EANIE MEENIE (2025)

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Written & Directed By: Shawn Simmons 

Cinematography: Tim Ives 

Editor: Chris Patterson and Dirk Westervelt

Cast: Samara Weaving, Karl Glusman, Andy Garcia, Steve Zahn, Marshawn Lynch, Jermaine Fowler, Mike O’Malley, Randall Park, Chris Bauer

A reformed teenage getaway driver is dragged back into her unsavory past when a former employer offers her a chance to save the life of her chronically unreliable ex-boyfriend.

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This film comes so close, but no cigar as it does play out like an Elmore Leonard story or novel. As it has the gritty details, the quirky characters and the down on their luck protagonist.

It also has a story that is set in the underworld of crime and a high story that doesn’t overreach and make it seem like this is the score of the century or will set everyone up for life but more just a simple heist that will help all involved get out of previous trouble and be financially lucrative .

Even though it is mainly a crime story, it does take its time to be a character piece for the main character played by Samara weaving and explain her character’s choices, upbringing, and mentality, which helps, especially when she is essentially in love with a screwup 

The film has a great cast, but that is the problem while the quirky supporting character shine. We don’t really ever get enough time with them to learn maybe how they tick or just to enjoy them in general. It’s longer than blink and you miss them, but still not quite enough 

Even Marshawn Lynch, who is usually comedic gold in movies here has the chance to create such an iconic character, and while he does, what is necessary, his impact isn’t felt the way that it should nor strong as it should. It feels here more like he scripted rather than where his strength is an improv. 

Samara weaving as the lead is more of the straight woman, whereas she surrounded by all these crazy quirky characters so she lies at the heart of the film, and obviously the protagonist were rooting for .

The film stays surprising throughout as well as engaging with a surprisingly strong and down, tried ending of sorts, though it feels like there’s something missing to push it quite over the top to passable. 

As it is a film, that is entertaining enough, but not quite not worthy to play with the others in its genre. It comes across his lightweight, even though it does have some heavy material. Maybe it’s just because of the story that it tells you want it to be stronger.

Even with it quirky characters it’s surprisingly violent and hard hitting, but it still doesn’t quite make it to Mark

As the film does have the juice and the ingredients and even the recipe, but the taste isn’t quite uproot or tastes fine but not quite special as you had hoped. No matter how it tries. 

Grade: C 

THE LAST RUN (1971)

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Directed By: Richard Fleischer 

Written By: Alan Sharp

Cinematography: Sven Nykvist 

Editor: Russell Lloyd 

Cast: George C. Scott, Trish Van Devere, Tony Mustane, Colleen Dewhurst, Aldo Sandrell, Robert Coleby 

A former getaway driver from Chicago has retired to a peaceful life in a Portuguese fishing village. He is asked to pull off one last job, involving driving a dangerous crook and his girl-friend to France. However, the job turns out to be a double-cross and the trio are pursued back to Portugal where they make one last stand on the coast while the enemy assassins attempt to gun them down.

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This might seem typical for its time period. A getaway driver working on his last job after a semi retirement while it has its fair share of car chasing action sequences this film actually seems a little bit more existential.

Though this film had a lot going on behind the scenes. As originally it was set to be directed by John Boorman, until he and Scott disagreed on the script and then John Huston was brought into direct and filmed a few days before him and Scott’s arguing got so big and constant that he quit the film. Usually about the screenplay. Then finally Richard Fleishser was hired to direct the film but, as he was not considered an auteur as the other directors before him. He was never given Final Cut.

The other piece of trivia about this film is that this film spelled the end for his marriage to Colleen Dewhurst. As he met and fell in love with his co-star Trish Van Devere on this film and married her a year later. She wasn’t even the first choice of leading lady. Original director John Huston had hired another actress and Scott and him fought over re-casting the female lead and ended up with Van Devere. So that the relationships his character has with these two ladies on screen, mirrors his personal life in real life at the time.

So that this film is almost like George C. Scott’s. Person of THE GETAWAY in front of and behind the scenes.

