arungeorge13 Reviews

Queen of the Ring (2024)

A fascinating real-life story told in broad strokes. [+63%]

[6/10 · 12 May 2025]

Queen of the Ring does deal with a fascinating real-life personality and story, and though all of it is well-performed and shot, the film has a "there's a lot going on" feel to it.. which is true, no doubt. Even at 2h 19m, the film can't put all of its weight behind its storytelling. There were several issues faced by women in (professional?) wrestling, and most of those is put across through one easy-to-hate, misogynistic bully named Billy Wolfe (Josh Lucas does a very decent job). The film, however, will be remembered for Emily Bett Rickards -- what a showstopper she is, bringing so much grit and heart to the titular character!

Mildred Burke's story is brushed over in broad strokes, covering her greatest hits and misses. The more you read about Burke, the less those frequent dissolve transitions start to make sense. This can't be told in a couple of hours, but at least the director's heart is in the right place. It was good to see some actual wrestling personalities in the film -- "Timeless" Toni Storm, Jim Cornette, Naomi, and Kamille play important characters, while legendary names like Gladys Gillem, Mae Young, Jack Pfefer, and Gorgeous George are played by more seasoned actors.

You'll also hear a lot of wrestling terminology and a few celebrated quotes. The film, with its limited budget, succeeds in taking us back to a bygone era with its lighting and aesthetics. The wrestling attire and the actual moves? I'm not so sure. They look a lot more contemporary than they're meant to be. But it's CINEMA after all. And a film about wrestling? I'll always be all eyes and ears!

A Nice Indian Boy (2024)

A lovely little film that celebrates people for who they are. [+79%]

[8/10 · 10 May 2025]

After the okayish first act, I thought A Nice Indian Boy would end up being another one of those films that uses its Indianness as just a quirky, funny after-thought. But fear not, both the writing and performances soar in the second and third acts, with the central romance coming across as reflective for the other couples in the movie. The Bollywood-isms (specifically DDLJ, the movie) are not used as a means of loudness and exuberance; it was nice to see the key characters dissect a 30-year-old film for whatever reasons.

Karan Soni and Jonathan Groff are excellent as the gay couple, while there's plenty of support from the likes of Sunita Mani (big fan), Zarna Garg (new fan), Harish Patel, and Peter S Kim. Zarna and Harish, especially, shine in the film's final act where their characters break shackles and display greater depth. The funny lines keep coming, the emotions land well, and the conclusion is the kind that'll make you tear up with joy. Here's a film where both the ROM and the COM are equally well-cooked.

Warfare (2025)

Warfare is a tense trip to hell (..and back!). [+81%]

[8/10 · 7 May 2025]

Alongside Alex Garland, former US Navy Seal Ray Mendoza directs an immersive, often claustrophobic film that's sure to stay in your memory for its mindblowing AUDIO-visual experience. The storytelling side may not present anything particularly new other than the fact all of it is pictured with little context beyond an opening card, no characters particularly standing out (as it's made to be), and it's almost like we're following a silent third-person perspective, documentary-style. The first 30 minutes sets up the chaotic scenario that a platoon gets stuck in without giving much away, and the film offers you a up, close, and intrudingly personal look at the (explosive?) developments that follow.

For starters, it ain't your typical war flick. There couldn't have been a better title for this -- it's like playing a war-based video game except that there's a single mission, the consequences feel real (because yes, it's historically accurate) and unfold in real time. Familiar faces among the cast include Joseph Quinn and Will Poulter, who lend gravitas to their roles. The pain of war is wholly felt -- the smoke, dust, gunfire, constant cries, burns, and bloodshed remind you what's consistently at stake for 1h 30m. You won't walk away with the finest wartime storytelling, but Warfare gives you something most such films do not -- it's an unflinching, dangerously real take!

