1st Reviews

Zootopia 2 expands on its titular setting in ways that contrary to many big sequel, feel natural to the world of its story and quite visually intriguing. Though it can’t recapture the magic of Zootopia (to be fair, almost no animated movie can), this sequel is engaging, charming, and incredibly funny, despite a rushed start. Ginnifer Goodwin and Jason Bateman contribute to the great, if rocky, dynamic duo that is Judy Hopps and Nick Wilde, now partners on the Zootopia police force and looking to do some good together. Though at first it feels like Nick has unlearned much of what he learned in the first film, we soon come to understand his motivations and where their friendship goes is very heartfelt and excellently written. Fortune Feimster, Ke Huy Quan, and Andy Samberg stand out the most as new characters in the mix, particularly Feimster as a lovable new ally of the duo. The film may miss the thematic weight of the first film, but still has an interesting, if unsubtle, mess...

Good Fortune is a comedy fantasy film directed and written by Aziz Ansari, starring Keanu Reeves, Aziz Ansari, and Seth Rogen. The story follows Gabriel (Reeves), a low-ranking guardian angel who swaps the lives of Arj (Ansari), a struggling gig worker, and Jeff (Rogen), a wealthy investor. The switch forces both men to experience each other’s very different realities. Still from Good Fortune Think of Good Fortune as a “Freaky Friday” story without a body swap, just a swap of jobs and lifestyles. The film aims to show that money does not bring happiness, but it often suggests the opposite. This plays out in two major ways. First, when Gabriel switches Arj’s life with Jeff’s to prove a point, Arj enjoys the wealth and comfort so much that he refuses to switch back, which is the only reason the plot continues. Second, after Gabriel fails to convince Arj, he is temporarily demoted to human status and takes on a regular job, where he immediately complains about h...

Train Dreams is a profoundly affecting portrait of a life. Set during the final days of the American frontier, its story may be intimate but its thematic impact is sprawling — transcendent even. This is a film that will resonate deeply in my heart and mind for years to come. It’s a quiet film — almost deceptively simple. Before you know it, though, you’re being carried through the extraordinary beauty of a very ordinary life — the love, the hardships, the little triumphs, the grief, and all those seemingly mundane moments that end up becoming the memories we hold on to longest. The story is told with an unhurried pace, and you have to just let it all kind of wash over you to experience it fully. It truly feels as if you’re watching an entire life unfold before your eyes. Its themes are ones we can all connect with, and that’s part of what makes it one of the most moving films of the year. Still from Train Dreams One of the most underrated talents of thi...

A beautiful reflection on our mortality and our small place in the big world that has lived before and will live after us, Train Dreams sees Clint Bentley and Greg Kwedar taking on their next creative endeavor with awe and surprise. The cinematography is absolutely marvelous, with breathtaking Malick-esque captures of the nature that immerse you into the time period, with time serving as both freedom and a prison. Joel Edgerton gives his best performance, portraying deep melancholy and confusion as to the purpose of his life, and coming to grips with the limits of the time he gets to spend where he wants and with whom. He presents a vulnerable sadness that always the audience to connect and feel vulnerable with him throughout the entire film. The film portrays the ugliness and beauty of the world with delicacy, with both shaping the human experience through memory. Rating: ★★★★½ Review by: Gal Balaban

Wicked: For Good‘s rushed pacing feels like quite a whiplash from the slow burn of the first film that allowed its story to breathe much more, but it’s still a big, loud, and rewarding musical experience. The events are moving at such a fast pace that if you think about it too much, it starts to fall apart. The cinematography and editing don’t get that same patience that made the execution in the first movie so beautiful. The first act of For Good does feel a bit like its embracing the spectacle more than the soul, and if Part I felt more like its stage musical adaptation roots, this movie is the big fantasy action blockbuster. That said, it rises up to the challenge with truly great visual effects and breathtaking production design. The musical numbers are no less impressive, and the film’s heart is strong, and the chemistry between its two leads is electric. Cynthia Erivo is again astounding and contributes to some of the film’s most awe-inspiring moments, while Ar...

