Reviews

A bizarre and original story with a few flaws. A mysterious and creepy treat for those who enjoy horror.

Lifechanger follows a serial killing shapeshifter who needs to change bodies so often or else he will die. A fun concept that can be explored in film. Yet, the implementation makes the low-budget nature of this film too obvious. From cheesy noise effects to random changes in pacing. This film tries to achieve much yet has flaws that can be suspense breaking.

Yet, I respect that this film focuses less on jumpscare and more on suspense building. The blood and guts can be toned down and the film remain powerful. Conflict feels like it's dished out to the audience instead of a more natural flow. If only the directors knew to rely less on cheaper effects for more powerful storytelling.

Acting is excellent throughout. Each character giving their own spin on the film. It's a bit tragic and sad with more emphasis on drama than horror.

2.5/5.

For the cast and topic of the film, I'm honestly surprised at how bad it was.

There were many times I had asked myself "what the hell am I watching?" and "holy crap, HE'S in this movie???" Even though the film is 2 hours long, it feels like a 3-hour movie due to how slow the plot goes. It's agony watching this film. My friends and I even joked about how bad the movie was while we were watching it.

Let's start off with the good. There are few high-budget films that examine the effects Hurricane Katrina had upon New Orleans' citizens.

The film promises much. Cut Throat City promises to examine a group of morally ambiguous men caught in a tight situation.

Brandon Cox's cinematography works for the film. It works for a film of this nature.

And the roster is astounding. This film has the likes of Terrence Howard, Wesley Snipes, TI, Eiza Gonzalez, Ethan Hawke, among others. Each time one of these characters gets onscreen, I find myself visibly astounded. RZA did a great job casting.

Now the bad.

The plot meanders and is confusing. Nothing seems to be straightforward and the film is unnecessarily complex. It's too unfocused. There doesn't seem to be a well-defined overarching arc. Each cameo can distract the audience from the main plot. Many times one has to wonder what is going on.

Blink (Shameik Moore) isn't a sympathetic protagonist. He leaves his wife and kid to commit crimes and go to strip clubs. Why even bother showing the family in the first place? Each time he has a chance to get ahead he continues to make bad decisions. He's not someone I'd expect to suddenly change for the better by the end of the film.

The "twist" feels rushed as a way to bolt on a happy ending. It's too deus ex machina-y and breaks suspension of belief.

And my biggest grievance is that nowhere in this film does anyone speak in a true "Nawlins" accent. Out of the large pool of potential actors from New Orleans, not one was selected. The "accents" in the film feel like one's idea of a generic Southern accent without giving it much thought. Shame, that this simple fix could have added so much more.

.5/5. The first film I've seen by RZA and I'm not at all impressed.

All My Life isn't the first romantic drama to deal with a terminal illness, yet it does so in an effective manner.

Based on a true story, it's a relatable film that's filled with humor and drama. The characters are enjoyable and the chemistry feels real. Jessica Rothe and Harry Shum Jr. Play an amazing Jennifer and Solomon. Though the timeframes can get a bit wonky and confusing, the relationship feels quite real.

Each character does something a little special to add a sense of lightheartedness to a heavy topic. The film also reminds us of how much we take our day-to-day lives and health for granted.

Yet, my main complaint is that with such a short runtime, the movie felt a bit rushed. Given more time, Marc Meyers or Todd Rosenberg could have fleshed out the characters and story more. We could have seen things more from Solomon's perspective or see more of the toll that a bad diagnosis can have on a couple.

But it's still a sweet movie that deserves praise.

3.5/5.

It can be hard to end a trilogy. To All the Boys: Always and Forever tries it and flops.

Though the film is easy to enjoy when watching, it fails once one scratches beneath the surface.

Also, what's with romcoms that have relationships with red flags?

LDRs are not easy, and this movie ends up setting both main characters for failure. Peter (Noah Centineo) shows that he is not ready for the commitment of an LDR. Lara Jean (Lana Condor) ends up being a passive character willing to give up everything for him. She basically goes to a school that is not her first choice to save the relationship.

And getting back together was a cheesy way to wrap things up. It's predictable and leads to no character development throughout the story. No growth at all. What message does this send to its viewers?

Also, "we're not like the other couples." No. They stage 1 of a failed LDR. They're one of many HS-to-college relationships that fail within the first year.

At least the cinematography of NYC and Seoul looked really cool. +1 star for that.