HIT: The 3rd Case (2025)

Hit 1 > Hit 2 > Hit 3 (..from a writing standpoint). [+54%]

[5/10 · 3 May 2025]

HIT 3 deviates from the first two films in terms of its genre (crime thriller to action-slasher), overall presentation, and abundance of gore. Nani taking on a role like this does make it interesting, but in a film like this, which is heavy on the action rather than the investigation, there's also a need for a solid antagonist. That, unfortunately, is NOT the case here, as Prateik Babbar struggles to hold his own "fort" (you'd know the reference if you've watched) in a Nani-dominated flick. Even all the dark web and BTK-rip-off references don't add much weight to the proceedings beyond setting up a bloody showdown for Nani in the final act.

While the romance angle is pretty spontaneous and a bit spicy, I don't think the second (and extremely predictable) layer to Srinidhi Shetty's character made it any better. At that point, even when she scores in the action blocks, her character becomes reduced to an Arjun Sarkaar IPS "fan girl," which wasn't necessary. I did like how Sailesh Kolaanu wrote how the protagonist is a guy in his 40s, unmarried, using dating apps, and speaks in a way that makes 99% of women run in the other direction (except for lady cops hmmm, lol!).

Mickey J Meyer's score is certainly a mixed bag. In some portions, it delivers the bang, whereas in others, it lacks the necessary punch. DoP Sanu John Varghese captures Nani in all his vicious glory; the action is high-octane, with lots of bloodshed, especially in the latter half. The violence is kinda necessitated by the plot, but if anyone thinks this is crazier than Marco, bruh please! The late cameos turned out to be fun and neatly placed. Pretty interesting setup for HIT 4, I must say.

Retro (2025)

Another half-baked Karthik Subbaraj padam! [+52%]

[5/10 · 3 May 2025]

Karthik Subbaraj -- the man of absolute tonal shifts, the true-blue Tarantino fan, the "fanboy" director -- once again fails to elicit any real emotion from his writing. I'll add this to the same list as Mahaan (sorry, didn't work for me because of Dhruv Vikram's BS), Mercury, and Jagame Thandhiram. The writing here shows glimpses of fire in the first half, when it's busy building up the characters of Paari (Suriya) and Thilagan (Joju George). From the moment Rukmini (Pooja Hedge) shows up, the screenplay takes a beating. The romance is superficial (no clue what attracts them to each other), and followed by a subplot around a stolen shipment, which runs FAAAAAR too long for its own good. Hegde is sorta better here than we usually see of her, though the "brown-washing" of her face (if deliberate?) was a bad move.

The first half standout is that incredible one-take, comprising wedding dances, a spontaneous action sequence, and some solid emotional exchanges. Suriya's intro sequence is also badass, with SaNa's Lose Your Fkin Mind playing in the background. I also liked how Paari is skilled at karate, making the action blocks more interesting than usual. But when the setting shifts to some island near the Andamans, Karthik Subbaraj goes into JDX mode for no reason. There's a deity, a dictatorial cult, that stolen-shipment subplot I mentioned, and unreciprocated love. The way all of this eventually connects is so poorly written, with a terrible antagonist (played by Vidhu, trying to be Daniel Balaji Lite) and set pieces that stop being grounded and interesting, and start looking heavily dependent on wires and pulleys.

The worst bits go to Jayaram (man, what the hell are you doing?), an actor we know is capable of pulling off fantastic performances. I enjoyed the stupidity that Sujith Shankar brought to the table with his sleazy character, but I don't understand what Nassar, Prakash Raj, Karunakaran, and Shriya Saran added to the film. SaNa's score, as always in KS movies, is the backbone (..the songs are a mixed bag..). The climax was laughable (no, not the way KS intended) and a downright bummer. Let's keep the politics aside, when there's no scope for it, what say KS?

