Reviews

If you're expecting a subtle satirical flick, Barbie isn't for you. However, you'll be missing out a quite beautiful and clever movie that talks about womanhood like a few movies do.

There are vibrant pink tones all around and the sets are truly exquisite and special. Its very distinctive and well-thought-out look place Barbie amongst one of the most original recent summer blockbusters. A big plate of originality and inspired artistry that unfortunately doesn't fully step away from the fact that is still a corporate movie and that is honestly perceptible every time they leave Barbieland.

Gerwig and Baumbach decide not to go quiet this time. Everything seems a bit too loud and too on the nose. For some it might come across as a "men are trash" agenda, but for me I wouldn't have it any other way. There are way too many movies being subtle critiques to our sexist society. Barbie is a movie set for everyone to watch, so why be quiet when there's a lot of people listening to you? Gerwig shouts like she is talking to a billion people. And that's because she really is.

Margot Robbie was such a great Barbie and was incredibly easy to empathize with her character which proves Robbie's powerful effort. Ryan Gosling was born to play this role and I would love to continue seeing him exploring his goofier side - seriously couldn't stop laughing every time he entered the scene. You can tell everyone had lots of fun doing this movie and how important it was to everyone involved.

The final montage of this movie not only made me cry, but reminded how beautiful it is to see my mother and my sister happy and enjoying life.

As flawed as it is I'm so happy a movie like Barbie exists and that people all over the world are rushing to the theaters to watch something as important as this. Congrats to you, Greta, you are an amazing and bright soul.

I remember blinking once at the begining and by the moment I opened my eyes it was already over.

An absolute showdown of what it is possible to make through the medium of animation. A visual masterclass that makes the previous entry look like a test version for the audience. Brutally insane, non-stop, beautifully crafted action sequences - every frame of this belongs in a museum - and insane worldbuild and world designing. This does not by any chance feels real or even possible to make. I'm mesmerized.

One could only argue that Across the Spiderverse suffers from the Part I syndrome for not feeling like a complete piece, but aren't all the great trilogies built upon a series of movies that heavily depend on each other?

As of the moment Beyond the Spiderverse comes out, I reckon my thoughts could change seeing how the knots were tied. However, right now I can't do nothing, but feel mesmerized and crushed by how much this movie rocks and kicks-ass.

Needs two, three or even four rewatches for everything to sink in and for the beautiful storytelling to deepen itself and I can't wait to watch this all over again.

"You will walk many miles. Dozens will become hundreds. Hundreds will become thousands. Your adventures will continue for years and years."

The ultimate movie going experience and consequently, in my eyes, Ari Aster's magnum opus.

An anxiety inducing odyssey about childhood trauma and draining out your balls. A perfect, subtle blend of comedy and horror. Beau is Afraid is a three hour long journey through one man's worst nightmares and the struggles that those nightmares carry within themselves.

A movie that is ambitious as they come - be it in writting, be it in set designing and crafting. It surprises, scares, makes you cry and makes you laugh.

Not for everyone, but it certainly was for me. As a bonus Joaquin Phoenix gives one of his most deliciously layered and detailed performances.

Nothing to not like about this. Just the most unashamedly fun you can have at the theather. A sensorial overload of colour, space tecnology, crazy fighting sequences and mind-boggling set pieces. A visual wonder of course and perhaps the most pleasing movie to watch out of the trilogy.

If there's someone who knows what their doing it is James Gunn. It's a shame that the big Marvel corporate is losing one of its brightest minds. To take a bunch of crazy, stupid and fun dark horses and turn them into the face of one of the biggest franchises on earth it's truly a remarkable achievement. I only see a big light in front of James Gunn career.

You can argue that it drags for a bit, that it takes a lot of paths that the previous movies did and that some characters might feel a little left behind, but I find it really hard for you to not give credit to this man for making movies that feel so personal and detached from the formulaic crap that we've been recieving for quite some years now. The guardians have their great emotional farewell and nobody feels like it's just another side character.

And yes, maybe the real message behind all of this crazy space trilogy is that what matters at the end of the day is that you have your friends around you and that you respect the animals, but what's the matter with that really?

I love the guardians and I love James Gunn, and for me they belong to their singular universe where there isn't any multiverse/cameo/greedy noise behind it.

Nightmare core done right. A trippy sensorial ride and a bloody drug-fueled sex orgy that never seemed to end. Cronenberg Jr. Covered complex dystopian themes in a very particular and quite brilliant way. The exquisite camera-work and editing mirrored the director's distinguished style and papa David's influence.

