an engaging adventure which could lead almost anywhere. As Star Wars fans, we can’t help but feel anything other than being instantly pulled into its wacky but exciting domain.

However, the thing that really impressed me is the fact that the series is so masterfully executed. Sure, the VFXs and visuals are very low-fi, but the script, editing, and acting are anything but amateurish. From the first moment, the series initial episode sets the stage by going for maximum drama, which is faithfully following the overall Star Wars approach. Right after that, both the action and drama kick in, with space battles, crash landings, and speeder chases. The fact that all of that was made by a single creator and his cat is mind-blowing.

If you're a fan of cats, Star Wars, or possibly both, this is a must-watch for sure. The level of artistry, cinematic craft, humor, and overall love for all things Star Wars make Fruut & Hari a potential new instant hit in the fanfic world and for all good reasons. Subscribe to the same YouTube channel and see where these mesmerizing characters take you in subsequent episodes in a galaxy far, far away!

Film Review: The Long Walk (2025)

 

There's some truly deep cinematic magic in the way Francis Lawrence can make things ordinarily extraordinary. His first film, Constantine, did this quite literally, but his latest, another adaptation of a great literary work, returns to this topic. This time he does it from a completely different angle that is anything but magical. In the alternate contemporary world of Stephen King, a group of teenage boys begins a challenge where they need to walk continuously, getting shot by their military escort if they slow down, until only one remains.

This stripped-down version of so many Battle Royale tales is here much more visceral. King's novel is a minimalist masterpiece of absolute doom and this sense of being stuck in a hell of one's own choosing. The film fatefully adapts this notion into a film that keeps going, even though its cast struggles to fill the worn, bloody shows of the much more impactful individuals from the book. Lawrence solves the problem of limited time and exposure by focusing on the constant movement of both characters and the plot. 

With that, The Long Walk is a film that probably broke the record of lines being said by actors in motion and with it, made a disturbing work of art about grim perseverance. That perseverance doesn’t let up even when it fails to make anything or anyone anything but dead. But, that's ultimately also the story of life itself, isn't it?

Film Review: Skinamarink (2022)

It’s hard to have a film that is practically faceless, but not impossible, as Skinamarink shows. This highly experimental horror takes the idea of space and personality, only to twist both into something so uncanny that it cannot do anything but stick in your mind. But does this make the film great? For me, it’s impossible to say, as the process of watching for me was just as boring, and it was terrifyingly memorable. 

The film’s premise involves two kids, aged four and six, waking up in their home in the middle of the night. Their father is missing, and all of the doors and windows of the same house are gone too. In the preceding hours and days, we get an experience that is not just survival of those unable to care for themselves, but something horrifically transcended. 

The problem is that this experience elongates through time almost to infinity. Endlessly long shots of corridors and room corners, kids whose faces are (almost) never shown, and a pressing design of eerie soundscapes all build into a cumbersome watching process. If the film lacks anything, it is that power to immerse the viewers in its strange rhythm. Similarly, low-budget, experimental films like Come True do that almost miraculously. Skinamarink struggles with it nearly from the beginning. 

The film’s writer and director, Kyle Edward Ball, clearly made film history with this work of art. It’s so unusual and impactful that it will leave few in any other state than adoration or complete rejection. Yet, I can’t stop myself from believing that with a more immersive setup and a clearer drive for its obscured narrative, Skinamarink could have been one of the best horrors in the past decade.

Film Review: The Gorge (2025)

Movies like The Gorge often cannot escape similarities with one or more episodes of The Twilight Zone. In this case, the similarities are noticeable almost immediately when two distinctly different individuals - both of whom are professional snipers - get a job protecting a mysterious gorge on its opposing sides. Inside are incomprehensible horrors, but outside are many oddities and unknowns as well.

From that hook, the film's director Scott Derrickson, who recently made The Black Phone, does a Super-G-level of slalom, flipping through genres in no time at all. From a thriller to a drama, then to a romance, and finally to a horror science fiction, The Gorge covers broader genre setups than an average movie theatre does over a weekend. Here, the film would often be too loose and disconnected, if not for Anya Taylor-Joy. For the most part, she carries the film on her slender back, providing a character that is constantly evolving and growing, but does so without stealing the spotlight. The same makes The Gorge overall a fun experience, even when the premise and the plot struggle to keep the audience engaged and interested in what, ultimately, hides the weird fog of the gorge.

