Search this site

This is a great true story that deserved a bigger production budget. The film is entirely in German, and the acting was barely passable across the board. With more money and stronger production, this could have been a huge hit on the strength of the story alone. That said, it leaned too cheesy at times given the gravity of what it was depicting — some scenes were meant to feel intense, but compared to other films tackling similar subject matter today, they fell short. "Inspired by a true story: A group of young people set out to rescue refugees in distress in the Mediterranean. But their understanding of law and justice is soon put to a severe test."

Not the worst film out there. It's still enjoyable enough to sit through, and the ending lands. That said, the acting across the board needed work. Sunny Sandler was a better singer than I expected, but her acting still has a ways to go. Overall, you won't feel like you wasted your time, but this one shouldn't be sitting on anybody's watchlist"Sophie Birenbaum is ready for the spotlight as the lead in her high school musical - until suddenly she's living with even more drama at home than on the stage."

I made it 27 minutes in and tapped out. Not worth anyone's time. Whoever genuinely likes this probably hasn't watched enough movies in their lifetime to know how awful it is. "Twenty-six years after outrunning a suspiciously familiar masked killer, Shorty, Ray, Cindy and Brenda find themselves targeted by another mad slasher."

This one landed on the NYT's list of the best films of the century. The acting is so natural it barely reads as performance, more like you're watching a documentary, or footage someone happened to catch, than a scripted drama. Heads up: it's in Farsi, not English. The subject matter (a divorce that spirals into a legal mess after one moment of anger) isn't exactly my usual pick, but the performances made it work regardless. Not something I'd recommend to everyone, but I liked it. "When Nader (Payman Maadi), a bank employee, refuses to leave Tehran, his wife, Simin (Leila Hatami) sues for divorce in the hope that she can make a better life for their young daughter abroad. Needing someone to care for his senile father while he's at work, Nader hires Razieh (Sareh Bayat), a married woman whose chador hides her pregnancy. One day, after becoming angry with Razieh, Nader shoves her, and she has a miscarriage, leading Razieh's husband to take Nader to court."

This is a British crime film set entirely within a jail, and the acting is what carries it. Tom Blyth especially, from People We Meet on Vacation, shows a real range here. David Jonsson did a great job as well, He from a Rye Lane and The Long Walk. I also think he might have been crowned the next Black Panther in MCU unless I am mistaken. It's not a film for everyone: short, and heavy on drugs, jail politics, and violence. But the ending sticks the landing and gives the audience the payoff it's been building toward. Underrated overall, though I'd read the synopsis first to make sure it's your kind of thing. "As his parole nears, Taylor is hopeful to reconnect with the son he's never met. However, when his new cellmate tries to climb the prison hierarchy, it puts his chance at freedom -- and his life -- in jeopardy."

I'm genuinely torn on this one. It's gotten a lot of love, and I didn't connect with it the way most people seem to. There were plenty of funny moments, and it leans into a weirdness that's usually right up my alley, so it's not the tone that lost me — it's the characters, who felt a little too over-the-top for their own good. Seth Rogen playing a stoner was never a surprise; it's basically been his default mode for three decades now, and while that's not a knock on him, I think a different casting choice might've served the role better. The last 20 minutes were pretty funny. "Joe and Angela's marriage is on thin ice. When their upstairs neighbors visit for a dinner party, the night spirals into unexpected places. Have they reignited the spark or lit the match that burns it all down?"

The acting and cinematography in these early-'70s films still shocks me every time. There's a long-running debate over which of the first two Godfather films is better, and I tend to side with originals in any series, so it's no surprise the first one edges this out for me, mostly because I found Michael's rise more captivating. That said, this is still a phenomenal film. The dual timeline works: young Vito's rise in 1917 Hell's Kitchen, played by Robert De Niro, is the highlight for me, and Pacino delivers another strong performance as Michael. What really stood out here, though, was the supporting cast — they felt even more elevated than in the first film. "The compelling sequel to "The Godfather," contrasting the life of Corleone father and son. Traces the problems of Michael Corleone (Al Pacino) in 1958 and that of a young immigrant Vito Corleone (Robert De Niro) in 1917's Hell's Kitchen. Michael survives many misfortunes and Vito is introduced to a life of crime.)