Could not take my eyes off Mia Goth's face, not only for her unique and exotic beauty, but also for her exhilarating on-screen presence. As for Skarsgard, he might just have one of the best acting ranges in today's Hollywood.

Infinity Pool branches from one genre to another, but never looses the essence of a true transcendental and blood-curdling horror flick. The fever-dream colorful trip sequences were some of the best I've seen.

Infinity pool is very mature, cohesive and straight-forward, but also the absolute opposite of all of that I just wrote. It's a gut-wrenching experience (referring to Mia Goth).

Cinema is greater than life. Cinema brings poetry and music together in a visual spectacle of megalomaniac proportions. Be it Citizen Kane, be it Modern Times, The Jazz Singer, Singin in the Rain, Ben-Hur, La La Land or even the brand new Avatar. Every single frame of a movie carries within itself a brand new unknown, yet familiar world.

As it is mentioned through the movie, cinema is a form of escapism, of achieving royalty without being rich and of seing your true self displayed in the big screen and feeling like you're worth something, like you're remembered - even if you're a mere spectator.

Babylon doesn't only portray the transtion from silent films to talkies, it portrays cinema as way of evolution and as a way of achieving immortality. When you're part of the industry you'll never die, you're always ruthlessly dancing with the ghosts of your past.

Decadence, depravity and disproportional excess led to the rise and fall of many ambitious dreamers in 1920s Hollywood. Through the lens of three different main characters, Nellie, Manny and Jack, the beauty and the uglyness of fame in Hollywood are depicted to the viewer.

Chazelle's coke-fueled epic isn't as much of a love letter to Hollywood as it is a critique to its everlasting years of abuse, prejudice and cash-grabbing.

A three-hour long odissey that reminded me of every single time i sat down in a theatre and let myself drown into a hundred different stories.

Cinema does not get much better than this. Justin Hurwitz and Damien Chazelle, you will never not be remembered.

Katia and Maurice Krafft shared the love for two things. They loved each other and they loved volcanoes. For 20-something years they explored our planet, looking for eruptions, explosions and lava flows while documenting every single discovery they made.

The most unique and beautiful documentary I've seen in quite a while. One that made me erupt in an explosive cloud of emotions. It's as informative as it is daring and throught the nature of eruptions and the dangers of volcanoes searches in humanity's most vulnurable questions.

After watching this I could only wish for a Katia and Maurice Krafft's biopic directed by Wes Anderson, "The Life Volcanic".

To grow up in an environment that teaches men to be strong, distant and cold is to grow up in a place where you'll never feel free, where you'll never be yourself. Close is a masterful thesis on toxic masculinity and the impact it has on the social, mental and physical lives of young men in development.

As I was growing, I started to realize the massive impact society's embedded toxic masculinity had on my life and on the way I interact with those around me. Close feels incredibly important and necessary and holding this impactful story are some truly extraordinary directing and acting jobs.

The distant eyes, the forced friendships and conversations about soccer players, the dissociation with your true-self and the grief. Close is all about the learning, growing, griefing and understanding and it surely takes its time for everything to sink in, but I'm glad it does.

Close, besides tackling one of the most necessary and urgent themes these days, through metaphors and symbolism creates character growth and emotional depth. As the flowers groom and flow with the wind Léo has never been happier, but then everything changes it's time to pick up the flowers and leave nothing but dirt on what once was a colorful field.

The flowers grow once again only for Léo to learn how to pick them up.

I'm not going to sit here and pretend that I understood everything that happened in NOPE nor that I was supposed too. All I can really say is that I've been thinking about this movie ever since I left the movie theather trying to piece things out and unsuccessfully failing at the task. But for me that's what makes NOPE such an interesting and thrilling watch.

NOPE can be a lot. A movie about grief, spectacle, racism, capitalism, animal rights and extraterrestrials. And by this exact same reason I might need a rewatch to have a more accurate take on Peele's latest flick. Definitly not as simple as Get Out and not as self-explanatory as Us. However I'm still trying to figure out if the lack of exposition did this movie in favor.

As expected Jordan Peele reassures his role as one of the most important voices in modern Hollywood and Daniel Kaluuya gives a hell of a performance. Keke Palmer's vibrant energy matched well with the frowning-faced grieving brother that Kaluuya portrayed.

A very spielbergian auteur-driven summer blockbuster that will for sure divide the audiences.

A very personal european family drama that unleashed inside of me an incredibly heart-warming feeling of nostalgia that draw a smile on my face ear to ear for multiple times during the movie.

It's a very quiet movie, you can almost feel every sound of nature during the lines of dialogue, and when no-one is speaking you hear the birds chirping, the peaches falling from the trees and the children laughing and running around the house.