That is pretty much said by the end of the film. As Scott’s character is pretty much almost a ghost having a last hurrah on a mission that he knows isn’t necessarily gonna be a suicide mission, but suspects that it might be and this is really the only time where he feels alive on the edge as the desire for survival awakens him, even though he’d rather be dead, especially after losing a child. 

there are points in the story where he could survive and surrender to romantic delusions of the safecracker who he busted out of jail girlfriend as a safe cracker seems to be pretty much a career criminal and wants to be one who idolizes the lifestyle, but is sloppy and not exactly respectful and see George C.  Scott’s character more as ancient and on his way out whereas himself he is one of the new players

Throughout the film, there are constant double crosses, triple crosses, and surprises that keep the story lively, but the film is strangely a lot more greedy and grounded than expected even with international localales 

The film has very few cast members and stay small scale, but feels bigger than just the story it’s telling. It feels more soulful than it should and one wonders is it the script or is it the cast under the direction of Randall Fleischer?

As the director adds plenty of great visuals, but it’s the performance is that really ground the film and make it more noteworthy and effective than expected 

Grade: B 

IF I HAD LEGS I’D KICK YOU (2025)

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Written & Directed By: Mary Bronstein 

Cinematography: Christopher Messina 

Editor: Lucian Johnston

Cast: Rose Byrne, A$ap Rocky, Conan O’Brien, Ivy Wolk, Delaney Quinn, Danielle Macdonald, Christian Slater, Josh Pais, Ella Beatty, Mary Bronstein

While trying to manage her own life and career, a woman on the verge of a breakdown must cope with her daughter’s illness, an absent husband, a missing person, and an unusual relationship with her therapist.

This is dramatic, but present presented as a dark comedy

One can remember the first time I saw Rose Byrne in a film. It was in a disastrous epic movie Troy and I remember not being that impressed by her and it seems like since then if she had heard, she took it as a personal upfront because it seems like since then she has done nothing but build her career and impress in numerous performances that she sometimes gets credited with, but not enough in my view and here she gives an Oscar level performance think general Rowlands in a woman under the influence and her intensity

The film also has her character leading with all sorts of catastrophes that are making her breakdown and the camera seems to present most scenes, especially with her an extreme close-up, so you can never escape her intensity just as she seems to never be able to escape her ongoing problems and challenges

IT’S interesting that her character is a therapist as clearly she is breaking down and has her own therapist, and her job is to listen to other people‘s problems and give advice, but she can’t seem to solve her own as well as taking care of a disabled daughter and a husband who is not supportive truly, and never there

Randomly Conan O’Brien is in this movie, which is a welcome surprise, especially if you’re a fan of his though in a role that is quite different 

One of the wisest decisions is that her child is often in the scenes, but remains unseen, so while she has this illness, we never quite see her. She is kind of a phantom where we wonder what she looks like, but it might also be because it would be hard to find a child to give a physical and unbelievable performance for that character. While mostly throughout we are given fl glimpses of her. when eventually the child is revealed it is at a pivotal point. It seems as a must rather than play the character is almost invisible or imaginary.

Not sure that this film was produced by Josh Safdie, as it does feel like one of his films maybe not visually but with a main character going through increasing pressure and as the film goes on, they’re being an unrelenting tension that doesn’t seem to offer any distractions and the character coming more and more unhinged

Though the film is like the character at first, it seems a little light, a little more comedic and then as it goes along, it gets a little darker and has a little more pressure then by the end it just feels like there’s nowhere to go nowhere a turd and it doesn’t offer any answers or show that any character is a saint nor a villain they are just who they are in life. Is that way too there’s no definitive answer. There’s no let up Sometimes. It can be random.

It is surprising how much it has gripped you by the end and how much you care. Even as itnolays like an emotional horror film as it unfolds especially towards the end.

Grade: B+

BOB TREVINO LIKES IT (2024)

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Written & Directed By: Tracie Laymon 

Cinematography: John Rosario 

Editor: Anisha Acharya 

Cast: Barbie Ferreira, John Leguizamo, French Stewart, Lauren ‘Lolo’ Spencer, Rachel Bay Jones, Ted Welch, Tony Milder, Ashlyn Moore 

When lonely 20-something Lily Trevino accidentally befriends a stranger online who shares the exact same name as her own self-centered father, encouragement and support from this new Bob Trevino could change her life for the better. Inspired by a true story.

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Wow, this movie surprised the heck out of me practically came out of nowhere and while at first, it seemed like a small streaming dramatic title. It might be because it’s premise seems like one of those or some quirky Indie drama that might’ve played big at Sundance and won an audience award. I do remember that this film got a theatrical release and more independent theaters, getting by decent reviews but never quite knew what it was about.