Another Simple Favor (2025)

No big losses if you skip this one! [+34%]

[3/10 · 1 May 2025]

Meh, just because the original made money, they made a direct-to-streaming sequel with even the leads' (Anna Kendrick & Blake Lively) chemistry being lukewarm at best. The characters feel completely different from the 2018 flick, the circumstances feel bloated for no reason, and even the "conning" (the original film's USP) comes off as a series of bland twists. If Paul Feig aspired to make another Knives Out, this turned out to be Murder Mystery 2. The comedy is SO MINIMAL, I barely even remember chuckling. That's horrible, for a self-aware, nonsensical film posing as some clever (?), darkly humourous (?) thriller (?). Yeah, Italy looks good, but that's nothing new. And the audacity, to leave a tail-end for a sequel, jeez.

Drop (2025)

An okayish thriller with a solid Meghann Fahy. [+53%]

[5/10 · 30 April 2025]

Drop complicates what seems like a fairly straightforward assassination thriller, with its (rather outdated?) tech gimmicks. While director Christopher Landon manages to keep you engaged with the initially mysterious proceedings, the plot loses steam real fast, especially on the "date" side of things. It also adds a traumatic layer to the protagonist Violet (Meghann Fahy) just so there's an action-filled redemption arc during the finale. Fahy does look stunning in that attire, so we've got that going for her.

I think where the film completely lost me was in the final act, when things turned nonsensical and went into whatever mode. Not only is the acting pretty terrible in this part (by the supporting cast), but even "cinematic logic" takes a backseat. However, not everything is downright bad. The film is slickly shot all through, making even the infinite number of what-if scenarios work to an extent. Also, THAT ENDING? After everything they've been through? Pfft. Keep distance. Recently, I think Carry On did a better job at executing this kind of a story.

Thudarum (2025)

..that glimmer in Lalettan's eyes.. I saw it after a pretty long time.. [+78%]

[8/10 · 26 April 2025]

First of all, what an intense performance by Mohanlal, the performer. I'll hop aboard that train and exclaim how much of Thudarum reminds me of some of his other "thrillers" with oodles of sentiment thrown in. Yeah, this ain't no ordinary family drama, like they advertised. After the first act which does a decent job of trolling Lalettan's recent filmography, has a lot of meta references (that non-mallus will struggle to relate with), and sets up his background and family dynamic (his equation with Shobana is still a treat to watch, and Tharun Moorthy made the right casting call there). But boyyyy, do we already know there's more to Shanmughan (or "Benz", as he's lovingly called) than what initially meets the eye.

There's more than enough in the screenplay to make every fan of Mohanlal (the actor, i.e.) leave the cinema halls with a high. And when Benz is matched up against an antagonist like CI George Mathan (played by a freshly cast Prakash Varma), there's no way we wouldn't see Lalettan in BEAST mode, subtly and otherwise. Binu Pappu also rises to the occasion in one of his meanest efforts so far, as SI Benny. The aura around the first 30-40 minutes is one of familial bonding, friendships, and mostly what Benz does for a living. But by the time the credits roll, you'd have forgotten how jolly-good those moments were, and how much has changed in Benz's life since then.

The fight scenes (yes, this has a few) are in the not-bad-not-great category. They have a specific purpose to serve, and not just a means to showcase Mohanlal's massy side. Jakes Bejoy keeps it sweet and toned down in the first half, but goes crazy in the second (..for good reason!). DoP Shaji Kumar effectively uses the landscape of the terrain to convey the core elements of the story, while also giving the Mark-I Ambassador car a distinct persona. The visual effects work is pretty solid, especially the portions depicting a landslide.

On the flip side, I feel there's still work to be done on Tharun Moorthy's end when it comes to dialogue-writing. I'm willing to let that slide this time, given he carried the responsibility of presenting both sides of Lalettan that we all love (switching between 'cute' and 'massy'). As a filmmaker, third time's the charm for Tharun, indeed!