1.5/5.

If this movie came out in the 90s or early 2000s, it would have been good. But, the tropes have been so overplayed by now that it's become cliche.

Surprise: a vague plot with an ambiguous ending. A slow burner that pays homage to 90s films of the same genre. A modern dark noir that uses its silence as much as words.

But, I was expecting more with this trifecta of a cast. Denzel Washington kind of does his "I'm too old for this" act. Rami Malek plays a top-of-the-class detective that doesn't seem to fully do his work. And Jared Leto plays an ambivalent repairman with a peculiar stride.

For all the work done everywhere else, the screenplay could have been modernized for 2021's audience. It's not the fault of the original writer who wrote the script in 1997 but the people who took it and ran with it. The executives failed to see that the 1997 script needed to be made palpable to the modern audience.

1/5. Not enjoyable, entirely forgettable, shame that it could have been much more.

You know it's a film from the '70s when one of the big plot points revolves around the energy crisis.

20 minutes into The Man with the Golden and I was ready to hate this movie. An inconceivable plot where some assassin sends a bullet with 007's name on it. Like, isn't he supposed to be a SECRET agent? Also, Bond blurting out Scaramanga's entire backstory when asked seemed a bit of lazy writing. Show, not tell, y'all.

The plot itself seemed a bit too... "small" for Bond. A man who has saved the world many times over is now bothered by this challenge of a duel.

Yet, as the movie progressed, I saw why this film solidified itself in the Bond universe. Exotic, beautifully otherworldy, locations and set pieces. A sophisticated yet cold-blooded antagonist. And a variety of action that breaks the typical shoot-kill-shoot-kill action movies. Not to mention Bond-style humor. The pros for this film still hold well to this day.

Many people don't like Roger Moore's portrayal of Bond, but this was one of his better performances. Though, he does visibly stumble in the more physically demanding scenes.

A Bond is only as good as his adversary. And Christopher Lee plays an unforgettable performance as Francisco Scaramanga. Hiding away on his tropical island, the man with the golden gun plays a cool, sophisticated killer. His wish to prove himself as the world's best assassin is his pure motivation.

And Nick Nack. Herve Villechaize plays a big role in the film as Scaramanga's servant. Though his height is used as comic relief, his presence was a bit terrifying as he could blend in any crowd. There were times the pacing of the movie slowed down only for Nick Nack to appear and wreak havoc.

The pacing of the film itself seems to have many fillers and some plotholes. Yet enough happens at each place for me to be enamored more by the beauty of each location to care. This movie seems to be more about style than substance.

Now for the part that bothered me the most. The film's "Bond girl." Many people have ranked Mary Goodnight as Bond's worst companion in the entire franchise. And I have to agree. Mary Goodnight plays the somewhat airheaded eye candy that is more comic relief than serious character. Every time she tries to assist Bond, she only hinders him. Her character is more frustrating than anything else.

But that's not Britt Ekland's fault at all. She did the best she could in a screenplay that did not value its women characters. Shame that there was much potential for more.

4.5/5 but with cons I have to knock this down to 3.5/5. It's an enjoyable Bond film that is worth its entry into the Bond universe... even if the plot doesn't make sense upon second glance.

Pixar creating a heart-warming film for the entire family.

Disclaimer: I'm a big jazz fan so my review may be somewhat biased.

Soul is a film that experiments with new concepts and ideas that ties everything together. It delves into the question of one's purpose in life and if one is truly appreciating the gift of life. It's relatable and down-to-earth. Joe Gardner (Jamie Foxx) is someone that we can all see in ourselves.

The art style is great in this film with its palette of soft colors in the cosmic realm contrasting with the warmness of NYC in the fall. Soul is really a treat for the eyes.

The story is thought-provoking for adults and enjoyable for children.

Yet, the movie felt more like a 2 hour short rather than a finished film. The ending leaves one wanting more. Or is it just me?

4/5.

Timothy Dalton's first and most impactful contribution to the Bond franchise. The last James Bond film to take place entirely during the Cold War deserves some praise.

The Living Daylights is a well-appreciated pivot back to the novels. Yet, the film has enough innovations to influence later Bond films. For such an underappreciated film to influence later portrayals of Bond in such ways is one of this film's greater achievements.