Well, that was quite the intermission, wasn’t it? A year after director Jon M. Chu defied gravity with his exceptional adaptation of Wicked’s first act, he’s back to bring Glinda and Elphaba’s story to an emotional close. Just like the stage play, this second half is nowhere near as strong as the first, but there’s still plenty of cinematic magic to discover in Oz. Act one of the broadway show is 90 minutes, yet the first movie ran a staggering two hours and 40 minutes - longer than the whole play. It worked beautifully, though, because there was so much room to expand and explore this world and the characters who populate it. Act two is a leaner 60 minutes, which has been extended here to two hours and 17 minutes. Unfortunately, the second half of this story doesn’t afford as much room for expansion, and you can really feel it. The momentum coming off of part one’s show-stopping finale gradually fades, losing steam as the story is stretched beyond its natural p...

Dragonborn follows Alex Evans, a twelve-year-old girl whose life has slowly tightened around her like a cage. Ever since her father died, Alex’s mother has become overly protective, enforcing strict rules to control her entire life. Though her mother’s fear comes from grief, it makes Alex feel trapped, lonely, and increasingly frustrated. She has never really understood why her emotions feel so overwhelming — especially her anger, which burns hotter than it should and seems impossible to contain. That “burning” turns out to be literal. One day, during an especially tense moment, Alex loses control and releases a burst of fire from her own body. The incident is both terrifying and confusing, but it reveals a truth that changes her entire life: Alex is not fully human. She is a Slumberer — a dragon whose true nature has been hidden inside a human form since birth. She’s meets other dragons and is taken to Skralla, a secret island where young dragons live and train to unloc...

Who knew a film about making Breathless would be more fun than the original Breathless ? Richard Linklater’s Nouvelle Vague pays tribute to the French New Wave of the 1950s and 60s, celebrating the movement that reshaped cinema and the artists who drove it. He digs into Jean-Luc Godard as a humorous, ambitious, pretentious, and boldly conceited young filmmaker determined to reinvent how people make, see, and talk about films. Still from Nouvelle Vague The dialogue is snappy and funny, fully embracing the style of the era while keeping the script light and self-aware. Zoey Deutch shines as Jean Seberg in a film that entertains, spotlights the creative minds behind the making of Breathless , and challenges cinematic norms just as the real New Wave once did. Rating: ★★★★ Review by: Gal Balaban

The combination of Colin Farrell in an Edward Berger film was enough to sell me on Ballad of a Small Player . With a recent streak of amazing films such as Conclave and All Quiet on the Western Front , Edward Berger sets his sights on three back-to-back hits. Colin Farrell plays Lord Doyle, a high-stakes gambler laying low in Macau as his past debt begins to catch up to him. The supporting cast is slim but effective, with Tilda Swinton as an unrelenting debt collector and Fala Chen as Dao-Ming, a love interest who pulls Doyle deeper into the film’s central struggles. Still from Ballad of a Small Player The film balances several important themes — the addictive nature of gambling, the corrosive pursuit of wealth, and the emotional decay that follows. Doyle’s lust for fortune becomes a constant chase that corrupts the soul, blurring the lines of reality. Like any addict, he spirals into loneliness and depression as his obsession consumes him. Berger visualiz...

The Running Man is not the first film adaptation of the Stephen King novel, but it is the rare reimagining that not only justifies its existence by taking a completely different and more faithful direction, but also tops the original film by far. Edgar Wright’s love of filmmaking shines through in all his projects, no matter the scale or setting. This one is a lot more self-serious than his other works, but enough irreverence and humor still shines through to balance it out. Glen Powell’s action-star presence gives the film much flare and entertainment, making Ben Richards a fun character to root for, even when some of his characteristics do not always add up (a subplot about his anger issues becomes irrelevant after the opening minutes). Colman Domingo is also a riveting standout as the host of the titular game show, giving both the dialogue and performance his all. His scenes of commentary and theatrics elevate much of the film. The Runn...