P. S. Good work on the title cards.

Havoc (2025)

The action makes it worth your while. [+62%]

[6/10 · 26 April 2025]

Well, it's missing large chunks of character development and weighty emotions, but what Gareth Evans does best, he does BEST. Living up to its title, Havoc offers a plot replete with theft, double-crossing, a drug bust gone wrong, Chinese triads, grey-shaded cops, and Christmas. Beyond all that, however, Havoc is a balls-to-the-wall actioner that's partially let down by its over-reliance on gunplay (and CG) rather than what we know Evans for. There's only one (or two?) hand-to-hand combat sequences, and they're really good. The shootouts are staged pretty solidly, making me believe that if we ever get another Max Payne film, it should be Evans in the director's seat.

It's a cakewalk for Tom Hardy, who's clearly in it for the Gareth Evans "high moments" but the real star of this is Jessie Mei Li. It's always good to see Timothy Olyphant and Forest Whitaker, isn't it? There's one stretch in the second act, where the plot is just progressing and the action takes a backseat, but the last 20-25 minutes absolutely deliver. I also quite liked the score (Aria Prayogi), making the proceedings darker and more consequential. For a Netflix "original," this is thankfully not the over-edited mess I expected it'd be. Well, it's shot by Evans' collaborator from both the Raid movies - Matt Flannery, so you can expect some of that frenetic, shaky cam style, coupled with some interesting colour tones.

Good Bad Ugly (2025)

Too overcooked to be enjoyable even as fan service. [44%]

[4/10 · 25 April 2025]

GBU is probably the most overcooked star vehicle there can ever be. Sure, it's good fun for a while -- like the high offered by a joint -- but it's not sustained or sufficient to be deemed a jolly good time. I don't spend time watching brainrot reels (that everyone seems to be enjoying in this generation), so nope, this ain't for me. At least Adhik & Co seem to have had fun making this full-fledged 2h 15m tribute to AK's filmography. GvP's music was deafening to my ears, but I get the intent behind it being so. The ladies (Trisha and Priya Warrier) are complete after-thoughts. I also understand how enjoyable it would've been for hardcore AK fans. I'm not part of that audience, so it's just a forgettable film overall, for me. Loved Arjun Das in this; bro cracked the assignment with flying colours.

Ash (2025)

By the time the film becomes exciting, it also becomes too predictable. [+52%]

[5/10 · 24 April 2025]

Ash is a tonally confused horror film that tries to be too many things at once-and succeeds at none. Yes, there's some creativity in the visual department, especially with respect to the use of flash cuts and the dense colour palette. But for a 90-minute film, it takes a bit too long to get to its obvious point of twist. The action thereafter is some good gory fun with nods to films like Resident Evil and The Thing, but whenever there's CG involved, the results are less effective compared to when the makers use practical effects.

Eiza Gonzalez has the screen presence to play the protagonist but we barely know anything about her character all through, making the first couple of acts a largely uneventful slog. It's only in the final 30 minutes that the scary bits from the trailer happen (..though they become progressively less scary..) and ending on a rather humrum note. The music is very John Carpenter-esque, and that helps.

P. S. Folks who enjoyed games like Dead Space and Alien Isolation might take to this better.

Veera Dheera Sooran: Part 2 (2025)

This may well be Vikram's most engaging flick in years, yet it's found lacking in places. [+64%]

[6/10 · 21 April 2025]

Parts of VDS made me feel like it had infinitely greater potential. This is especially the case with the entirety of the first half, where crucial information is withheld for two reasons: one, to keep the proceedings engaging and suspenseful, and two, to give Chiyaan some massy moments. The performances are good across the board, with Suraaj Venjaramood, Dushara Vijayan, and Prudhvi Raj offering great support. Even SJ Suryah is not going nuts, and that's a welcome change from all of his recent stuff.

I think the flashback brought the film down quite a bit. It discusses the death of a character, but the emotional weight of this event is hardly felt. This turning into a motivation for key events later, also makes matters less buyable after a point. But when the writer in S U Arun Kumar takes a dip, the director takes over. He and DoP Theni Eswar get busy staging set-piece after set-piece that take place within the course of a single night, and most of it delivers from a technical perspective. GVP is also on fire with the score, especially when Chiyaan is busy inflicting damage on thugs or mouthing a one-liner.