 Now I kick myself for not actually checking it out then, As this is one of those that seems to slip through the fingers of audience is really looking for underrated gems, or diamonds in the rough 

Going into the film, it will feel somewhat familiar and going or heading towards a tearjerking motivational film, which is at heart, but it’s so much more and it’s not overcomplicated. It keeps it rather simple but quite moving. and got me very emotional. A true earnest and charming movie.

I knew the movie was gonna make me emotional halfway through as it was all ready, stirring up things by the end you know out came, the water works in the tears and then finding out it’s based on a true story, really amazed and destroyed me, but it also allowed me to have faith That there are good people out there honest and you can make a true connection with strangers and can care for one another almost like family or as family

Now, while I have seen a lot of movies I have liked recently. This is the first one that really got to me emotionally and one that I really needed as I haven’t had an overall emotional response to a movie. In quite some time and this really helped was almost like a lot of repressed feelings finally coming out. 

This isn’t a flashy film, nor really an emotionally manipulative film where in the score tries to truly direct you or your emotions rather this did it on its own and it’s almost its own personal therapy session. Where you can watch the drama of someone else’s life and identify with it. Even if the details in situations differ.

It’s also nice to see John Leguizamo get somewhat normal role, not outrageous, not over the top, not a criminal and to see Barbie Ferreira get a chance to be in the spotlight of a film, especially after her noted Work in the first season of the television show EUPHORIA and since then, while she has had Supporting and small roles and other things, nothing that truly let her shine or show her depth of talent. Even if in these various roles, it allowed her to showcase her range 

Here she is the real deal And the only weak or puzzling part of this film is the performance by French Stewart. Who seems like he’s more going for some kind of weird western accent or just seems over the top, but maybe that is how the character needs to be played. Whereas he’s always putting on a performance to scam other people in whichever way he can do it. So that he is never quite genuine.

The film might be so affecting, because the writer/director based the film on her own experiences. So that the film always feels real and identifiable with human emotions . Who make good and bad decisions in the character stay three dimensional and not perfect.

This is the type of film that in the past would’ve won the Sundance film festival, for being a bit offbeat, but maybe a little bit more mainstream and identifiable. So that it could find an audience that is a bit more mainstream. if they would give it a chance as it is Something that feels pure and it’s all about connection and family. That might not necessarily be blood and it’s chosen a little more randomly

When I was younger, I would’ve felt that this performance or this type of character felt too unrealistic, but as you live life, you do realize that some people are just this way unemotional unless it comes to themselves, but while you’re thinking, you have created a bond or have earned or inherited one due to bonds, either born into or ones that would naturally happen. Nothing is ever promised in some don’t feel bound by any of those connections

Maybe I got suckered by the emotions on display mixed in with the storytelling more than any technical achievements. As this could perfectly fit into some kind of hallmark lifetime TV movie, but this feels a little more real, not quite hard edged, but a little more blunt and direct than those films are not offering a façade or an entirely happily ever after of promise. I wasn’t seduced by the filmmaking but the story and emotions. Which I believe audiences will appreciate and truly enjoy 

Grade: B+

NORTH HOLLYWOOD (2021)

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Written & Directed By: Mikey Alfred

Cinematography: Ayinde Anderson 

Editor: Alex Tsagamilis 

Cast: Ryder McLaughlin, Nico Hiraga, Aramis Hudson, Vince Vaughn, Miranda Cosgrove, Angus Cloud, Gillian Jacobs, Blake Anderson 

A kid must decide between choosing the future his father wants and following his dream of becoming a pro skater.

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This film unfortunately feels sort of like a b-movie version of the film MID 90S or a more independent version of it, as it feels similar but being not quite as sharp. as there are no major names in the cast, except for Vince Vaughn playing the main characters, strong willed, father, and he makes his presence felt And gives the strongest performance. 

The majority of the film is plotless. It’s more of a becoming of age comedy drama, where we watch our main character who wants to be a pro skater through the ins and outs of a few weeks into his life and the various situations he finds himself in. 

As in most coming-of-age films, he finds a romance and faces alienation or the breaking up of friendships as they mature and change and head off in a different directions, though there’s a little actual plotter story a bunch of stuff happens that help to define the characters 

Though the characters being kind of unlikable, juvenile and bland, which one is sure is the main point of the film. As we all are at that time but here it doesn’t come off as fun or poignant. It comes off more as annoying more like someone looking back at that age, and trying to be hip with the current generation as it feels a little Just out of date for some reason. So that there feels like no one in particular to root for or even look forward to. 

