Movies

A Minecraft Movie (2025), directed by Jared Hess, serves as a fantasy adventure comedy adapted from the immensely popular video game, Minecraft, developed by Mojang Studios. Starring Jason Momoa, Jack Black, Danielle Brooks, Emma Myers, and Jennifer Coolidge, this film navigates the challenges and auditory ambiance of the blocky landscape many gamers have come to know and love. While the visuals may entice the young audience and dedicated fans alike, the execution of its narrative strategy falls critically short.

Upon first hearing about Barbarian, directed by Zach Cregger and featuring a cast of rising talent including Georgina Campbell, Bill Skarsgård, and the ever-charismatic Justin Long, my expectations were tinged with both skepticism and curiosity. Advertised as a horror thriller that cleverly plays with audience perceptions, I delved into it with the hope that it would be a fresh take on a genre I hold dear. As its premise unfolds—the story of a woman whose Airbnb is double-booked by a stranger—I wondered how deep its themes would cut and whether it could provide more than just frights in narrow corridors.

Fight or Flight, an action comedy directed by James Madigan, emerges as a hyper-energetic and often chaotic exploration of adrenaline-fueled mayhem set within the confined space of a commercial airplane. The film’s promise lies in its blending of high-octane action sequences, comedic overtones, and a disjointed narrative that seeks to balance winks and nudges with outright spectacle. While it strives for a tongue-in-cheek tone reminiscent of hyper-stylized fare like Bullet Train, Fight or Flight ultimately trades nuanced intrigue for a visceral, gore-heavy romp that rewards viewers leaning into its deliberately silly, over-the-top approach.

Founders Day, a slasher film directed by Erik Bloomquist, attempts to redefine the holiday-themed horror genre with a concept rooted in a nebulous celebration that varies across diverse locales. Positioning itself as a dark, festive parody within the slasher subgenre, the film centers around a masked assailant targeting participants of a town’s anniversary political campaign. Despite its intriguing premise—combining elements of political intrigue, holiday revelry, and horror—Founders Day ultimately presents as a mediocre effort that falters amid predictable storytelling and inconsistent production quality.

Rust, a 2024 American Western directed and written by Joel Souza, emerges amidst a backdrop of profound tragedy that irrevocably intertwines with its release. The film’s narrative ostensibly seeks to evoke the classic American Western genre, blending elements of coming-of-age and raw frontier justice with motifs of innocence lost and moral ambiguity. Despite its picturesque Western visuals and ambitions to revisit traditional themes with a modern perspective, Rust inadvertently becomes a cultural focal point not solely for its cinematic qualities but also for the tragic circumstances surrounding its production. The film’s release thus carries a weight beyond its artistic intent, compelling viewers and critics to confront both its aesthetic merits and its haunting real-world aftermath.

Companion (2025), directed by Drew Hancock, emerges as a compelling addition to the science fiction thriller genre with notable elements of horror comedy woven into its narrative fabric. The film explores provocative themes such as artificial intelligence, autonomy, and human morality within a tense, isolated setting that amplifies its psychological intensity. Its premise—centering on a weekend getaway catalyzing chaos after revelations about a companion robot—promises a blend of suspense, dark humor, and moral dilemma, positioning it as an intriguing, if imperfect, cinematic experience. The film's tone oscillates between visceral horror and satirical commentary, inviting viewers into a domain where technology's encroachment intersects with human fragility.

Warfare (2025), directed by Ray Mendoza and Alex Garland, offers a uniquely raw and immersive perspective on modern combat, capturing the chaos and intensity of a Navy SEAL recon mission in Ramadi. The film’s commitment to realism, combined with its groundbreaking sound design—completely devoid of a traditional musical score—creates an atmosphere that feels both visceral and genuine. This movie stands as a powerful testament to the grittiness of war, emphasizing not just the violence but also the psychological toll on soldiers. Its unflinching portrayal invites viewers to reconsider the true cost of conflict, making it both an eye-opening and emotionally resonant experience.

Martin Scorsese’s “Casino” (1995) is a formidable entry in the crime genre, distinct in its grandiosity and meticulous craftsmanship. Adapted from Nicholas Pileggi’s nonfiction book, the film stars Robert De Niro as Sam “Ace” Rothstein, Sharon Stone as Ginger McKenna, and Joe Pesci as Nicky Santoro. Expectations for this film were high given Scorsese’s reputation for in-depth character studies and visceral storytelling, coupled with the critically acclaimed performances of the cast. As a long-standing admirer of Scorsese’s aesthetic and thematic depth, I anticipated a richly textured exploration of moral decay within the neon-lit facade of Las Vegas. “Casino” promised to probe the corrupt underbelly of organized crime’s entrenchment in the gambling metropolis, and it does so with an unflinching, sensory-driven intensity.

Released in 2019 under the direction of Fernando Meirelles, The Two Popes presents an intimate portrayal of two of the most influential figures within the Catholic Church—Pope Benedict XVI and Pope Francis—played masterfully by Anthony Hopkins and Jonathan Pryce, respectively. Based on Anthony McCarten’s theatrical adaptation, the film ventures into the nuanced psychological and theological terrains of these towering personalities, set against the backdrop of the Vatican during a period of upheaval. As someone interested in the intricacies of faith, doctrine, and leadership, I approached The Two Popes with anticipation, eager to see how it would balance historical authenticity with dramatic storytelling.

GATAO: Like Father Like Son (2025), directed by Ray Jiang, represents the fourth installment of the esteemed Taiwanese gangster series. Sunny Wang returns as Michael and is a prequel set several years prior to Gatao (2015). As a critical exploration of gang origins, it offers an intricate character-driven narrative that deepens the understanding of the series' core factions. Expectations from previous entries suggested a gritty, visually stylized portrayal of gang conflicts and personal histories—this film largely fulfills those, with notable improvements in production quality and narrative focus.