Now, if you're calling this a Part Two, what's there to be shown in Part One? More of Kaali's lore-building, Periyavar's gangster antics, and exploits like that tacky flashback stretch? No, thanks. This is good enough. Also, given the film didn't make enough money even with positive word-of-mouth, I'm wondering what more it'd take for a Chiyaan film to really become a blockbuster in this decade.

Sinners (2025)

Ryan Coogler makes one of the most stunning films of the decade! [+85%]

[9/10 · 20 April 2025]

This, my ladies and lads, isn't the typical vampire actioner you think it'd turn out to be! And that's how Ryan Coogler sets the whole thing up from the get-go. There's the ingenuity with which Coogler develops his setting, characters, and plot. Miles Caton's Sammie is who we see first, followed by the twins - Smoke & Stack - played by Michael B Jordan. We also get to know a bunch of other characters as the first act moves along, with a steady sprinklage of wry (and often foreplay-related) humour. Even though we see the twins and the rest of these characters just over the course of a single day and night, we know there's history to them. That's established in an unhurried, classy way.

There's also commentary around "blues" being the devil's music, while we get to see how talented Sammie is. Now, the music is where the film shines well and truly. Ludwig Göransson's score is a undoubtedly a masterpiece, guiding you through the film's pivotal and emotional scenes. Learning how Serena Göransson produced the songs for the film makes me admire the effort all the more. The next big applause goes to editor Michael P. Shawver whose abrupt cutaways during "typical" jumpscare scenes ADD SO MUCH to the theatrical experience. There are a few jumpscares too, but even they're smartly staged and placed.

Also, how can I not mention the stunning cinematography by Autumn Durald Arkapaw (especially, those sunset and sunrise shots.. GODDAMN), and the way she captures the yellow-lit insides of the stunningly aesthetic juke joint. There's a scene where Sammie's music invokes spirits from various timelines; it's just a piece of marvel. I think Miles Caton did a fantastic job in his debut role, playing Sammie with just the right amount of vulnerability and musical flair. Michael B Jordan is a knockout once again, excelling in dual roles.

Hailee Steinfeld makes for a sexy-as-hell vamp, playing her role to the T. The rest of the cast (Jack O'Connell as Remmick, Wunmi Mosaku as Annie, Jayme Lawson as Pearline, Omar Benson Miller as Cornbread, Delroy Lindo as Delta Slim, and Li Jun Li as Grace Chow) is spectacular in keeping the humour, element of surprise, and emotional bits going. On the whole, Sinners is a definite winner in my books, and I'm stoked about the recognition it's getting worldwide.

Alappuzha Gymkhana (2025)

I'm officially a fan of Khalid Rahman and his "Vibe Padams". [+70%]

[7/10 · 19 April 2025]

Khalid Rahman is now officially the Anwar Rasheed of the mid-to-late 2000s, creating bonafide entertainers that'll strike a chord with every audience segment, one way or another. However, as opposed to Anwar Rasheed, who has moved on to production and directs only occasionally, Khalid Rahman is busy cracking bro-code with younger talents, this time around, dealing with an almost fully Gen Z cast. Yes, as many remarked, the plot is basic, and even the overall progression is somewhat minimal. Naslen, though getting the most screentime, is not a solo protagonist here. Each member of the ensemble has specific shoes to fill, both in terms of action, humour, and morale-building.

Not every moment of humour lands smoothly, but they keep getting better, with the second half turning into a truly Khalid Rahman flick. The boxing matches are incredibly shot, and stay unique, given the layering attributed to each character. There's a lot of Ryan Coogler-esque shot composition, especially during the boxing match scenes, where Jimshi Khalid's brilliant frames work in close quarters with the sparring opponents. Kramer Morgenthau's DP work in the last two Creed films also comes across as a significant inspiration; at least, some of the punches are executed like REAL PUNCHES.