More than a movie experience this feels like you're put inside their family situations and there's some little cute moments where you can't do nothing but feel joy when you know you've already been in the exact same spot - right there picking up figs from the tree with your grandfather.

Its simplistic hangout movie format truly does a lot in favor of the almost documentarian final result and the sincere, raw and honest performances are the cherry on top of this very fluffy peach cake that Alcarràs is. A giant heads up for the child actors. I didn't believe for a single second that they were acting, it really felt like they were just living their lives and having fun.

Besides that Carla Simón's latest project also serves as a subtle critique to the current state of the agricultural industry in spain and the underpayment of the house-farm workers due to the big companies that monopolize the market.

I really appreciated Alcarràs for staying truthful to what it proposed to be - a beautiful and somewhat tragic story of a family that managed to hang toghether through their roughest times.

Been meaning to review this for a few days now, but I haven't quite got the time nor the words nor the will to get cancelled, so I won't say a lot.

I will say one thing though - In my prespective, Blonde shouldn't be viewed as a disgusting exploitation of Marylin's name and career, but rather as a semi-fictional story of a woman that suffered in silence while everyone thought that all those glitters were gold. For me Blonde serves as a cautionary tale, as a movie that reprimands Hollywood abusive culture.

But then again, the beauty about art and in this case, moving pictures, is that they are subjective and everyone can form their own opinions about them.

Wether you love it, wether you hate it I think we can all agree that Ana de Armas is absolutely brilliant.

The impending sensation of trying to breathe, but feeling the air trapped in the dense and suffocating atmosphere that revolves you could describe quite well the experience of watching the 2018 horror masterclass, Hereditary.

With no quick cuts, no jumpscares and no unnecessary close-ups, Ari Aster is able to craft what is to me one of the best testaments of the importance of the horror genre in modern cinema and how far horror movies can truly go.

Aster experiments a lot with this great range that the horror genre can have and almost never lets us know his next move. It's like everything is connected by a really thin thread and as the movie goes on the thread gets bulkier and everything gets clearer and eventually we reach the climax, and Toni Collete screams and we, as expectators, scream too, but in silence with our teary eyes frozen in time.

To compliment the amazing cast and the dense and hair-raising script, Hereditary is algo guilty of having brilliant set pieces, an ethereal and transcendal Colin Stetson's score, and thoughtfully illuminated and designed shots.

Although Hereditary might not be my favorite horror movie, I recognize it's importance and how well it represents the modern horror genre scenario, and how it sets the tone for a whole new generation of movies to come.

Intimate, personal and challenges the heights and lenghts of your regular comedy special. Very emotionally raw, deeply funny and beautifully shot and edited. Carmichael shows a lot of vulnerability and does somethig I've never seen before - creates a rope between comedy and seriousness and constantly jumps from side to side.

This is a perfect display of the steps forward comedy is taking and how artists are loosing the fear of exposing their true human nature. Loved how caring the audience was, how they interacted with Jerrod and how open everyone seemed to be. Truly one of the best comedy shows I've watched and helped me regaining a little faith in humanity.

Jerrod Carmichael deserves all the love in the world and Bo Burnham proved again the value of his art and his craft.

A recollection of lost moments between a divorced father and his daughter during their trip together to Turkey. Through old camera footage and quick glimpses of forgotten times the narrative constructs itself and takes the viewer on board of a not so linear story, of grief, sexual discovery, mental health and the beautiful relationship between a young father and his daughter.

Without giving any vital information of what happened to these two after this vacation, we're still able to piece things out for ourselves and find relatability in their dialogues, interactions and feelings. Aftersun's main focus is never about the veracity of the events, but the memories that remain from given moments in their lives and the impact that it had on them.

A very contemplative film that explores in a unique way the themes it approaches and one of the most wholesome watches I've had. Paul Mescal has a beautiful path ahead of him.

A fresh blood salad of different movie genres mixed together in a beautiful and terrifying coming-of-age road trip movie that is undeniably so much more than any genre rotules you might feel trapped to give. Bones and All definitly goes above all that. It's a culmination of Luca Guadagnino's career and everything he learned through his path. Has both Suspiria's body horror and gritty atmosphere and Call me By Your Name's delicacy and touch.

Once you get into the story you can't get out until the very last second. Until it rips your chest apart and chews hard on your heart. Because Bones and All has that ability, the ability of completely ripping your heart apart. It will make you feel things you wouldn't expect to feel in a cannibalist road trip film, and that's what I appreciate so much about it. The fact that the characters are incredibly dense and go way beyond they're life-changing secret is just another great trait of the director Luca Guadagnino.