Now You See Me: Now You Don’t is devoid of the fugitive thrills, star charisma, and moral ambiguity that made the first film remotely a success. Instead, it turns its protagonists into superheroes with plot conveniences at their disposal, and none of the big names in the cast really get to shine their personalities. Every character feels empty, with the exceptions of those played by Dominic Sessa, Ariana Greenblatt, and Morgan Freeman. Rosamund Pike is given truly awful material to work with and a very odd South African accent. Now You See Me: Now You Don’t The movie struggles to answer the question of why this sequel exists so many years later. Why this heist? Why this villain? The stakes feel rather low for a third film, and when the script finally comes around to attempting satisfying responses, you’re left wishing you had not heard them. The movie is not even quite able to explain why we should be impressed by these magicians, o...

Just as he did with Prey and Killer of Killers , Dan Trachtenberg once again breaks new ground with the Predator franchise. Badlands is a bold and badass departure from everything we’ve seen before, proving the Yautja to be a versatile, genre-defying species under the right direction. By exploring the Predator as a character rather than just a threat, you risk pulling back the curtain too far — but thankfully, that’s not the case here. These creatures are as ruthless and menacing as ever. Dek is the name of this Yautja, and his tribe’s customs are absolutely brutal. They hunt for sport, and the weakest links are slaughtered — even family. It’s a massive expansion of the lore that feels entirely fresh, giving the franchise a true sci-fi identity again. Tonally, it’s refreshingly unique — essentially a buddy team-up movie between Dek and Thia, the chatty top half of a Weyland-Yutani synth. A still from Predator: Badlands . The plot is lean, emph...

Task is a morally complex crime drama populated by characters written with thoughtful depth. Following up on the tremendous Mare of Easttown , Brad Inglesby delivers another gripping, heart-rending, and multi-layered story filled with exceptional performances across the board. Because this limited series reaches beyond its crime elements into the lives of people on all sides of the conflict, it becomes far richer than expected. Yes, the investigative and criminal threads are central, but it’s the exploration of what makes these characters tick that truly elevates the show. Some might view the character-driven drama as unnecessary padding, but it adds depth and realism while giving the series a strong emotional core. These aren’t just characters built to serve the plot — they’re living, breathing people with lives and baggage of their own. Tom Pelphrey and Mark Ruffalo in Task . What also makes this such a compelling watch are the layers woven th...

Brendan Fraser and Hikari on the red carpet for Rental Family at TIFF 2025. Photo credit: James Larmour. Brendan Fraser brings empathy, softness, and delicacy to the lead character — an actor who joins a Japanese “rental family” agency, playing stand-in roles for strangers. He’s the beating heart of the film and allows the audience to connect with every one of his decisions. The movie’s Lost in Translation -like cultural contrasts raise fascinating questions about the titular company and its emotional impact on clients — whether positive, negative, or both. The concept itself is unique and quietly profound, offering an emotional patience rarely seen in stories like this. A still of Brendan Fraser from the film. However, the film’s editing lacks the same patience as Hikari’s direction, rushing between plot points instead of letting scenes breathe and linger. The supporting cast — including the outstanding Takehiro Hira, Ma...

Jodie Foster impresses in a film about a lonely, desperate psychologist searching for answers about a recently deceased patient. Her character’s multinational identity — an American in France — gives Foster an interesting playground to explore, but after a strong hook, the film begins to drag. The film works better as a character study than as a mystery. It also feels surprisingly long despite a 100-minute runtime. By the time it reaches its conclusion, it feels more puzzling than profound — though similar ambiguity has worked in other psychological dramas. Ultimately, it’s likely a must-watch only for devoted Jodie Foster fans, though even they may find their patience tested. Rating: ★★★ Review by: Gal Balaban

Bugonia is brimming with Yorgos Lanthimos’ signature strangeness, yet it’s one of the most grounded films of his career. This is a small-scale chamber piece that feels out of this world, thanks to expert direction and two incredible performances that bring a sharp screenplay to life. This film is written by Will Tracy, known for his razor-sharp work on Succession and The Menu . The writing here is clever, gripping, uncomfortably funny, and true to Tracy’s previous work — filled with both subtle and blunt social commentary. It’s a script that truly allows the actors to flex their talents (not that we don’t already know what Stone and Plemons are capable of), and one that kept me locked in, second guessing my own theories until the end. With most of the film set in one location, it rarely loses momentum, and despite a runtime of nearly two hours, it’s very well paced. Of course, a strong script needs talent to bring the words from page to screen. Emma Stone and ...