I thought Vishnu Vijay went into GOD MODE with his background score, completely stripped away from what I heard in Pani, Pravinkoodu Shaappu, and of course, Thallumaala. They not only elevate all the boxing set pieces, but also manage to send a zappy fire straight into your veins with what unfurls during that final street fight that goes BONKERS! Again, this is the kind of film that benefits from the vibrant reel-ish edit style that Nishadh Yusuf (RIP) was known in the last few years for (..not Kanguva). Vishnu Govind does a fantastic job with the sound design.

Finally, the CAST. I like how all the boys (Naslen, Baby Jean, Sandeep, Ganapathi, Lukman, and the rest) had interesting arcs of their own, which reflected in their fight styles as well as the normal teenager personas (..um, all these dudes are well into their 20s, so kudos to their physical transformations!). Plus, it's not always that a side character's recovery during a boxing match results in a clapworthy "mass" moment. The girls (Noila Francy, Nanda Nishanth, and Anagha Ravi) are all solid too, but since they get comparatively less screentime, we get to know their characters only at a superficial level. I'd love to see more of each of them in Malayalam cinema going forward.

On the whole, I don't have many complaints about what the film offered as a theatrical experience. It's a festival winner by all means, because its Head Chef and team have cooked it with mostly the right ingredients in the right doses.

A Working Man (2025)

Jason Statham keeps kicking arse, but that's all there is to it. [+53%]

[5/10 · 18 April 2025]

A Working Man may have been redeeming in a minor way for writer Sylvester Stallone because I'm thinking this is what he envisioned for Rambo: Last Blood. David Ayer's fresh off his stylistic, video-gamey flourishes in The Beekeeper but this one takes a good while to get to the obvious point. It doesn't have any right to be 2 hours long, though I figured one thing out by watching this pretty straightforward kidnap-and-rescue actioner, Jason Statham arse-kicking style.

And it's that if Hollywood ever plans to make a Kane & Lynch movie, they should cast Jason Statham as Kane and David Harbour as Lynch. Also, the girl who plays Jenny - Arianna Rivas - gets a couple of cool scenes kickin' butt. For the most part, Statham is playing a one-man-Expendable, doing what he does best in almost every film of his since the last two decades. The Russian antagonists are just a bunch of pea-brained hooligans with guns. Maybe, David Ayer's making last-ditch efforts to remain relevant as an action director in this era, though this one won't be talked about as much as The Beekeeper.

Captain America: Brave New World (2025)

Captain America: Brand New Bore. [+43%]

[4/10 · 17 April 2025]

The film is the very definition of "mid" in every single department, and that even includes Anthony Mackie's 0.5 smile while mouthing each line. There's a lack of a clear antagonist, there's an attempt at building a blended sequel to both The Incredible Hulk (a film that was almost forgotten from the MCU) as well as The Falcon and the Winter Soldier, but what hurts the most is how directionless the whole thing feels. The writing shows some signs of life in the second act before fizzling out completely in the final act.

Plus, not bringing back Edward Norton's Hulk even for a brief cameo was a downright bummer (..and no, I did not want Mark Ruffalo's Smart Hulk in this), especially when you have Red Hulk at the other end of things. Harrison Ford's version of President Ross also feels rather half-baked; I think some of the blame should be attributed to the poor dialogues overall. Kevin Feige, with Avengers: Doomsday just a little over a year away, it feels like you've got a lot of work to do to restore the MCU's lost glory.

Perusu (2025)

Adult situational comedy delivers nearly consistent laughs. [+69%]

[7/10 · 13 April 2025]

Perusu absolutely delivers as a funeral comedy, with every cast member trying their best to make us laugh. It has some middling stretches too, but as a film, it succeeded in cracking the rather difficult genre of crude humour. Writer-director Ilango Ramanathan deserves a lot of credit for pulling this off, primarily since most of the hilarity revolves around a single aspect. Beyond the initially funny reactions, it could've easily turned into a dull drama but the screenplay keeps churning out situational humour in spades, with all characters carrying both a quirky and an emotional side. The emotional angle doesn't necessarily land the intended way, yet it isn't something I was overly bothered by, given how the plot and the performances succeeded in their one big task.

