• The Hand of God

    The Hand of God


    Pretty much what you would expect from a Sorrentino coming-of-age film. A slow but engaging film equally full of beauty, sadness and solitude, comedy and tragedy. 

    For someone who has been infatuated with international football (please don’t call it soccer) since the age of six, all that Maradonapoli stuff obviously gives an extra level here.

    For our protagonist Fabietto however, that football stuff feels like someone else’s dream. It just takes a personal tragedy and loss of community for him…

  • Stowaway



    I always have a soft spot for space movies as long as the production design is good. Decent performances are a nice bonus too. Again, surprisingly good movie for something that is just an already forgotten Netflix flick.

  • Passing



    Impressive directorial debut by Rebecca Hall. All the way from its poster to Hall’s screenplay and the monochromatic 4:3 aspect ratio cinematography, Passing is an ambitious, stylish and delicate piece of work.

    The performances from Tessa Thompson, Andre Holland and especially Ruth Negga are wonderful, career-best. Both Thompson and Negga have very well-written characters too, Irene’s admiration and jealousy of Clare is fascinating, as well as Clare’s apparent unbearable lightness of being white. 

    Right from the start the whole thing…

  • The Courier

    The Courier


    I should probably start avoiding these type of films since I never really care about them as much as I am meant to.

    There is essentially nothing wrong with this though. It’s just hardly revelatory for someone who often finds historical political dramas boring. It’s probably a good spy thriller if you are able to feel the thrill in it.

  • Vivo



    Bit of a filler song in the Lin-Manuel Miranda’s cinematic universe. Quite boring and forgettable in many ways, including the music.

  • Red Notice

    Red Notice


    Absolute crap.

  • The Power of the Dog

    The Power of the Dog


    Beautiful film-making.

    Not every story needs to be told with exclamation marks, and Jane Campion delivers a masterclass in the art of unboring subtlety. Show, don’t tell indeed. 

    The ensemble cast is brilliant. Especially Benedict Cumberbatch is perfect in the as Phil, the lead character seemingly covering his repressed homosexuality behind a thick layer of machismo, cruelty, and toxic masculinity. Equally worth a mention are Kirsten Dunst, Jesse Plemons and Kodi Smit-McPhee, whose thin features (as a counterpoint to Cumberbatch’s muscular…

  • Love Hard

    Love Hard


    Full of manipulative characters and romantic comedy tropes and I’m definitely not feeling that romance. But it’s still relatively funny and captivating with all its secrets and lies.

  • Oxygen



    Bit underrated to be honest. For a film with average ratings that is basically just dumped on Netflix, this is surprisingly cinematic; a stylish little scifi drama. Think Passengers meets Buried but better than both.  

    Mélanie Laurent is pretty great here and this is by far the most I’ve liked anything directed by Alexandre Aja.

    Maybe people watched the dubbed version or something.

  • The Unforgivable

    The Unforgivable


    The performances from Sandra Bullock and Viola Davis are good. The film itself is a bit heavy-handed and generic drama, slightly clumsy English-language debut for Nora Fingscheidt after the brilliant System Crasher. 

  • Don't Look Up

    Don't Look Up


    I actually like it. As a comedy. I’ve never really found Adam McKay’s films funny, but this one is probably most I’ve enjoyed one of his films. So there’s your three and half stars Adam.

    But, as for the discourse… Expecting the audience to think of this as an earth-shattering (pun intended) satirical masterpiece is a bit wild. American rich white guy came up with an allegory and as soon as someone hints that the execution might be a bit…

  • Spider-Man: No Way Home

    Spider-Man: No Way Home


    Easily the best movie of the Jon Watts trilogy and one of the best movies in the MCU, simply because it’s not hopelessly obsessed with The Avengers and especially, Tony Stark. Obviously having the likes of Tobey Maguire, Andrew Garfield, Alfred Molina and Willem Dafoe come back plays a bit of a role too. Nostalgia bait well done.

    Then again, this multiverse kind of emphasizes Hollandverse and MCU’s evident lack of personality compared with the other two franchises, when the…