What the film does have is a good soundtrack and greats and photography that make you sit through the film and study the shots and notice how well film they are really your patience will be tested with this film and how much you actually get into either the characters or your wonder to see what’s gonna happen next 

As the film isn’t quite as polished or confident as mid 90s and has a more open ambiguous ending, that seems a bit more downtrodden and then positive, but hold out hope strives for a DIY attitude and tone.

As it seeks to be authentic, it just constantly seems a bit off brand and a little more manufactured rather than telling it’s truth or being autobiographical or someone’s passion project

Watching it it just feels way too familiar even in different clothing and locations. You’re going to have that I’ve seen this before, but maybe it works for a new generation and will speak to them. 

The film is worth watching if you don’t have too many expectations or expect that much from me it’s perfectly fine entertainment. Give the film a chance, though you can’t say you weren’t warned beforehand 

Grade: C 

LILI (1953)

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Directed By: Charles Walters

Written By: Helen Deutsch

Based on the story “THE MAN WHO HATED PEOPLE” By: Paul Gallico 

Cinematography: Robert Planck 

Editor: Ferris Webster 

Cast: Leslie Caron, Mel Ferrer, Zsa Zsa Gabor, Jean Pierre Aumont, Kurt Kaszner, Amanda Blake, Alex Gerry, Ralph Dumke

An orphaned young woman becomes part of a puppet act and forms a relationship with the anti-social puppeteer.

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This film will automatically not be for everyone and honestly some might be repulsive, especially the sensibilities of most in modern times. Though for those wanting to get lost in a fantasy of old school filmmaking in its own world. A fairy tale of sorts. We can look at it as different times and what was acceptable at the time. Which doesn’t make it right or wrong. 

The Film is very light and more noteworthy for its design under modern eyes. 

Either way, it’s a very strange film of its time that offers magical realism with an innocence. Yet approaches adult matters at times. Which can be very dark when it comes to the material

It’s a musical that truly only has two musical sequences. It’s a strange family film that might make adults more uncomfortable, though children might love it. As it comes across as a real world fairy tale

The film is a bit creepy. As usually anything with puppets can be for some. Especially as the puppeteer uses them to distract her and seduce her. It’s where he shows his more sensitive side. Though her believing they are real continuously shows how young she is. 

At heart,  it’s a film about a man gaslighting and underage girl who’s innocence is shown demeanor, and a baby face 

Made Romantic as the puppeteer of the carnival she joins seems to try to save her first from suicide, but also seems to slowly seduce her to teach and save her from her naïveté. Though this is partially in retaliation. As she falls in love so easily with a decent flirty and romantic man. Who earlier saved her from being attacked and taken advantage of. 

Though the romantic rival, The Puppeteer is a man scarred by the war and the world becomes More and more bitter. As she seems to not see him at least not the real him only pieces of  him that are rough and angry. Though he acts like his feelings are obvious for her. Which only shows that they are not a match if anything due to maturity. That the film Tries to act like she has gained by the end. Making the romance possible.

This is a romantic fantasy truly, but watching it under modern eyes makes it more dastardly if looking at it more critically and under a microscope. 

As it is the basis of the stage musical CARNIVAL and won the Oscar for Best Music in 1953. 

FREAKIER FRIDAY (2025)

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Directed By: Nisha Ganatra

Written By: Jordan Weiss 

Story By: Elyse Hollander and Jordan Weiss

Based on characters, Based on the book By: Mary Rodgers 

Cinematography: Matthew Clark

Editor: Eleanor Infante 

Cast: Jamie Lee Curtis, Lindsay Lohan, Julia Butters, Sophia Hammons, Vanessa Bayer, Mark Harmon, Manny Jacinto, Chad Michael Murray, Maitreyi Ramakrishnan, Christina Vidal

22 years after Tess and Anna endured an identity crisis, Anna now has a daughter and a soon-to-be stepdaughter. As they navigate the challenges that come when two families merge, Tess and Anna discover that lightning might strike twice.