The Living Daylights is over-the-top in all the right places. The plot and villains are down-to-earth and not some evil supervillains. The twists are interesting and can be missed if one isn't paying attention. And the twists are well thought out and believable. There are enough exotic locations and action in the film to keep the movie interesting. Few films can pull off a car chase on a frozen lake the way this film did.

Because of the above, TLD is a fun film to watch. It's close to the depiction of James Bond that one envisions in the novels. We see the shadow war between the communists and the free world. We also see the independent agents who seek to profit off the conflict.

Kara Milovy (Maryam d'Abo) portrays a wonderful and down-to-earth Bond girl who makes some honest mistakes. She's fearful yet grows to be enthusiastic and helpful. She's much more human than most other Bond girls in an enjoyable way.

I did find myself rather annoyed by General Georgi Koskov's (Jeroen Krabbe) character. What felt like a minor personality trait seemed to grow into a full-blown Flanderization of the character. His performance was balanced by the more serious Necros (Andreas Wisniewski) who plays the colder anti-Bond villain. What's with Bond always facing off against tall, athletic, European blonde types?

Special appreciation for Joe Don Baker who plays General(?) Brad Whitaker only to later play CIA agent Jack Wade in Pierce Brosnan era Goldeneye. I caught that.

Also, special appreciation for Albert R Broccoli for consistently delivering quality Bond films with enough experimentation to keep them fresh. And director John Glen for bringing such ideas to life.

But even with these accolades, I cannot come to bring myself to appreciate the third act in this film. The film has a solid first and second act. Yet, the third act in Afghanistan felt somewhat as an afterthought. Maybe as a way to bring attention to the Soviet-Afghan conflict? Either way, it seems to throw the film off balance and makes it somewhat less enjoyable.

3.5/5. +.5 for cultural influence in later Bond films bringing this to 4/5.

There are few films that accurately capture the struggles of being a first-generation immigrant in the US.

Disclaimer: I have not read the book before watching this film so my review may be biased.

The Namesake is a beautiful film that weaves together the life of father & son and their journey through life. It contrasts the traditional Indian life vs idealistic American values. It's a movie about father-and-son love, family, and one's own identity in the world.

This is a film that gets its viewers invested in every character.

From the start, the legendary Irrfan Khan plays one of the most memorable roles I've seen as Ashoke Ganguli. We get a sense of adventure that awaits him before he moves to America. As the movie goes on, we also get to see Ashoke becoming the well-meaning loving father who only wants the best for his family.

Kal Penn plays the rebellious Gogol/Nikhil/Nick who feels frustrated with why he is "different." Audiences understand his sense of rebellion and seeking his own place in the world.

And Tabu plays a stellar performance as Ashima. We get a sense of understanding as she gives up her old life for a new one in a foreign country.

The Namesake is an emotional and beautiful film that blends cultures. Mira Nair did wonders with the plot and bringing the stories and characters to life. Small subtleties from the first-generation experience are captured that few people understand.

4.5/5. Congrats to Mira Nair & Jhumpa Lahiri for bringing to life such a wonderful story.

South Florida, an evil drug lord in a fictional country, and a revenge plot. Typical 80's macho-man action movie? Nah, it's Licence to Kill.

Licence to Kill seems to be a response to the over-the-top action films of the day. It's an enjoyable watch with plenty of action. Yet, it doesn't seem to fit well with the entire Bond-style spy movie narrative.

For starters, we get Bond on a basic cop-job after his friend's wife is murdered. He risks everything and goes rogue to get his revenge including risking his career (and jail time). But in the end, he doesn't face any consequences even though he's guilty of insubordination.

This film is Timothy Dalton's serious take on Bond taken to another level. Gadgets and suavity are minimalized while brutality turned up a notch. Though not bad in itself, we've seen how this worked with Daniel Craig's portrayal of Bond. Yet, the film ditches the dark serious tone halfway through for some subplot of Bond trying to befriend his enemy.

Speaking of enemies, Robert Davi's performance of Franz Sanchez is one of the best portrayals of a Bond villain I've seen. I say this even though adding in a Pablo Escobar-esque enemy doesn't feel very "Bond" to the franchise. Robert Davi plays his role with charm and cold sophistication. And we also get an added sneak peek of a young Benicio del Toro as the anti-Bond henchman Dario. Each time these guys came on screen, they dominated and commanded audiences' attention.

