Rami Malek shines in this gripping cat-and-mouse revenge thriller, following one man’s quest to snuff out everyone involved in his wife’s murder.
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Locked (2025)
If this isn’t the most anti-lower class wealthy male power fantasy movie I’ve ever seen, I’m not sure what is.
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Black Bag (2025)
Black Bag is a unseasoned multi layered shish kebab of deception, manipulation, and some seriously fucked-up relationship issues.
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Heretic (2024)
Heretic started with some promise, a group of young conservative but curious missionaries setting the stage for an intriguing philosophical religious debate.
Unfortunately, it devolved into a muddled mess after the 25-30 minute mark, where the arguments presented stopped making much sense, opinions became grandiose hypotheticals and the dialogue turned into endless monologuing. Then we begin a game 20 questions sautéed in “Guess Who” with a side of religiously philosophical “Deal or no Deal”
While I agreed with the core idea of the protagonist’s philosophy, the way it was presented felt unnecessarily extreme and heavy-handed (obviously). The movie seemed to have a lot to say about atheism and agnosticism, but it failed to provide the two missionaries with solid counterarguments to challenge the protagonist effectively. With 3 points one sister made being appearance, unaccounted for data, and the dissolution of polygomy. All which easily support the protagonist theory, control.
When counterpoints were made, they lacked the structure and impact of his arguments, which, while understandable given the stressful situation, made the dynamic feel completely one-sided. For a film that presented itself with its development to be an “open” discussion about faith and belief, it clearly leaned toward favoring the protagonist’s viewpoint and painted him as the 4chan high rated user of anti-religious indoctrination. By the end, even the supposed counterarguments only served to reiterate his philosophy, rendering every conversation and conflict irrelevant.
This lack of meaningful progression made the entire movie feel pointless, flat and a waste of time.
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Slingshot (2024)
A beautifully depressing tale of unraveling psychosis, carried effortlessly by a talented cast that brings depth and authenticity to every moment.
What makes this film stand out is its restraint—it avoids the usual trap of overloading the dialogue with intellectual buzzword jargon. Instead, it keeps the focus where it matters: on the story itself. This choice allows the narrative to shine, creating a haunting and immersive experience that lingers long after the credits roll.
It’s rare to find a film that so masterfully balances bleakness and beauty, but this one delivers, earning a solid star for its narrative-driven approach.
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Blink Twice (2024)
I went into this hoping to see Channing Tatum break away from his usual goofy roles, but nope—still goofy. And now I wish I could just forget this movie altogether.
“Pompous,” “boring,” “unoriginal,” and “cliché” pretty much sum it up. Every scene feels painfully over-directed and unnatural, with dialogue so cringe-worthy and disconnected it feels like it came from a completely different movie. Even the title doesn’t make sense—it’s like they picked it out of a hat without even checking if it fit the story.
Honestly, the entire thing feels like the product of too many cooks in the kitchen. It’s as if five separate groups of writers submitted conflicting drafts, two peer reviews mixed up their notes, and the whole mess was thrown into ChatGPT for a final polish. The result? A confused, lifeless story that feels like it’s trying to be clever but just ends up exhausting.
The only saving grace here was the dynamic between Jess and Frida, which was actually kind of nice… but apparently not important enough to matter by the time the finale rolled around.
Oh, and because it’s 2024, of course they had to shoehorn in something about crypto and vapes. Because why not, right?
At least the ending was funny—I’ll give them that. But overall, this movie just isn’t worth the time.
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Twisters (2024)
This movie might as well be titled “Windy with a Chance of Cuck,” because that’s exactly the vibe it gives off. It’s like someone threw a Hallmark movie into a blender with every cliché and stereotype they could think of and hit “puree.” The result? A cringeworthy mess that feels more like a parody than a genuine attempt at storytelling.
The checklist of tropes is absolutely exhausting:
- Sad white girl? ✅ Of course.
- Desperate third-wheel guy who’s only there to be the audience’s punching bag? ✅ Naturally, we’ve got to make him unlikable so the plot feels justified.
- Perfect, smiling model boyfriend? ✅ Sure, why not.
- Out-of-town, also-perfect model “protagonist” that the sad girl just has to fall in love with? ✅ Check and mate.
To make it worse, the dialogue is laughably bad. The actors look like they’re reading their lines off cue cards they barely understand, and the script is packed with buzzwords meant to sound profound but only manage to come off as hollow.
And then there’s the soundtrack. Calling it distracting would be generous. At one point, I had to mute the movie entirely just to save myself from the auditory assault. Honestly, it was a marked improvement—so much so that I almost forgot I needed the audio to follow the “story.”
The final blow? That “E-5” tornado. Forget the damage to the town—it obliterated any remaining shred of credibility this film had. This wasn’t just a disaster movie; it was a disaster of a movie. Yikes out of 10.
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Trap (2024)
This movie is a masterclass in bad decisions and disappointing conclusions. Cooper, the protagonist, seems either blessed by a god of luck or surrounded by the most shockingly idiotic individuals imaginable. Seriously, no one in this movie behaves like a functioning human being.
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A Quiet Place: Day One (2024)
The movie was enjoyable overall, but it definitely felt slow at times. The suspense that made the first two films so gripping just wasn’t there. It felt like the stakes weren’t as high this time around.
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