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This was unexpected a sequel, so many decades after the original hit though will admit kind of had interest to catch this can say that it’s not disappointing. It stays fun and lively throughout. It doesn’t offer necessarily anything original but it’s perfect for its target, offering fans of the original or more first a chance to see the two stars in their element who they grew up with, and it allows their children a chance to see characters their own age they can identify with.

Though I might not be the ideal audience, it reminded me of Disney adult aimed humored films where they still have an innocence, despite being more maturely themed

The film wisely stays with Lindsay Lohan and Jamie Lee Curtis‘s characters whose bodies are supposed to be inhabited by these teenagers and they get to major league showcase and be broad throughout whereas we do see the teenagers supposedly inhabited by older people, but the movie doesn’t rely on them as much.

It’s especially nice and surprising to see Lindsay Lohan back on the big screen and a major release making her comeback of sort. She has been making a comeback and more Hallmark and straight to streaming movies but here is the first time she’s had a chance on a major big screen platform. After so much trouble in her personal life it seemed like she was destined for tragedy or at least never really work again, which was a shame as always thought that she had the talent and goods to be a leading lady and have a long career so this film was a nice surprise.

Even though she doesn’t have as much to do or shine as in the last film, she still impresses, and it still quite the screen presence.

Jamie Lee Curtis is obviously having fun with her role here and gets a lot of time to shine and showcase and feel steadier here than in some of her more recent roles

Chad Michael Murray continues to be type cast as the hunk who gets away and kind of temptation that lays on the side, pure of fantasy, which leaves him with very little to do.

The film breezes along and mannequin to have and beat everything for each part of the audience. It can be romantic, comedic, young, mature, juvenile, and it manages to stay fun throughout, except when it goes from the second act of the third act with a plot device that of course is needed for a 3 act structure, but still has you rolling your eyes Kind of like getting a shot at the doctors office it’s needed and you know it’s coming, but the process is always a pain

Is the film is everything you expected to me, though? It also has charisma and charm. This is not going to went over anyone new to the franchise, but the fans of it will be in heaven as they bring back most of the cast from the first film and it feels like not your standard sequel. There was a lot of effort put it into this film That makes it feel like it goes above and beyond for its audience not a general audience again, but its audience.

Grade: C+

PICTURE THIS (2008)

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Directed By: Stephen Herek

Written By: Temple Mathews 

Cinematography: Bernard Couture 

Editor: Robin Russell 

Cast: Ashely Tisdale, Robbie Amell, Lauren Collins, Kevin Pollack, Shenae Grimes, Cindy Busby, Marie-Marguerite Sabonqui, Angela Galuppo

Rich, handsome team captain Drew Patterson, the high school’s dream prince, like his elder brothers before, tires of the haughty head cheerleader and shows some interest in nerdy nobody Mandy Gilbert. For her, his invitation to the party of the year of his parental estate bodes instant social promotion, but her overprotective father Tom grounds her for dishonesty. She’s as determined to get in anyway with friends’ help as her rival’s pack to prevent that and dad to guard her. Furthermore, there’s a dooming rumor about the Patterson boys.

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Now let me start this review off by saying that,  I am obviously not the normal audience for this film as I am an adult male, so I am aged out when it comes to this film and this is definitely aimed at a more teenage audience, teenage female in particular, even though as the film plays, it even seems a little too soft and innocent for them. This is something I could more imagine, preteens or children, even watching as it would make more sense to them as it just has a innocence about it even the race scenes or subjects aren’t something you would worry about too much.

The film is a starring vehicle for Ashley Tisdale who is one of the stars of Disney’s high school the musical smash hit TV movie and it’s sequel now I’m not sure if they started as a Disney original or not though would place for that kind of audience. 

The film is rather basic paint by numbers you’ve seen this all before just with different Hijinx and little adventures that all seem to take place really within a few days, which is where some of the logical problems of the film come in whereas this the school hunk who dates it seems like the queen be most popular girl is telling this girl who has lead low on the social scale and never seem to really talk. all of a sudden he’s professing that he really likes her and that how special she is and really if this was true why did he wait for the last year of high school towards the end of the year before they graduate and B? Why doesn’t he just break up with his girlfriend first, so that there would be no hijinks but then again then there would be no movie.

To tell you the truth, the only reason I watch this is because two cast members from the grassy the teenage melodramatic soap opera that I am a big fan of were in it. Shanae Grimes and Lauren collins. Who played Tisdale‘s best friends and offer quirky, comedic, and loving support.