The Last Unknown Boozers - Motion Comic Series on Challenges of Substance Abuse Recovery

No matter where you grew up or what your upbringing was like, chances are that you have some personal experience with substance abuse. It could have been someone you barely knew, but it could have also been a family member. In fact, it could have been - or still is - even you. In our modern world, substances like alcohol and narcotics are seemingly more present and widespread than ever, causing this issue to become more prevalent.  

At the same time, the fallout of their vicious addiction all too often reaches beyond the affected individuals. Instead, it impacts families, neighborhoods, and entire communities. That is why The Last Unknown Boozers: We don't drink, no matter what - not even a zombie apocalypse is such an important piece of contemporary art. This motion comic series deals with the problems one faces on the hard road of substance abuse recovery, but does it in a really unusual, novel, and interesting way. Check out the full first episode right here:

The series, written by Mike Zee, was produced with the help of Sober Mic and focuses squarely on the idea of the 12-step program to recovery. However, the series also starts with a zombie apocalypse. Here, a newcomer to the program meets two young men who have been sober for a while. In these extremely unusual circumstances, the ideas of sobriety, danger, addiction, and the everlasting desire to change for the better clash in front of the viewers.

The series is well-written and produced as a form of a moving comic book. Here, visually, the characters and their out-of-this-world zombie setting provide a great backdrop to the emotional and spiritual demons of addiction and self-destruction. Throughout the length of the series, which is available in its entirety on YouTube, this dynamic plays out as the 12 steps take place as well. 

If you're interested in sobriety and how one reaches it, check out the entire series on this YouTube playlist right now. It very well might be one of the most important things you discover on your road to becoming someone else.

Film Review: The Rip (2026)

If anyone is making a film about potentially corrupt police officers working in a huge US city, the shadow that Training Day casts on the same genre remains incredibly long. Even two plus decades since its release, that film is to the police crime thriller what Saving Private Ryan is to the war films. That’s why the director of The Rip, Joe Carnahan, didn’t have an easy job in front of him.

In his case, the unity under scrutiny is a narcotics team working in Miami. The same crew is suddenly placed in a tight spot after it raids a property where millions of US dollars are stashed, which are most likely directly connected to a narco cartel. In the night that follows, all bets are off as each of the team’s officers has someone to suspect.  

From the get-go, it’s clear that the biggest center of gravity in the film is the relationship between Matt Damon and Ben Affleck. The duo has been writing modern Hollywood history since the late 1990s, and they can still click together. But the same gravitational pull is also pushing everyone to the other rims of that star-studded solar system. That includes the very important Steven Yeun, but also a number of female characters that almost disappear in the last third of the film. 

Here’s where the biggest flaw of The Rip lies. Carnahan apparently didn’t fully decide if there’s too little or too much Damon & Affleck in his film. That’s why it ends up feeling somewhat under-cooked at its end, with several phases of the film that never completely deliver. That doesn’t make The Rip ultimately bad or unentertaining, but it does make it far away in terms of enduring quality from films like Training Day. The comparison might be unfair; however, it is still unavoidable. 

Film Review: One Battle After Another (2025)

 

The latest and biggest film from Paul Thomas Anderson has that very rare characteristic of modern cinema - it gets better as time passes. Initially, the story of several members of French 75, a fictitious rebellious militant organization in the early 2000s, seems incredibly shaky. The visuals are there, but the essence of its violent actions, undertaken by a motley crew of insanely colorful characters, fails to build in any clear direction. 

It does, however, offer a glimpse into the main characters on both sides of the law, played well by Teyana Taylor, Leonardo DiCaprio, and Sean Penn. The problem is that it does it in a confused, insecure way that is neither fun nor disturbing. Instead, it presents some odd form of an alternative present that is mostly goofy and corny, even though it clearly resonates with the actual US political divide.

However, when the film moves to the present day, it kicks up a gear, mainly through the introduction of the revolutionary child of Charlene, played exceedingly well by Chase Infiniti. In the following mayhem, One Battle After Another becomes not just fun to watch, but also very moving. Here, the starting oddness combines well with the rest of the plot and delivers thrills just as much as great character development. In the end, both Anderson and his movie manage to win their final battle.

Film Review: Frankenstein (2025)

 

Guielrmo Del Toro is well-known for his vocal and very negative stance towards all manner of CGI effects, generative AI, and other digital-only movie-making tools. In his latest film, he tries his hardest to put his money where his mouth is, making the latest version of the classical Mary Shelly tale about playing god and being the victim of that playtime. 

The result is a very moving film with a fantastic showing by Jacob Elordi, who created one of the most iconic monsters/poets that the cinematic world saw in both this and the previous century. Oscar Issac also did exceedingly well with Victor Frankenstein, a man whose genius was only shadowed by his dark ambitions. Once more, we can see just how effective Issac is as the support character and lending his efforts to the film as a whole, not just his part in it.