Everyone's shocked when I say I hadn't seen this series yet, I guess I was just waiting for the right moment to finally dive in, and I'm glad I did. From beginning to end, the acting is unreal. Pacino and Brando are both easily 10/10, carrying every scene with a stillness and intensity that doesn't feel like acting at all. The way it's shot gives it an almost documentary quality at times, which pulls you deeper into the family's world rather than distancing you from it. The character arcs are the real standout here, the shifts from good to bad, the slow unraveling and rebuilding of loyalties, all feel earned rather than rushed. It's the kind of slow-burn character study that films like Goodfellas would later riff on, though this one set the template. What surprised me most is how little it's aged; for a film from 1972, it doesn't feel dated in the slightest — the great ones really do hold up forever. I'm already looking forward to the second one. "Widely regarded as one of the greatest films of all time, this mob drama, based on Mario Puzo's novel of the same name, focuses on the powerful Italian-American crime family of Don Vito Corleone (Marlon Brando). When the don's youngest son, Michael (Al Pacino), reluctantly joins the Mafia, he becomes involved in the inevitable cycle of violence and betrayal. Although Michael tries to maintain a normal relationship with his wife, Kay (Diane Keaton), he is drawn deeper into the family business."

Going into Michael, I had seen a mix of great reviews and terrible ones, so I wasn't sure what to expect. After watching it, I came away thinking it was an above-average biopic. The biggest strength of the film is the performance portraying Michael Jackson. It captures his presence well, and the musical sequences are easily the highlight of the movie. Those moments are entertaining, well done, and make up a large part of what makes the film enjoyable. My biggest issue is that the story covers such a large span of Michael Jackson's life that it skips over a lot of important moments. The film focuses heavily on his relationship with his father, but there was so much more to his life and career that could have been explored. Because of that, the movie feels very surface-level at times, leaving a number of interesting details unexplained. Overall, I think Michael does a good job as an entertaining musical biopic, even if it doesn't dive as deeply into its subject as I would have liked. "The story of pop superstar Michael Jackson -- from his extraordinary early days in the Jackson 5 to the visionary artist whose creative ambition fuels a relentless pursuit to become the biggest entertainer in the world."

The Devil Wears Prada 2 is a well-produced sequel that clearly leans into the nostalgia of the original, and I think that will go a long way for fans. Seeing these characters again is enjoyable, and the production quality is solid throughout. That said, I thought it was an above-average movie, but nothing particularly special. While it was entertaining enough, it didn't really do anything that stood out or made me feel it was a necessary follow-up. I could have done without it, but at the same time, it doesn't take anything away from the original film. "Miranda Priestly struggles against Emily Charlton, her former assistant turned rival executive, as they compete for advertising revenue amid declining print media, while Miranda nears retirement."

Thief is a 1981 film that had its moments and featured a solid overall plot. James Caan delivers a strong performance, and the story does a good job of keeping you invested as it unfolds. That said, you can definitely feel the film's age. The acting style and filmmaking techniques feel noticeably outdated by today's standards, which made it a little harder for me to fully get into at times. While I can appreciate it as a classic, I don't think it completely lived up to the reputation it has built over the years. Overall, it's still a solid crime drama that's worth watching, especially if you're a fan of older heist and crime films. "A highly skilled jewel thief, Frank (James Caan) longs to leave his dangerous trade and settle down with his girlfriend, Jessie (Tuesday Weld). Eager to make one last big score in order to begin living a legitimate life, Frank reluctantly associates with Leo (Robert Prosky), a powerful gangster. Unfortunately for Frank, Leo wants to keep him in his employ, resulting in a tense showdown when he finally tries to give up his criminal activities once and for all."

This 1991 film surprised me with just how much I enjoyed it. I'm always a fan of stories that use the older character looking back on their life through flashbacks, and I think older films often handled that storytelling style especially well. This movie is a great example of why that format works. The performances are excellent across the board. Kathy Bates is wonderful as Evelyn Couch, while Mary Stuart Masterson brings plenty of charm and energy to Idgie. The story is engaging from beginning to end, balancing heartfelt drama with memorable characters and meaningful themes. As the past and present intertwine, the film never loses its impact, and each flashback adds something worthwhile to the overall journey. Overall, Fried Green Tomatoes is simply a well-made film with strong acting and a solid story."On one of trapped housewife Evelyn Couch's (Kathy Bates) Wednesday nursing home visits, she encounters Ninny Threadgoode (Jessica Tandy), a colorful old woman who brightens Evelyn's outlook by sharing tales from her past. As Ninny recounts the exploits of her free-spirited sister-in-law Idgie (Mary Stuart Masterson), owner of a small Alabama café in the 1920s, and the bond Idgie shared with her friend Ruth (Mary-Louise Parker), Evelyn gains the confidence to change her own life for the better."