Ashley Tisdale does have star quality though this script and doesn’t really help her shine though she is watchable the film is acceptable even though the script or film might be too juvenile for even her core audience at the time. 

what are the major problems of this film? Is that her arrival? The queen bee who was the most popular girl in school? I don’t feel like would put so much attention to taking her down if she was really secure, but of course, since there’s a team movie at heart it shows that she’s insecure and not to mention the rival isn’t even a challenge when it comes to looks, she seems rather bleach, blonde and generic and way too old to be playing high school school student. Then again, so does the male elite who’s the dream guy Robbie Amell. But I digress.

luckily, the film never comes off as offensive, so it can easily play with most audiences and some might find its silliness cute and it is directed by journeyman director Stephen Herek. (BILL AND TED’S EXCELLENT ADVENTURE) So you have to give the film credit as at least it’s competently directed even if the material isn’t the greatest. i’m not really going to write this film only because it would be unfair as normally I might give it a low grade but again to a certain audience this might be the greatest thing ever made and if you’re watching it either you have kids or you’re watching it by accident or you’re really into these sort of films so it doesn’t really matter what I have to say.

Hopefully Ashley Tisdale returns to start them again, cause she definitely has the talent and the energy to truly be an effective actress full of personality

102 DALMATIONS (2000)

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Directed By: Kevin Lima 

Written By: Kristen Buckley, Brian Regan, Bob Tzudiker and Noni White 

Story By: Kristen Buckley and Brian Regan

Based on the Novel “THE ONE HUNDRED AND ONE DALMATIONS” By: Dodie Smith 

Cinematography: Adrian Biddle and Roger Pratt

Editor: Gregory Perler 

Cast: Glenn Close, Gerard Depardieu, Ioan Gruffund, Alice Evans, Eric Idle, Tim McInnerny, Ian Richardson, Jim Carter, Ron Cook

After a spot of therapy, Cruella De Vil is released from prison a changed woman. Devoted to dogs and good causes, she is delighted that Chloe, her parole officer, has a dalmatian family and connections with a dog charity. But the sound of Big Ben can reverse the treatment so it is only a matter of time before Ms DeVille is back to her incredibly ghastly ways, using her new-found connections with Chloe and friends.

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One can remember  this trailer making the rounds in the year of its release and the trailer actually looked funny and captivating. It took me all this time to finally watch this film and say the trailer held more promise and humor. 

take this review with a pinch of salt as obviously if you like this film already, I’m not gonna change your mind and you’re just going to think that I am a hater and I will freely admit. This is not usually my type of film, but I was hoping it would be something fun and charming and it’s neither

it took me a while to watch this film. I remember when it came out and all the brew ha ha over 101 Dalmatians and then then making a sequel live action sequel with 102 Dalmatians and I decided to give the film a chance. 

Watching it clearly is not for me. This is a film, purely for children because it’s silly joyful with a little hint of darkness, but I’d rather feels like a straight to Dvd home video TV type of production as it just seems kind of cheap and unmemorable and there are a bunch of gags, but they don’t really seem to work. 

The only good thing or promising aspect of this film is Glenn Close reprising her role as Cruella Deville and she’s fun and campy is all hell but also the weakness of the film is that it More keeps her as a supporting character.

whereas we focus on the characters played by Ioan Gruffund and Alice Evans. Who don’t even feel like real characters they feel like plat points and they’re truly is no fun when most of the movie is centered around them and the dogs as they have no chemistry and they’re not even that interesting as characters so while the film does have the basic requirements and trying to pretty much do the same thing as a 101 Dalmatians only now with Cruella supposedly being rehab and liking dogs and then halfway through the film, the rehab doesn’t work or backfires and having her go back, this is just the first film all over again with less star filled Cast.

One might be a particularly disappointed because this film is directed by Kevin Lima, who also directed A GOOFY MOVIE which was animated in which I love so I thought that he would be able to handle a live action film with the same care and touch and while it’s a film, that children will obviously adore it lacks any real nuance or any real fun so personally for me, and that just adds to the disappointment of the whole endeavor. As he has shown, he can offer up emotional yet funny material for an audience of all ages and here, even though it might be a little more skewed it’s very hard to believe that even the audience it’s aimed that will find this enjoyable or unforgettable. Then again he can only work with what he has in the script, even if Glenn Clouse shines above it all.