Painkili (2025)

Starts well, but ends on a tame note. [+50%]

[5/10 · 12 April 2025]

Painkili attempts to be a thoroughbred rom-com, and while the comedy here is quirky, at times situational, and mostly over-the-top, the romance aspect is not established well in any sense. That is primarily due to Anaswara's character not having any semblance of an arc to speak of, which is justified by her age (where mistakes seem apparent). Yes, there are some Jithu Madhavan-certified laughs, and Justin Varghese scores the film superbly; however, the film lacks a decent flow from event to event, overall.

Sajin Gopu gets to showcase more of his acting palette compared to his previous films, but since I watched Ponman way before this, I think his performance in that film (even with limited dialogues) was a lot more impactful. Here, he's asked to go all out-crying, laughing, being unhinged-and of course, bring some adorable romantic shades. He isn't successful at all of it, but if anyone (especially, the old-school directors) hasn't taken sufficient note of the guy yet, this will wholly ensure it. Anaswara is undoubtedly a wonderful actor, but this role will likely go down as one of her least memorable ones. The scenes with Riyaz Khan and LJP, intended to be comedic, didn't work for me.

P. S. Jayaram's hysterical scene from Kaavadiyaattam was poorly re-created.

Novocaine (2025)

It's sufficiently fun, if you don't dig much into the details. [+60%]

[6/10 · 9 April 2025]

Sure, the film stretches the elastic boundaries of its one-line premise way beyond the levels of acceptable cinematic logic, but I have to say the cast truly rises to the occasion in making this an entertaining affair. Jack Quaid, Amber Midthunder (you cutie!), Ray Nicholson, Jacob Batalon, and the rest of the ensemble do solid justice to their respective roles. Not all gags land safely, though most of it centers around some nasty (but painless?) physicality, and Quaid's quirky one-liners help elevate them. The action is gory and in-your-face; it's a tad too obvious given the plot conditionality. I also thought there were several instances where Quaid's character could've just bled out even if he wouldn't be feeling physical pain. Okay, I'm not gonna complain. As a 1h 40m action-comedy, Novocaine manages to oddly deliver what it promises.

Opus (2025)

We've seen too many of this kind now. [+52%]

[5/10 · 4 April 2025]

While I'd say Opus is engaging from start to finish, it doesn't have any new tricks up its sleeve that we haven't already witnessed in several films with similar (cultish) plots. Almost every other review has mentions of those movies, so if you've seen those, then there isn't much in terms of conceptual newness here.

Somewhat interesting ideas are put across at a superficial level, and even the commentary that comes with it is barely explored. I liked the performances of John Malkovich (as a pop icon with a very weird side) and Ayo Edebiri (as a journalist looking for her big break), especially the former's, who seems to be having a ball of a time.

The screenplay is quite fast-paced for a psychological thriller, but predictability often plays spoilsport. Too many beats feel familiar, which hampers the overall enjoyability. I'm guessing this, alongside Y2K, will be counted amongst the rare, critical misses for A24 in recent times.

The Monkey (2025)

Not a patch on Perkins' earlier works. [+51%]

[5/10 · 25 March 2025]

Oz Perkins still has a great sense of the "visual" side of things, which is honestly what keeps The Monkey watchable all through. The gory deaths keep piling up one after the other in an almost Final Destination-esque way, but paired alongside some half-baked Hereditary-esque commentary, the film feels tonally off. Theo James isn't someone I can identify as a horror movie protagonist, especially when he's playing twins wanting to murder each other.

The lead performance feels wooden and unidimensional, and even if that's warranted, I think it did the film no good overall. The dark humour hits the mark sometimes, thanks to (once again) the visual representation of people dying in the weirdest ways. The involvement of James Wan in the producer's capacity also made me believe there'd be more to the film, though it's nowhere in the league of Perkins' Longlegs or any of Wan's memorable horror ventures.