And the Bond girls, oh my! We get a nice contrast of Pam Bouvier's (Carey Lowell) professionalism with Lupe Lamora's (Talisa Soto) hot emotionalism. Both girls stole the screen and audiences' hearts. Yet, there were some awkward moments of tension between the girls that had to be glossed over for the film to have a happy ending... Not to mention that awkward "I love James so much" bit.

All in all, Licence to Kill is a solid action movie. It's a simple plot with a ton of action, explosions, and bad guys you don't feel sorry for. Licence to Kill fits right in with other 80's adrenaline-filled action movies at the time. But as a Bond film? I can't see it.

3/5.

There are very few films that discuss the anxiety one feels before coming out. There are even fewer films of this sort that takes place in the Deep South. Uncle Frank portrays the very real fear and apprehension such people have to go through. It's a unique story with a unique perspective that's quite enjoyable.

Disclaimer: I wasn't sure what to expect before I watched Uncle Frank. I did not see a trailer, nor did I hear many people discuss it. Yet, I'm glad to have discovered this gem of a movie.

As someone who grew up in a small town, this film hits home for me. It captures the toxic homophobia that permeates such communities. It also shows the desire to escape that many people living in these communities have.

Uncle Frank is both lighthearted and slow-moving at times and it can be harsh and brutal at others. The film shows the struggle and internal battle one has to come out to a family who doesn't understand homosexuality. It's raw yet has a few comedic moments in spots that help break up the tension.

Beth (Sophia Lillis), Frank (Paul Bettany), and Walid (Peter Macdissi) make an amazing team throughout this film. The people who don't understand Frank's struggle, understand the innocent naivete of Beth. The people who do understand emphasize with Frank. And Walid... well, he's freaking Walid and I loved his performance. Their chemistry as a team is very natural and beautiful. The film will hit you right in the feels time and time again.

Congrats to Alan Ball for writing and directing this masterpiece. It's one of those rare stories that isn't told too often yet is very real for many people.

5/5. The first Amazon Studios movie that I ended up liking. That's saying something.

A delightful holiday romcom.

Happiest Season is a nice LGBT twist on the romcom format. Though the cast is chock-full of A-listers, the film felt a bit too surface level. But it's a romcom, what do you expect?

The plot is upfront right away. It's an LGBT movie about... well, I won't spoil. But it's an uncomfortable topic for many. The audience has no doubt about the plot upfront. All while having a few laughs between.

Abby (Kristen Stewart) does an amazing role starring in this film as she plays a believable lover in conflict. We emphasize the struggle that she faces throughout the movie.

The movie moves fast from an idea to Harper's (Mackenzie Davis) house and conservative family. Though the family is a plot device to introduce conflict, they felt a bit too contrived and artificial. Comic relief is too obvious and forced in some places. Though no fault of the actors, more could have been done to the script.

Every character has their own hidden secrets and conflicts. For better or worse, they must face these consequences later. This aspect of the film was appreciated as it gave more character development for everyone.

Yet, by the third act, the hidden secrets seem to have little to no consequences for everyone. The third act felt rushed and contrived.

Thankfully, the cast of A-listers carried this movie. Everyone who watched this movie will stan Aubrey Plaza. She did an amazing job, but Dan Levy, Allison Brie, Victor Garber, among others deserve their own praise. All had stellar performances and did the best that they could with the script.

It's a good watch with some genuine moments and highlights. Even with all the positives, I can't bring myself to feel at ease with the ending. If you went through all the struggles that the protagonist suffers in this movie, how would you feel? Sure characters are happy in the short term, there are some real underlying relationship issues that aren't answered. This is true within Abby/Harper's relationship as well as the larger family.

3/5. You want an LGBT friendly holiday romcom film, this is it. It's a good idea with sloppy execution. The entire package leaves more to be desired.

What Dr. No did, From Russia with Love built upon.

The Bond formula is more developed and polished than Dr. No. Yet, it leaves enough authenticity and seriousness to keep the suspense of reality. FRWL is stylish and sophisticated that deserves praise in its own right.

What I also enjoyed about this movie is the loyalty it had to the original source material. FRWL plays more closely to the original Bond imagined in Ian Fleming's novels. We get a deeper look into the imagined world created by the late Fleming. Sean Connery does an amazing job bringing this character to life in his second on-screen performance as Bond.

The enemies and their performances are unforgettable. The audience sees more of the inner mechanisms of SPECTRE, Bond's archrival. We also see more elements of the Cold War shadow conflicts in this film. There are stakes raised in this film and enemies lurking around every corner.