A beautiful and whimsical cinematography, a score that through acoustic guitar chords climbs upon your bones and astonishingly well edited dream sequences, tie toghether in a poetic and daring way this strangely charming and melancolic love story.

Loved it so much I haven't stoped thinking about it since I left the movie theather and that's what really seals the deal for me. Taylor Russel and Thimothee Chevrolet were even more than what you could possibly expect from them. The future of Hollywood is in great hands.

It saddens me that such a visual tour de force like Doctor Strange in the Multiverse of Madness has what feels like a computer-generated screenplay.

The new Sam Raimi feature film is definitly filled to the tip of its toes with Raimi's signature style, but unfortunately that wasn't enough to make this a great movie. It's one of those hollywood productions where it feels like everyone envolved was extremely confused with what to do with it, which resulted in a big stir fry of uncompleted ideas that had a lot of potential.

Raimi's love for the horror genre is definitly here and of that I can't complain. Absolutlely adored every single build-up of suspense, every single close-up and every single scream and, oh boy, that Danny Elffman's score was a thing of beauty. It's also worth mentioning the fact that this movie is the first MCU movie that has mild gore scenes in it and though I'm happy with that, I just wished Disney had the balls to release a full-on massacre, gore-packed, bloody, R-rated project.

Besides the amazing visuals and the brilliant artistic vision of Sam Raimi, we aren't left with much. We're left with shallow characters who make unjustified decisions and a script that is filled with plot conviniences and bad, formulaic jokes, but then again not even the world's mightiest movie director could overcome the impact of a money-grubbing company.

At the end of the day I'm just glad this feels like a Sam Raimi movie and that Elisabeth Olsen was here to kick ass.

"Every new discovery is just a reminder that we're all small and stupid."

The rumours are true! Everything Everywhere All at Once is one of the finest pieces of film of all-time. An instant-classic, a movie you know will stick with you for a long time, something you'll be constantly referencing and recommending to your friends. This is why I love cinema, this is why people go to the movies, this is why strangers meet in a dark room with a giant screen in front of them. To be able to feel connected with everyone, to make sense of this thing we call life, to just forget all our problems for an hour or two and be transported to another universe.

This did a lot for me. It really did. It payed my taxes, walked my dog, payed my university bills, took the trash outside, cleaned my windows and filled every single inch of my heart with emotion. I crackled, sobbed and was left in a beautiful state of awe. But then again what else would you expect from a Comedy/Action/Science-fiction/Drama/Sausage/Romance movie directed by the amazing, creative, evil geniuses 'The Daniels'.

An overstuffed odyssey about fighting against time and fighting against Juju Chewbacca. A 2 hour and 20 minutes long movie about the insignificance of our existence and a 2 hour and 20 minutes long movie about the significance of our existence. Something that shouts at you that ''Nothing Matters", but inevitably makes you leave the theather thinking about how everything actually matters, you just don't have to overthink it.

There aren't enough words to describe Everything Everywhere All at Once and I feel like I want to dedicate my life to writting about this movie because from the moment I started to write this review I felt like I could never do this any justice.

Michelle Yeoh. A name I won't forget. This woman gave one of the most dazzling, profoundly delightful performances I've seen on the big screen. An Hanniball Lector-Anthony Hopkins type of performance. She carried so much with her performance, from being an asian immigrant woman in the United States working her ass off to reach the American Dream to a care-loving preocupied mother that at the end of the day just wants to be in harmony with those around her.

It has everything, an astounding, loveable cast, an emotional, strong and heartfelt soundtrack, one of the best works with editing and special effects I've seen in recent memory, a brilliant and a once in a lifetime writting and directing job from Daniel Kwan and Daniel Scheinert and a redifined meaning of the multiverse that allows the audience to break any previous concept they might had about it.

Everything Everywhere All at Once had a budget of 25 million dollars and looks more refined and expensive than any of this big-budgeted movies flying around Hollywood. Cinema is to be made with love for the craft, passion and creativity and when made like that I feel like it can move worlds. And I know this might not mean a lot, but this surely moved mine.

Today I felt like I watched something I may never experience again and I just wished everyone could watch this too. This was indeed Everything! Everywhere! All at Once!

The Northman directed by the one and only Robert Eggers is being advertised as a viking action-epic movie but is undeniably so much more than that. Instead of that I would call it a supenseful, haunting and vengeful art-house period drama that happens to have really well directed and edited action scenes.