Revelations (2025)

Not bad for a Netflix film, but this needed more bite! [+57%]

[6/10 · 23 March 2025]

I really wanted more from this Yeon Sang-ho crime-thriller than what was offered. It has SUCH INTERESTING characters, a series of crimes that connect them, and the "revelations" that happen along the way. This either needed to be a full-blown character study or a seat-edge thriller. But Yeon Sang-ho decides to tread that fine line between both, leading to an okayish conclusion. The lead performances are solid, especially Ryu Jun-yeol who plays a pastor suffering from Apophenia.

The religious angle was always going to be the differentiator here, but I doubt it'll sit well with most viewers seeking a straightforward thriller sans theological references. The production quality is first-rate, and there's a spectacularly tense one-take sequence set in a derelict building. In fact, the film needed more such innovations in the thrills department to keep the plot progression from staggering. The current version is decent (for whatever Netflix offers), but Revelations won't be discussed as much as Train to Busan or some of Yeon-Sang-ho's earlier animated flicks.

Adolescence (2025)

This is what Netflix should be making more of..[+85%]

[9/10 · 19 March 2025]

Stephen Graham and Jack Thorne, take a bow. The former not only is the co-creator, but also plays a leading role. Owen Cooper is a stunning find, playing the troubled teenager to perfection. Other notable names include Ashley Walters, Erin Doherty, Faye Marsay, Christine Tremarco, Mark Stanley, and Jo Hartley, all of whom deliver commendable performances. The series initially made me believe it was heading down the "unravel the mystery" route, but it didn't take long for me to realize that it was going to be SO MUCH MORE.

Themes surrounding parenting, school bullying, incel subculture, the influence of social media on budding generations, emotional quotient, and more are incorporated into a 4-episode miniseries that's a single-night-binge watch. Most importantly, the one-shot style of capturing each episode made it all the more captivating. Netflix gave away their secrets on how many (re)takes each episode actually went, before they got the version they were happy with. I don't really watch or recommend a lot of shows, but Adolescence is certainly amongst that rare few, alongside names like Chernobyl and When They See Us.

Last Breath (I) (2025)

It's tense, well-made, but unravels a tad too quickly. [+63%]

[6/10 · 18 March 2025]

While I keep hearing that the 2019 documentary (co-directed by Alex Parkinson, who also directs this) tackled the story a lot better, I like to think what works for and against the film is its 90-minute runtime. A story of this kind needs greater character establishment scenes and dialogue to make us really care for the lead(s) in underwater peril. That unfortunately isn't the case here as we dive into the core incident almost straight away, with time ticking fast. On the flip side, it maintains the thrill quotient all through by keeping things eventful and busy. The central performances (Woody Harrelson, Simu Liu, Finn Cole, and Cliff Curtis) are quite solid, plus the production design and visual effects are neatly done. The real-life footage at the end indicates the camaraderie between the men, which also made me want to see more of the documentary. It also made me think about the dangerous jobs that humans often sign up for.

Inheritance (I) (2025)

Phoebe's alright, the film is so-so. [+51%]

[5/10 · 15 March 2025]

Well, it's interesting to me that they shot this spy thriller with an iPhone in four different countries, but the whole espionage element of it is found lacking. The guerrilla-styled framing is solid when Maya (Phoebe Dynevor) is busy fleeing from cops, baddies, and whoever's after her. A bike-taxi scene set in Delhi is particularly well done. But the same can't be said for the film overall, given how much it depends on contrivances and happenstance.

I mean, I wouldn't complain having to watch Dynevor's (flawless-looking) close-ups for 90 minutes straight though there should've been more meat to the plot than its current barebones version. The bland third act bogs it down further, only to be upended by a last-minute, albeit predictable twist. Neil Burger is undoubtedly a capable filmmaker, but his last few flicks have failed to hit the mark. I'm excited to see Phoebe in M Night Shyamalan's next with Jake Gyllenhaal.