Okay, "Strange Darling" absolutely threw me for a loop and I’m still trying to piece myself back together. It’s one of those films that sneaks up on you, pulls you into its twisted little world and refuses to let go. The whole cat-and-mouse dynamic? Mind-blowing. But what really got me was how it played with time like, you think you’re following a straight line and then bam! You’re somewhere else entirely.
The characters feel like real, messy people, which just…
And here it is the final nail in the coffin. "After Everything" is the movie equivalent of beating a dead horse. Hardin’s still angsty, Tessa’s still enabling and the story is so pointless it’s almost insulting. The whole thing feels like a bad fanfiction that someone stretched into five movies just to milk the cash cow. There’s no character growth, no real resolution just more of the same toxic nonsense that we’ve been forced to endure for years. By the end, you don’t even care if they stay together. You just want it to be over.
Greta Gerwig takes "Little Women" and spins it into something both timeless and contemporary. The way she shuffles past and present feels like flipping through a scrapbook of memories one moment you’re laughing with the March sisters, the next you’re crying over their heartbreaks. It’s nostalgic, but never old-fashioned.
Saoirse Ronan? A powerhouse. Her Jo March burns with ambition and stubbornness, but there’s this quiet ache beneath it all. And Florence Pugh as Amy who knew I’d end up rooting…
"Across the Spider-Verse" is everything you want in a sequel bigger, bolder, and somehow more emotionally resonant than its predecessor. The animation continues to be revolutionary, pushing boundaries with each universe it introduces, yet it never feels overbearing. The design of each world is as unique as the Spider-People who inhabit it. From the textured, graffiti-inspired universe of Spider-Punk to the sleek, dystopian world of Miguel O'Hara (Oscar Isaac), the film crafts a visual experience that feels like the perfect…
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