• Stillwater



    Long, and bloated; Stillwater has no idea what it wants to be throughout its runtime, and while it’s indecisive about that, it’s quite boring in the many predictable areas of its scattershot narrative. Matt Damon does his best, especially his dynamic with the rest of the cast, but it’s simply not enough within a film that has no identity and no personality. 


  • Synchronic


    Synchronic is narratively muddled, jumping all over the place without a consistent rhythm, rushing through story beats in cliche ways without development, as the atrocious editing confuses viewers, and depletes any sort of momentum present. It doesn’t help that our two main leads have no chemistry whatsoever, and don’t feel as involved into the material as they should, even the directors don’t really care about their characters much. 

    The premise of two paramedics finding these linked cases of drug induced…

  • Scream 4

    Scream 4


    “You forgot the first rules of remakes: you don’t fuck with the original”

    Everything that Scream 4 is doing narratively, it is all directly linked to its meta commentary on horror remakes in this day and age, and how the constant revival of a horror franchise is just milking the same old routine beats we’ve seen before, as we see the original cast fighting back against this remake happening. It’s an enjoyable fourth instalment that warrants its existence, even if the Dewey and Gale romance is still shit, and I’m not head over heels about the franchise as so many others are. 


  • Scream 3

    Scream 3


    This review may contain spoilers. I can handle the truth.

    What a turn of events. Scream 3 is the most underrated scream movie. The hate that this gets is undeserving, and I will defend it. 

    The idea of a horror taking place during film production of a horror it is based on lends itself to solid set pieces, and hilariously smart meta moments. With this in mind, of course the director is behind it all, because he is the one that has the final say, he is in control of…

  • Scream 2

    Scream 2


    I always found the sequel to Scream to be better than the original, however, many years later, a revisit tells me that it is not as good as I remember it being. Disappointing.  

    Not only is the pacing all over the place, as it spends so much time with every single main/side character to give us their motivation and perspective, but it’s not as engaging when you know the outcome/killer reveals—which is fairly lacklustre in its reveals. The cleverness…

  • Scream



    I’ve never been head over heels for Scream, but every time I have watched it, I have thoroughly enjoyed it. 

    Scream is an entertaining meta commentary on the tropes and cliches of the horror genre, while delivering the fun that can be had with these films. The inherent silliness to this horror is backed up by the tongue and cheek approach, as it gifts these characters the knowledge of horror movies, where they are aware of the ‘rules’.

    Wes Craven…

  • Drive My Car

    Drive My Car


    Drive My Car is a slow burning cathartic trip about trying to escape from loss, and letting go of the past, as well as art imitating life, and vice versa. The interestingly designed narrative structure, the careful build up, and the unpredictability of where the story will go makes for some genuine natural development, as the story is allowed breathing room with its characters, and this gives the audience a level of engagement with where this story will head. 


  • The Unholy

    The Unholy

    The Unholy is god awful. It is terrible to look at; the washed out look of the film, the fact that it looks like it’s shot on an IPhone sometimes, and the poor framing, as well as the terribly CG’d ghost eliciting such unintentional comedy. It is also terrible to follow, with its easy predictability, treading along to one annoying cliche after the other, and becoming too far fetched in the third act. 

    There could’ve been something interesting within this story, somewhere, but it’s so hard to see when it is buried by a tonne of shit. 


  • The Tragedy of Macbeth

    The Tragedy of Macbeth


    Exquisitely shot, and decently composed, but it’s just empty in its substance, and hollow in its existence, and about as refreshing as hungry Jacks coming out with the Big Jack. I was completely bored with how dramatically flat everything was, specifically the acting and the Shakespearean dialogue. 


  • Eternals



    Eternals is the most ambitious project coming out of the MCU canon—and Wandavision too—and yet with what it is trying to accomplish narratively and thematically, it finds itself tangled in its own mess of ambition. 

    The screenplay isn’t as tight as it could’ve been; with the abundance of time/location jumping, the exposition implementation that is trying to play catch up with millennium of backstory, and some of the typical MCU formula present in the writing, while it’s trying to develop…

  • Belfast



    Belfast is exactly what I expected it to be, Oscar bait. This movie did absolutely nothing for me, but is sure to win over many others looking for something safe amongst Oscar season, only to forget about it once that season is over. 

    Every time something dramatic happens, we are hit with a random music queue, as it shows this family and the life of Belfast like it’s a music video, coming off like a melodramatic interlude, which is reminiscent…

  • Supernova



    As cliche as a story like this can be, treading along safely to its emotionally inept ending. The melodramatic score makes it come off like a lifetime movie sometimes, while there’s no depth given to the characters relationship, or the situation one of the characters is facing. It’s hard to care about this story, especially when you have two top notch actors struggling in the wind of this paper thin material.