And what would a protagonist be without a memorable antagonist?

This is where the movie stands out in the Bond franchise. The iconic introduction of Ernst Blofield (Anthony Dawson) and his white cat is iconic. That scene alone is burned into the minds of many and parodied countless times. Audiences get a sense of a larger story arc with the Bond franchise that is yet to come.

But that's not all, Lotte Lenya's performance as the vile Rosa Klebb makes one wish she had a bigger role. Red Grant's (Robert Shaw) steady cat-and-mouse chase of Bond leaves the audience suspended in anticipation throughout the whole movie. Special appreciation is also deserved to Bond villain Krilencu (Fred Haggerty) and ally Kerim Bey (Pedro Armendariz). Wish they got more action in the franchise.

The setting is exotic with Istanbul being its own character. FRWL takes its time to show the audience this wonderful city without being bored. Pacing in this film feels like it's constantly moving without being boring.

Yet, one complaint I have about this film is that its complexity can take away from its enjoyment. At certain times one can be overwhelmed with the excessive numbers of villains and who-hates-who. To one unfamiliar with the Cold War conflict or the novel, it can be frustrating.

I also found Tatiana's role in the film a bit too passive for my tastes. Most of the time it felt as if she was being dragged along for the plot and being another "Bond girl." Such a disservice to Daniela Bianchi.

But I enjoyed the movie despite its flaws. I've always loved producer Albert Broccoli's depiction of Bond. His work has always been noteworthy.

4.5/5.

PS: So I never understood the beginning pre-title sequence. If you're training an assassin, why would you have him kill your henchmen? That's valuable manpower lost. Also, why would you need that henchman to wear an ultra-realistic mask of Bond? I can forgive an assassin killing henchmen for practice in an evil organization. But does it matter if the victim wears the lifelike Bond mask or not? Besides hating Bond and being "evil" it doesn't make any sense to me. You can get the same effect without the trouble of getting a mask made. How did they even know what Bond looks like if he's a super-secret agent? Isn't that the opposite of what MI6 should stand for? Maybe I'm looking too deeply into this...

The movie that started one of filmmaking's most famous franchise.

Disclaimer: I did not read Ian Fleming's novel of the same name so my review may be biased.

Dr. No is an introduction into the Bond universe and the beginning of the spy thriller genre. Dr. No is both influential and innovative in its storytelling and enthralling in its mystery plot. The settings are exotic, the stakes are high, and Sean Connery's performance is captivating. I doubt none other than Sean Connery could have perfected the role that he did as James Bond. His debut into this franchise remains one of the most iconic there is to date.

What makes Dr. No a great Bond film is that it's experimental and lays the foundation for future films. The film's a bit rough around the edges but that makes it more authentic and stylish. It's witty and fun while keeping the mystery and suspense.

Not to mention the beautiful introduction of Ursula Andress's iconic portrayal of Honey Ryder. An introduction was so powerful that still leaves fans fawning so many years later.

The main qualm I have about this movie is the yellowface portrayal of Dr. No by Joseph Wiseman. I found that it completely broke my suspension of belief and made the movie that much harder to watch. Also, his whole plotline didn't make sense to me. But it's a James Bond movie, meant to be escapist enjoyment for its audience.

3.5/5.

If you're looking for an entertaining movie with lots of fun, action, and memorable lines. Dolemite is a blast from the past that's sure to last.

Dolemite is Rudy Ray Moore bringing his creative storytelling genius to life. It's a cult classic movie that sure is groovy.

Acting is cheesy and there are some gaffes, but each one will make you laugh. So much swagger and charm that'll do you no harm.

5/5.

Disclaimer: I have not yet read the book yet so my review may be biased. Yet, seeing this adaptation of Ken Kesey's novel come to life makes one yearn to read the source material.

The first thing that one notices while watching this film is the quality of the acting. It's extremely hard for actors to portray the intensity of mental illness in a way that is not offensive. Yet, the supporting cast of Will Sampson, Danny DeVito, Brad Dourif, Christopher Lloyd, among others make this a performance to remember. Everyone in their cast was spectacular in their roles. There were times I thought I was watching real patients with mental illness.

Jack Nicholson and Louise Fletcher do a remarkable job bringing the conflict to life. Playing McMurphy and Nurse Ratched, audiences feel the high stakes card game at each act of this movie. Nicholson goes above and beyond in captivating audiences and making this a masterpiece.