Official still from Blossoms Shanghai (2025). Blossoms Shanghai is the first original episodic series by legendary filmmaker Wong Kar Wai. An adaptation of Jin Yucheng’s award-winning novel Blossoms , the series chronicles the ascent of self-made millionaire Ah Bao — the Jay Gatsby of Shanghai — during the economic boom that followed the opening of the Shanghai stock exchange. Chinese actor Hu Ge stars as Bao, personifying the idealism and adventurism that defined the 1990s. While In the Mood for Love paid tribute to the Shanghainese community in Hong Kong, Blossoms Shanghai marks Wong Kar Wai’s first attempt to tell a story about his birthplace during one of the most intriguing moments in its modern history. Beginning November 24, the Criterion Channel will exclusively premiere Blossoms Shanghai , the long-awaited television series from visionary director Wong Kar Wai ( In the Mood for Love ). The 30-episode series opened in China to phenomenal ...

Yorgos Lanthimos creates worlds of oddity, discomfort, and unease in most of his films, but Bugonia has the most to say about our world today. Jesse Plemons and Aidan Delbis play two extremists who kidnap the CEO of a pharmaceutical company (Emma Stone), believing her to be an alien in disguise sent to enslave humanity. Plemons and Stone are daring, unsettling, and riveting — continuing to surprise and push their characters further, even as both are returning alums of Lanthimos’ distinctive filmography and tone. Plemons’ turn is chilling, rooted in the conviction of lifelong pain, while Stone is phenomenal as a woman who’s done terrible things yet somehow holds the moral high ground. Delbis is equally convincing as a man who, beneath his darkness, possesses helplessness and strange empathy. Lanthimos’ best traits as a filmmaker lie in his ability to find both the absurd and the profound within any situation, making each story feel large-scale through his sharp edit...

A sharp, lively, and heartfelt rom-com set in the afterlife, Eternity asks questions about true love — is it forever? Can we have more than one in our lives? And how does love truly persevere over time? Miles Teller and Elizabeth Olsen stand out, offering emotionally rich performances while balancing humor and genuine shock at the situation they’ve found themselves in. After all, not everyone faces a love triangle that will determine the rest of their existence in the afterlife. Da’Vine Joy Randolph is also a magnificent standout, giving the film many of its funniest and most heartfelt moments. The production design is beautifully imaginative, blending retro technology with a vibrant, fantastical aesthetic. Exploring the corners of this dimension is fascinating, and the film tackles its themes in ways that may deeply resonate with some viewers. Eternity is a touching romantic comedy — colorful, imaginative, and full of heart — with equal parts laughter and emo...

With James Wan at the helm, the first two Conjuring movies rank among the best horror films of the 21st century. His directorial presence was sorely missed in the disappointing third installment, and although Last Rites is a notable improvement, his absence is felt here too. As the final chapter in the core Conjuring series, this does feel like a definitive ending for Ed and Lorraine Warren. The film delves deeper into their marriage and family life than prior entries, often resembling a family drama more than a straight-up horror movie. Make no mistake — there are still plenty of demons, exorcisms, and jump scares — but the greater emphasis on the Warrens’ personal lives feels fitting for their final cinematic bow. I really enjoyed this change of tone and pace, up to a point. With a runtime of over two hours, the film gives us plenty of time to simply exist in these characters’ lives while creepily setting up the main haunting. The problem is that the final case itself does...

Horror sequels rarely live up to their predecessors — half the time, none of the original cast or crew are even involved. The Black Phone 2 reunites director Scott Derrickson with his original cast and screenwriting partner to deliver a solid sequel held back by one fatal flaw. Whereas the first movie followed Mason Thames as Finny, this sequel shifts him into a major supporting role, with Madeleine McGraw’s Gwen taking over as the lead. Honestly, this is one of the best decisions Derrickson could’ve made. The story feels like a natural progression in the aftermath of the first film’s events without retreading old ground. Gwen’s dream abilities are further explored, acting as a conduit for The Grabber’s return. The sequel doesn’t hide its inspirations, drawing from iconic genre staples like Nightmare on Elm Street , The Shining , and even Derrickson’s own Sinister . It borrows heavily from the genre yet feels distinct enough to stand on its own. Where this film...