Though you usually know you are in trouble when a film introduces a talking animal for its comedic relief, but also shows who this film was more made for. 

So that the rest of the film feels silly familiar and just tired. It just feels like no one really had any new ideas or really any passion for this film and and it ended up just being more of the same only with lower production values and again Glenn Close is clearly having fun and truly earning her paycheck as the over the top supporting villain, but she is the only thing of note in this otherwise forgettable film.

At least the fashions through out are ridiculously over the top and leaves some room For campy humor. 

Grade: D

FRANKENSTEIN (2025)

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Written & Directed by Guillermo del Toro

Based on the novel “FRANKENSTEIN OR THE MODERN PROMETHEUS” ByMary Shelly 

Cinematography: Dan Laustsen 

Editor: Evan Schiff 

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Charles Dance, David Bradley, Ralph Ineson, Lars Mikkelsen, Nikolaj Lie Kaas, Lauren Collins, Sofia Galasso 

Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

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Guillermo del Toro’s adaptation of Frankenstein arrives with the kind of anticipation usually reserved for cinematic pilgrimages. It’s a long-gestating passion project by a filmmaker whose devotion to monsters borders on religious. And yes, it’s gorgeous. Ravishing. Sculpted with the kind of gothic precision that makes you want to pause the frame and hang it in a museum (which, ironically, is part of the problem).

Because for all its visual majesty, the film feels less like a living, beating story and more like a beautifully lit museum chamber piece sacred, admired, but curiously still. Almost like a Wes Anderson film

Watching Frankenstein at home, even on the biggest TV you can justify without shame, is like trying to view a cathedral through your peephole. You get the idea, but not the impact. As The film Is A Gorgeous Experience That Never Quite Comes Alive

Del Toro stages the movie like a theatrical spectacle; wide, grand, operatic. It demands an audience seated in the dark, collectively hopefully

holding their breath. On a smaller screen the whole thing compresses, and so does its emotional force. It becomes one more thing you’re “watching while also texting,” its larger-than-life gestures suddenly feeling muted. Which might be why this film doesn’t reach me. As much as it would in a theater more secluded and direct. 

It’s a reminder of an uncomfortable truth: not every film needs the big screen, but this one absolutely does. Shrink it, and the soul shrinks with it.

A friend once described last year’s NOSFERSTU remake as “a museum piece”—impeccable, reverent, exquisitely lit, styled, designed and emotionally distant. It comes off more as a presentation than a movie. Del Toro’s Frankenstein often slips into that same territory.

The sets are Immaculate. The creature design is inventive. The mood? Pretentiously Overwhelming in the best way.

And yet… it rarely moves you. The emotions are presented but not felt. They are laid before the viewer with academic seriousness, like annotations on a text everyone already knows by heart. Maybe that’s the curse of remaking a story we’ve collectively known since childhood: the beats land, but they don’t surprise.

It becomes less a story and more an opportunity to witness someone else’s interpretation of a myth you’ve heard too many times.

Del Toro is too talented to ever make something bad, but here he feels like a director in his Tim-Burton-phase: Instead of breaking new ground, he’s lovingly recreating  the things that inspired him growing up. Unlike Burton, del Toro doesn’t defang his monsters or turn them into punchlines. He actually adores them too much for that, but the result is still a filmmaker circling familiar territory rather than charting new routes. 

And yes, the del Toro signature remains: a gothic romance at the center, a creature yearning for connection, a broken heart inside a larger-than-life body. It’s easy to see what drew him to the material. It’s also easy to wish he’d returned to an original idea instead.

Christoph Waltz—shockingly—goes big. He’s operatic, but also the kind of actor who benefits from stern directorial supervision. Left unchecked, he can become his own genre. Here, he hovers just on the edge of self-parody, charismatic but distracting. 

The rest of the cast plays it with earnestness and restraint, letting del Toro’s production design do most of the heavy emotional lifting. Sometimes too much.

So… Is It Good? Absolutely. Is it essential?

Not quite. As Frankenstein is an achievement, a vision, a painterly triumph. But it’s also one more retelling of a story that has been told so many times it now arrives pre-interpreted. Beautiful, yes undeniably. But also strangely hollow, like an echo of itself.

It’s a noteworthy film, worth admiring, worth seeing on the biggest screen you can find.

But it’s not a new favorite. More a reminder of what del Toro can do… and what we wish he’d dare to do next.

Grade: B