Though I believe it's not as great as The Witch or The Lighthouse, it surely was a fantastic period piece about the viking era and a great revenge quest with a distinguished narrative. I was also suprised by how little I noticed the studio interfence on this joint and how much soul and passion I was able to find on The Northman. There's a particular scene on this movie, towards the end of the second act, that raised all my body hair and then quietly stabbed me in the throat. Leaving me there on my seat, draining in blood.

The performances were all there. Alexander Skarsgård is the embodyment of a beast, Nicole Kidman is Nicole Kidman and Anya Taylor-Joy is mysterious and beautiful as always. Willem Dafoe's short appearance was haunting and stained the atmosphere until the very last second.

The Northman is the product of a lot of history research, perfectionism and care to detail. It's amazing to see big art-house projects with visionary directors behind them getting big budgets, it surely gives the future of cinema a brighter sight.

#WeWantRobertEggersCut.

The Lost Daughter is the debut feature lenght movie from Maggie Gyllenhall. It stars Olivia Coleman, Dakota Jhonson and Jessie Buckley.

I trully believe this was an amazing first movie from Maggie and her direction was great. Its also a deeply personal and realistic movie. Talks about motherhood, and how not all women were made for being mothers and how tiring and exhausting having children can be.

The long takes, the shaky camera, the minimalistic cinematography, the simple, yet filled with subtext, dialogues, the score and the brilliant, realistic and layered acting from Olivia Coleman and Jessie Buckley, altogheter made Gyllenhall's debut film a tension-filled, soul-loaded, exotic and personal 2 hour picture.

Altought it definitly has a lot of good, I couldn't ignore the fact that there were some moments on this film that felt aimless and without a purpose and also those flashbacks, wasn't a big fan of them...

Overall The Lost Daughter is an uncomfortable, stressful, well directed movie that gives the audience the beautiful following message: ''Don't have children, it's not worth it.''.

Raw, sweet, pure and very cringy like it should be. Jenna Ortega stole my heart, she was made for the big screens. Pleasently surprised with The Fallout and how emotional and beautiful it was.

This movie also contains the ugliest blunt I've seen in the history of cinema. That's the only real downside.

Fresh directed by Mimi Cave is a provoking, gross, romantic? And exhausting thriller. It's funny how its first 15 minutes can be interpreted as a cute romantic-comedy, but then the opening credits roll-in and you're in for a stressing and suspenseful ride.

Tough it falls short sometimes on its logical decisions and some parts of the screenplay feel rather week and inconclusive, Fresh was without a doubt a great surprise and a well-done and unique thriller.

Daisy Edgar-Jones and Sebastian Stan were absolutely fantastic.

After Yang directed by Kogonada is a cozy, warm, marvelous sciene-fiction movie that searches in the deepest roots of the human feelings. It portrays a rather optimistic and very beautiful vision of what the future might look like.

We as humans tend to grief when in the presence of loss. I'm certain when you were a kid and lost you're favorite toy you cried, I'm sure when you ripped your favorite pair of jeans you were sad and I'm almost positive that you cried when someone really close to you died, you felt like the world was drowing. Lost is rarely associated with happiness and we all react differently to it.

Throughout the movie we are able see how a family of three deals with the loss of their A. I. family member, and how they reconect their bonds as a family.

I really appreciated what Kogonada did here. After Yang is probably one of the most innovative and beautiful low-budget sci-fi flicks I've watched.

Apollo 10½: A Space Age Childhood directed by Richard Linklater is a coming-of-age story that portrays the life of a young man called Stan and the impact that living in Houston during the moon landing era had on his childhood.

The director that loves time, probably even more than Christopher Nolan, tricked me into thinking I would be watching a movie about space travel, only for me to find that it was a movie about time travel above anything else, since I felt like for 1 hour and 30 minutes I was in the sixties, right when mankind had landed in the moon for the first time.

Jack Black is incredible and so is the animation and art style. I really hope Apollo 10½ gets the recognition it deserves.

One of the most visually creative, funny and heart-warming pieces of film I've ever put my eyes on. I'm speechless. Paul Dano and the semi-dead Daniel Radclife are one of those unlikely duos that turn out to have a lot of chemistry, they were both incredible here.

An odissey about friendship, love and the human experience. Swiss Army Man is one of the most underated movies of our generation. How can you not completly fall in love with this movie?

The new Ti West's feature lenght horror movie X is a gross, sexy, blood-curdling and gory tribute to the beloved horror sub-genre 'the slasher'. With many references from older movies and West's signature filmmaking, X doesn't fail to disguss and scare the audience.

Mia Goth and Jenna Ortega are stars and nobody can take that from them.