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This is an Oscar-worthy film, in my opinion. It’s a poignant exploration of family tragedy, grief, art, and therapy. The performances are stellar, and the story is gripping and packed with many emotions. The cast delivers exceptional performances, fully immersing themselves in their roles. It might run a bit long, but every minute feels worth it.

A pensive and succinct documentary that beautifully captures the unfolding events from the moment the looted artifacts from Dahomey, taken during French colonial rule, are transported from Paris back to Benin. With little to no dialogue, it relies on raw, unfiltered visuals to convey the story, showcasing the debates and emotions of the people once robbed of their culture and heritage. The stentorian narration adds gravitas to the subject matter, enriching the film's profound impact.

This is without a doubt the freakiest movie I’ve seen this year. It’s an interesting spin on the body horror genre, diving into themes of beauty in the entertainment business and the dangers of chasing perfection. Demi Moore and Margaret Qualley deliver outstanding performances, vividly portraying their characters' journeys. The film is beautifully shot with stunning cinematography, and the body horror is terrifying and grotesque. Director Coralie Fargeat brilliantly balances eroticism and repulsion, effectively contrasting the two main characters. While the first two acts are the strongest, the final act is so bat sh*t crazy that I found myself questioning wtf was happening. You’ll either love or hate this movie.

James McAvoy is truly terrifying and maniacal as Paddy, delivering a performance filled with emotional depth and nuance. He seamlessly transitions between vulnerability and intensity, making his portrayal raw and complex. MacKenzie Davis and Scoot McNairy are excellent in their roles, while Dan Hough's performance as Ant is also outstanding. The film really picks up in the second half, and despite being a bit cliché and slightly long, it remains a thrilling and enjoyable experience.

The writing, editing, and performances were atrocious. It takes forever to get to the point, and the characters do and say things that make no sense. How they got Glenn Close to join this movie is beyond me. Some of the things her character was saying had me laughing with tears in my eyes. The third act of this movie was off the freaking chain. The exorcism between the mother and the evil entity reminded me of the showdowns in X-Men and Harry Potter movies. This could’ve been a straightforward exorcist movie, but instead, it unintentionally became a comedy. Everything about this movie was just bad, over the top, and nonsensical. This is essentially a bad Tyler Perry horror movie with better-quality production.

Shot on 35mm film, the movie is visually stunning, with vibrant colors and beautiful cinematography. Willa Fitzgerald and Kyle Gallner deliver strong performances, and J.T. Mollner skillfully blends a retro feel with a fresh, unique twist. The non-linear story, divided into six chapters, may not appeal to everyone, but it’s engrossing overall. The second half isn't as strong as the first, and the ending isn't the most satisfying, but the performances and killer soundtrack make this movie enjoyable and worth your time.

This movie sucks. What a complete snoozefest. Easily one of the dullest movies of the year. It's been years since I last saw the original “The Crow”, so I went into this with a fresh perspective. Unfortunately, this movie struggles to carve out its own identity and ends up being generic, bland, and soulless. Bill Skarsgård does his best as the Crow, but the rest of the cast falls short. Danny Huston seems like he phoned it in, and there’s barely any time to develop the relationship between the Crow and Shelly. FKA Twigs’s lackluster performance makes it hard to connect with their bond, leaving me indifferent to the rest of the story. Ultimately, this film feels like a waste of time and doesn’t offer a compelling reason for its existence.

This film offers one of the most authentic depictions of life in underprivileged areas. Directors Fernando Meirelles and Katia Lund masterfully crafted a movie with creative storytelling and brilliant writing. The standout element is the cinematography, which captures the gritty and dangerous essence of the favelas. The character arcs are compelling, thanks to the excellent performances from the cast. Alexandre Rodrigues is great as Rocket, while Leandro Firmino delivers a chilling performance as Zé, one of the most terrifying and unhinged criminals ever depicted on screen.  For all things movies, check out @casualmovielover on Instagram.

Fede Alvarez nails it with horror and tension in Aliens: Romulus, making it fit perfectly into the Alien universe. His direction cranks up the dread, crafting a spine-chilling atmosphere that is a thrilling experience and keeps you on edge. This is the best-looking Alien movie yet. The action sequences are cool and refreshing, and the blend of practical effects and sharp cinematography cranks up the suspense. Those Facehuggers? More terrifying and squirm-inducing than ever! David Jonsson shines as Andy, and Cailee Spaeny holds her own in the action scenes. But here’s the kicker: what made Alien and Aliens legendary wasn’t just the horror and scares—it was the memorable characters. In this movie? Most of the characters are dull and forgettable, and that’s a real shame. Sure, Alien: Romulus stands on its own and teases some intriguing new concepts towards the end. But here’s the problem: it leans too hard on nostalgia and callbacks. If it had gone all-in on its unique vision, it could’ve been a game changer for the franchise. Instead, it’s a solid movie that missed its chance to be something truly different. For more things movies check out @casualmovielover on IG