However, it’s still Elodi who manages to provide such an original, animalistic entity. His monster is not a monster at all, but a being born unto a strange and violent world, who does not give up on seeking both meaning and connection. At the same time, Elodi manages to transform into pure and utter aggression, where his body becomes a weapon and his voice a harbinger of death. Throughout, his presentation is snake-like, both when it comes to his curiosity and his willingness to hurt others when he chooses to.

The film’s only odd downside is the strange post-production that Del Toro decided upon. Because of it, gorgeous physical sets and props, just like costumes, too often feel overly-cleaned and sparkling, as if most of the things we’re seeing are made from some weird CGI plastic. Yet, this doesn’t manage to drown out the performances, and ultimately, for a film about a man made from parts of others, this might be ultimately strangely fitting.

Everyday Evil: A Horror Analogy - Powerful and Frightening Visions of the Human Beast

 

The horror genre is by far the most welcoming domain of cinematography when it comes to bold and unusual visions. After the relative slump of the Hollywood-style teen slashers that marked the 1990s, the 21st century brought about a true renaissance of this filmmaking domain, and now, Patrick A. Albright has added another fantastic film to the same body of artistic work. 

The film created by this award-winning black photographer and director is called Everyday Evil: A Horror Anthology, and from the first shot, it beckons the viewer into what seems like a beautiful and very ordinary world, but one that also hides unspeakable horrors behind it. That way, it will turn out that Albright is actually telling us about our real world.

The anthology covers six separate stories told from a first-person perspective. In all of them, the common theme is the notion of evil itself, but not as some grand, majestical, and even attractive force. Here, instead, it is something more similar to a deep-rooted but ultimately randomly dispersed energy that does not come with a complex backstory or detailed explanation. To the horror of all of us, it simply exists. 

Visually, the film does an amazing job with a very minimal budget, mostly by using a lot of natural lighting and liminal locations that in themselves offer a note of terror. From empty parking lots to desolate roads and green fields with odd, out-of-place details, Albright finds ways to boost the sheer quality of photography in the film to a level of a much bigger film production. The same goes for ambient sounds and the film’s soundtrack, which also enhances the experience through these stories. Generally, it’s tough to find independent films that do their sound right, and especially those that blend it with music that is neither overused nor underplayed. Everyday Evil manages to do just that, creating a balancing act that was clearly worth the substantial effort in post-production. 

There is no doubt that this film shows the value of having a powerful vision and employing it to the maximum effect, regardless of the size of the production’s budget. Everyday Evil: A Horror Anthology and Patrick A. Albright created a marvelous sequence of films and brought them together into one of the best independent horror films of this year. Be sure to watch it now on Fawesome.tv, where you can be impressed and terrified in equal measure.

Film Review: Jujji (2024) - Gripping Pakistani Thriller on the Demons that Haunt us All

The world that Jujji presents immediately pulls the viewers deep into the dark, silent, and violent space. From the first shot and the slow, tension-building monologue of an apparently random street vendor, the film shows that it can more than handle its central mystery. 

The premise of this Pakistani thriller centers on a serial killer pursued by two police officers. One officer is young and motivated. However, despite the fact that he's driven by his sense of justice, he is fighting his own demons from the past and many somber realities of his country. His partner, on the other hand, is an older and more morally flexible police veteran, who provides a completely different perspective not just on the case, but life itself, and their role as officers of peace. 

Jujji is masterfully directed by Habib Shahzad, who does wonders with the photography of the film. Each frame is crafted almost perfectly and uses the most out of natural lighting. The same rings through in both day and night scenes, along with the fact that Shahzad never forgets about its characters. This is best seen in the flashback story near the end of the film, which shows a tragic rescue of a kidnapped girl. The entire muted sequence is a small masterpiece of atmosphere and suspense. 

Through this relentless focus on characters, each setting or situation, Shahzad still manages to revert to the people in it. This approach remains steadfast, regardless of whether they're the main characters or someone like a poor passerby who stumbles upon a lifeless body. 

Finally, it is amazing to see that Jujji manages to do so much with a film based on a true story in just under 80 minutes. This too is the testament of the directorial skill of Shahzad and the natural storytelling talent, which is why he never loses a single beat in the film. The same makes the film one of the best Asian thrillers in recent years and should place Pakistan on the international map of all cinema goers. 

Film Review: A House of Dynamite (2025)

Don't fear the nuclear reaper is what most of the characters in A House of Dynamite are constantly trying to say to one another. At the same time, they're doing it through bewildered, terrified, or tearful eyes, continually trying to phone someone in the government or their uknowing family members. 