The writing, dialogue, and plot give each character a chance at full development. Bo Goldman and Lawrence Hauben are amazing at letting each character shine. Audiences can understand the themes brought to light. Themes of authoritarian care, social support structures for the mentally ill, dependencies on said structures, and soul-crushing institutionalism vs individuality.

The script was incredible as the audience can never quite predict what happens next. There were moments of real tension felt as the suspense builds and we wonder if our protagonist gets caught.

Jack Nitzsche brings alive the entire movie with his wonderful music. Every scene is built upon and improved with the addition of his work.

An outstanding movie that still holds relevance in today's society. Milos Forman lets his artistic genius shine.

5/5.

A near three-hour epic that one wishes was longer. The songs and emotions will be stuck with you long after you watch this film. A brilliant adaptation of the play.

The instant I started watching this film, I knew I would love it.

From the beginning, one can tell that the scale of this movie will be massive. From the overarching boats and the rich bass. Les Miserable is rich and vivid in color and song. One can tell that this is a story of redemption in a gritty world.

And does it get gritty. Anna Lynch-Robinson's clever set design makes 19th century France a world of contrasts. We see the extreme wealth and refinement of the bourgeois to the lowest depths of poverty. 19th century France is society ready to boil over.

The performances of everyone in this film is powerful and emotional. Hugh Jackman as Jean Valjean giving us a sense of life on the run. Russell Crowe is the unforgiving Javert. Though most people hated Crowe's performance, I enjoyed it. Anne Hathaway as Fantine, a loving mother who would do anything to give her daughter, Cosette (Amanda Seyfried), a better life. The stunning performance of Samantha Barks as Eponine stole the screen away. Not to mention Sacha Baron Cohen and Helena Bonham Carter's performances as the comic relief Thenardier and Madame. The entire cast is star-studded and gives a performance unmatched.

Then the excitement comes once the revolution happens. The unmatched enthusiasm of the young yearning for a better France. The fight between the establishment and the rebellious. Scores of actors, action, and scenery that gives chills. Beautifully well done and artfully crafted.

I normally don't watch musicals, but the screen adaptation of the play/novel is phenomenal. There is no pause and the audience feels the events rolling as the film progresses. Les Miserables is a massive story that's told and retold time and time again. You can't watch this film without crying or tearing up.

5/5. Tom Hooper's masterpiece of a film. One of the best films of the year.

Ip Man is a martial arts action film at its best. There's rarely another film like this.

Ip Man is a genre-defining kung fu epic. The film covers a bit of pre-war China into the Second Sino-Japanese War. Studio sets are accurate and beautiful, giving us a peek into life during this era. The representation of pre-war China especially makes one nostalgic for a bygone era.

Donnie Yen delivers on action to give us a thrilling, exciting experience. One can skip around the movie and be entertained by the Wing Chun fighting alone. Fighting is brutal, bloody, and tense. One feels a real sense of force behind every punch, toss, and kick. Every hit is shown and none are missed. Such is the result of being choreographed by the legendary Sammo Hung.

Not to mention that epic final fight between Yip Man and General Miura (Hiroyuki Ikeuchi) sent chills down my spine.

The portrayal of Yip Man, Bruce Lee's teacher, as a humble martial arts master is one that we can get behind. He's courageous, fair, and backs his words. Though meant to be semi-biographical, I felt that some liberties were taken to the story. Some sequences felt a bit rushed that detracted from the film.

Yet, that doesn't mean that this film is a solid watch.

4.5/5. Wilson Yip's masterpiece.

The original that started it all.

Ringu is a less polished, yet original horror film piece that inspired The ring. The storyline is based on the familiar storyline of a cursed videotape that causes the death of anyone who watches it within 7 days. Yet, the film excels at providing a more "natural" feel to the film that doesn't rely on technical tricks or filters.

Ringu is minimalistic and simple. The pacing is well-timed and the imagery long lasting. It's subtle where it needs to be and shocking where audiences least expect it.

5/5. An influential, great horror film that later inspired an American horror phenomenon.

An attempt to capture the magic of the original that brings little new to the table. Imagine the second episode of a sitcom.

Barbershop 2's plot is almost the exact same as the original. Minus the extra comedic relief characters.