All of this is taking place as a single nuclear missile is traveling towards the continental US, which is a cycle of about 20 minutes that the film shows three times. In each of those, the director Kathryn Bigelow presents a different set of individuals making decisions around the same launch. The first group tries to intercept it, the second to understand it, while the last, spearheaded by the President of the county, should react to it - in a nuclear fashion, naturally. 

The concept of the film is gripping, and its stellar cast makes good on the script's promise to keep us glued to it until the very end. But, there's also a rational and realistic void in there as well. We're never really in the mind of anyone for long, while some characters, like Cathy Rogers, a FEMA official with the Office of National Continuity Programs, make no sense whatsoever.

The best way to perceive A House of Dynamite is likely to understand it as a deep dive into the US nuclear doctrine by a top-notch reporter team from an outlet like The Guardian. It's incredibly well-researched, somewhat liberal-leaning, and intensely smart, but doesn't allow for any feelings nor does it linger very long after you read the final, cautionary sentence. 

Film Review: Sinners (2025)

The kinetic force behind the film Sinners is a tangible type of energy that you feel in your rib cage. Like a muffled baseline in a club, it reverberates with you but does not hamper you in any way. Besides, it doesn’t force itself upon you, asking for your unwavering attention. It simply grooves, and you grove with it. The film that Ryan Coogler created works like that, allowing the audience to jump into as deep or as shallow as they like. All who do leap will get immersed in a world completely in tune with Coogler’s vision, which is a space of music, culture, danger, and endless injustice. 

The film places the viewers in the Mississippi Delta in the 1930s, where a pair of criminals and twins, both played by Michael B. Jordan, set up a speakeasy. Their efforts to make an underground club for the downtrodden African-Americans face numerous hurdles, which include both the oppressive white figures and the local black population. However, Elijah "Smoke" and Elias "Stack" Moore won’t take no for an answer and make their vision happen. The first night of the club, however, a stranger from Ireland enters the same vision and quickly turns it into a escalating, bloody nightmare. 

Even though Sinners, like another modern vampire movie, From Dusk Till Dawn, is broken into two substantially different parts, it still works as a unified work of art. It tells its viewers about the pain and the suffering of the black US population and how music was and continues to be a way not just to endure, but to thrive and prosper. In its tale, the film presents so much pain and suffering, but still remains eternally hopeful that things can and must get better. The notion of the main antagonist and his background in the downtrodden Ireland works perfectly alongside this, following it as a form of backup singer who can still steal the spotlight when needed.

Many already label Sinners as a modern masterpiece that goes a long way further than a good horror action film. However, the cultural influence that the film could have in the coming years is even bigger. With the proper mindset of the future viewers who enjoy it - and learn from it - Sinners could become a crucial element of the Black US culture that was created in our lifetime. Presently, the movie, along with the incredible Weapons, is the best horror film of 2025.

Film Review: Monkey Man (2024)

The directorial debut of Dave Patel is pouring its heart and soul into the film’s energy. The work, even though ultimately a finely-crafted and dynamic film, still fails at the same time precisely because of the insanely high energy it provides. From the sights and sounds to even the dense music soundtrack and the nearly-tangible smells of modern India, Monkey Man keeps relentlessly pushing and pushing.

But it feels like Patel, who is starring in the film at the same time, tried hard to bring across a more poignant and deeper message about the state of the biggest democracy in the world. The story of a downtrodden boy who grows up into a man thirsting for vengeance is easy to understand, though hard to empathise with. The reason for this is that in the film, somehow, everyone seems to be suffering. That plight turns into a series of individual spaces from which no one can escape. 

This applies to the ritual character of Kid, but also to the beautiful women trapped in the glorified brothels of the upper floors of glamorous hotels. It applies to the corrupt cops on the street and to their commanders as well, whose hands are forever bloodied by the deeds they had or wanted to commit. Still, throughout all of this, castes are never mentioned, which is an odd blind spot for a film with these topics and societal context.

Chances are that for the film’s investors, it’s much more appealing to see a scenario where everyone is sort of bad in their own way instead of fully focusing on the powers that be. The main antagonist of the film could have played that role. But the script seemingly pulled away from pushing into the societal space where money is pouring in and very little pouring out, just like it has been for millennia.

Monkey Man is a stand-out action thriller that does both thrills and action really well. Yet, it is no White Tiger when it comes to its ability to address the current state of India’s wealth disparities. It does, sadly, just as little in showcasing what the future course of this unique but troubled nation could be.