The original cast is here and is the most enjoyable part of the film. Yet, it's nothing groundbreaking. Kenan Thompson's character adds nothing to the film and felt a bit shooed in. Not to mention the subplots which add little to the film and the overarching story.

Wouldn't recommend unless you LOVED the first one and insistent on seeing another.

2.5/5.

East Side Sushi is a film that feels down-to-earth and real.

One may be able to predict the plot of East Side Sushi by watching the trailer. A Latina woman tries to entire the Asiatic, male-dominated world of sushi-making only to be told she can't do it. Then Juana pushes herself to triumph in the end. There are gender and cross-cultural boundaries that have to be overcome for Juana (Diana Elizabeth Torres) to succeed in reaching her goals. Yet, even predicting the plot cannot prepare one to experience watching this movie.

East Side Sushi is the first film I've seen by Anthony Lucero and I'm quite impressed. The subject matter as well as actors feel like people we already know. The struggles and stories told are possible and nothing over-the-top. Even the sushi restaurant itself appears to be in an unassuming location.

This is the genius of this movie. Nothing is over-the-top or A-list. We understand each character's struggles at a level we can relate to.

Yet, there were some parts of the film that felt a bit rushed or ill-contrived. Some fast changes in pace felt unnatural and broke my suspense of reality.

But, it's still a good movie worth watching.

4/5.

An original futuristic sci-fi spy/psychological thriller action movie. What's there not to love?

Disclaimer: I did not real Philip K Dick's We Can Remember It for You Wholesale before watching this movie so my review may be biased.

Imagine watching this movie when it came out in 1990. Few sci-fi movies would be able to match the VFX or the scope of this movie at the time. The pure creative genius that Paul Verhoeven brings to bringing this movie to life is unmatched. Even in the 2020's, one can tell that Total Recall is an instant classic.

The plot and effects hold amazingly well even in today's time. The shootouts, actions, and plot twists will leave audiences debating on this movie long after viewing.

And did I mention those classic cheesy one-liners? Arnold Schwarzeneggar freaking delivers.

5/5. Favorited.

A film that is both predictable and enjoyable. Light and fun to each.

Before one watches Barbershop, one will already be familiar with the plot. There's a Barbershop owner who finds himself in a dilemma and eventually has to do what he can to save the day.

The film, like the Barbershop itself, is a comfortable place to hang out to kill some time. Something that the whole family can enjoy. Comedy in Barbershop has aged somewhat well.

The mood can be a bit all over the place as it moves from quick burns of each character to the slapstick comedy that Anthony Anderson delivers. Yet, Tim Story is able to combine each element of the story in an enjoyable bundle.

3/5. Light, refreshing watch for those looking to kill some time.

The film that got the Minnesota accent right for the whole movie. Fargo is an underrated film in the crime thriller series.

Fargo is a crime thriller based around a botched kidnapping plot. The Coen brothers deserve praise for their storytelling in this film as well as bringing each character down to earth for the audience. One thing that makes this film so powerful is how it brought down everyone to levels we can understand. These can be our family members, neighbors, even used-car dealers. Nearly every character and setting is memorable in this film. Who doesn't wish they had a Marge Gunderson (Frances McDormand) on their team??

Another aspect I enjoyed about this film is the unpredictability of the plot. The events in the film feel believable and are not absurd. Everyone's motive is clear and upfront and there's no nerfing of the plot.

Not to mention the goriness and grotesque murders contrasted with the cheeriness of peak Midwestern quirkiness. The film combines both nihilism and comedy in an entrancing package.

Also, shoutout to Roger Deakins for that AMAZING cinematography in the film!

5/5.

A horror film that focuses more on suspense than bloody violence.

Disclaimer: Saw this movie as a kid, scared the crap out of me.

The Ring is a horror classic, no doubt about it. Yet the film plays more as a mystery/psychological thriller film than a conventional horror film. The suspense and dreariness of it all really allow for a slow burn of story development.

The Ring is full of creepy imagery and disturbing storytelling. It's straightforward and will leave audiences squeamish.

Leave it up to Gore Verbinski to keep true to the original RINGU film in the atmosphere, plot, and all. Yet, I found the dedication a bit closer to copying rather than an emphasis on innovation. Reworking something more suitable for a western audience or simply plagiarism?

Also, I found the green, static filter over the entire film somewhat annoying. I can forgive low budget horror, but at least make it look good.

3.5/5. Original (in Western horror films) and focus on suspense leaves this film above average in my book.