OUTCOME (2026)

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Directed By Jonah Hill

Written By: Jonah Hill and Ezra Woods 

Cinematography: Benoit Debie 

Editor: Nick Houy and Nicholas Ramirez 

Cast: Keanu Reeves, Jonah Hill, Cameron Diaz, Matt Bomer, Susan Lucci, Martin Scorsese, Ivy Wolk, David Spade, Kaia Gerber, Drew Barrymore 

Follows Hollywood star Reef as he is forced to confront his problems and atone for his past after being threatened by a bizarre video footage from his past.

Let me start off by saying that this is one of the worst movies I have seen that has been released in 2026 which is surprise and consider considering the level of talent behind it

It’s not often a film lives up to its title so thoroughly. 

I will admit I am a fan of Jonah Hills. He doesn’t bother me as an actor and as a director, he has proven to be talented, surprisingly reaching upwards and showing range,  aspiring when everybody seems to usually write them off one note. As his debut directorial mid 90s was actually a really good film better than most expected one wishes this misfire was his debut so that with mid 90s he would be shown to be getting better instead of the reverse.

This film feels oddly personal or at least based on something he has experienced as it is about a star, searching for meaning and trying to explore what an apology means as we all know Jonah Hill has heard his problems, publicly mentally and emotionally and it feels like he’s trying to explore those feelings or given an explanation with this film

The problem is that this film is so lifeless, dill and even at under 90 minutes such torture to sit through. It still feels too long.

First of all, Jonah Hill gives himself a supporting role where it seems like he’s trying to out act his lead Keanu Reeves, and get all the attention which does work because there’s not much to any of the material here so if he’s loud brash in fact, he’s the only one who brings life into the film and the script other than Martin Scorsese playing someone from Keanu Reeves past

It feels like the script had a bunch of ideas that may be needed to be sharpened and explored as sometimes the film does come across at a good point or a good idea but the way it’s delivered so bad

The direction is lackluster as the film never seems to have any pacing nor do individual seeds. They just seem to lay there and play their without any momentum so they keep coming across flat even when they’re supposed to be hilarious.

Even the locations and filming all seem to be way too lit and look un appealing as everything almost seems like it’s artificial rather than natural and you’re filming in California, which makes the film look small and ugly almost like you wonder if half this film fell in the front of a green screen and filled in later. Especially when having a cinematographer like Benoit Debie. Who is a master when it comes to raw images and can still

Make them breathtaking. 

Keanu Reeves seems half the time embarrassed or uncomfortable in this film and even if it was for a character, we never get to see him actually have fun or be at peace as this is supposed to be a comedy and he’s playing more like a hard bitten drama even when we do see a glimpse of his past where he supposed to be this drug addicted party guy he gives the same delivery.

Also, the big tape that is supposed to be at the heart of the storm that they’re hunting down because it could prove to wreck his career embarrassing. Once we actually see what’s on it. It’s pretty time compared to what it could be or what maybe us in the audience might believe if anything it just shows a vulnerability that might actually discussed a few, but actually endeared him even more.

There are a bunch of celebrities in this movie playing small, smaller roles who just seemed like they’re there, waiting around to get their moment in the sun, and then move on as most of them are only there for a senior or two

Nor do I understand, Cameron Diaz or Matt boomers characters involvement in all this as Reeves best friends. His character already has an assistant, and these two are his best friends. I don’t know if they’re his entourage because neither one of these two seems to have jobs and they’re all about positivity and giving support, but what do they do with most of their day? when he’s actually out there doing things? they seem to be here  more to maybe give commentary, as seemingly his only friends and they are there to give positivity, but they never have dramatic scenes of their own or judgment. 

Not to mention while one loves Cameron Diaz as an actress. Her return to the big screen as of late has been in bad to lackluster films. Here reuniting with Keanu Reeves after starring in the disappointing 1996 crime thriller romantic comedy film STEALING MINNESOTA. Which I for one had great hopes for and had great ideas and characters but no story or anything new or interesting to bring to the table. So here together another disappointment.

Also wonder if it was intentional that his PR team of image makers to help him through what might be an upcoming tragedy are all played by minorities. 

Also strange seeing Joey Lawrence as a kid performing on THE TONIGHT SHOW. Being a Stand-in for Keanu Reeves character as a kid. 

In the end, other than a spare to turn by Martin Scorsese and Jonah Hill’s  Way overacting it seems to try and make a memorable character of himself in a film based on himself, but not playing himself. This film seems very disposable and like a bunch of Apple plus movies seems a reason to get a bunch of big name actors together but not have the material to support them or entertain the audience

This even comes across more disappointing than the usual streaming offerings which it seems perfect for this is not something I could imagine being that great on the big screen.

It’s hard to understand how a film that has so many people I actually enjoy involved came out so terrible.

Grade: F

URCHIN (2025)

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Written & Directed By: Harris Dickinson 

Cinematography: Josee Deshaies

Editor: Rafael Torres Calderon

Cast: Frank Dillane, Harris Dickinson, Megan Northam, Karyna Khymchuk, Shonagh Marie, Amr Waked, Diane Axford, Okezie Morro

A young addict living on the streets of London is given a shot at redemption, but his road to recovery soon curdles into a strange odyssey from which he may never escape.

At first, I didn’t know what to expect from this film, but it proves to be a harrowing character study. Of someone going through their hardships and who, despite even their mistakes and bad judgments you still root for. No matter how bad it or they get.

The film is constantly surprising and filled with plenty of joy and hope, but also just as much dread that hangs over it at times.

Which has an audience member might be what you appreciate the most about the film as it gives a realistic presentation that isn’t necessarily uplifting, but isn’t doom and gloom either.

As the film shows homelessness, but it also shows rehabilitation for better or worse seemingly it is what you make of it, but there are plenty of challenges to it, and it depends on the individual and the strength of their character. As there is always temptation in the film. Also choose the show the many ways in which it can go wrong.

The only thing that might be a bit annoying about the film is the visual metaphor of nature and Woodlands the wonders of it that seems to represent the main character’s mental state at times or used to show the passage of time

This film is the directorial debut of Harris Dickinson and it’s quite impressive as he doesn’t make it a showcase for a new role for himself to show range. He does eappear in the film, but in a smaller supporting role. He wrote, directed it and the great. Frank Dillane is amazing in the film, but it also chooses to show the public about the hardships of a certain lifestyle that many and it can’t help. 

had I seen it last year that’s definitely would’ve made my top 20

Grade: A 

BIRDEATER (2023)

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Written & Directed By: Jack Clark & Jim Weir 

Cinematography: Roger Stonehouse

Editor: Ben Anderson 

Cast: Shabana Azeez, Mackenzie Fearnley, Ben Hunter, Jack Bannister, Clementine Anderson, Alfie Gledhill, Harley Wilson, Caroline McQuade 

A bride-to-be is invited to her fiancé’s bachelor party, but when uncomfortable details of their relationship are exposed, the night takes a feral turn.

This Australian film is a hard film to explain or exactly describe that as it builds itself a horror film, though it’s not quite that though throughout there are plenty of shocks and a lot of uncomfortable scenes.

This is a film best to go into blind and discover for yourself. So hopefully you watch it before reading the review. As I will try not to spoil it.

Though the film focuses more on friendships and relationships and the traumas, they can cause or being in one while trying to get over trauma

The pain and torture we cause the ones we care about in love as well as our ourselves for the people we love.

As this filmmore explores the horrors of relationship post traumatic stress, and the realization that the longer you spend with each other, there is a depth, but it also leads you to start drifting away from one another, and the fear that might cause. 

this is a film more for the audience to discover as this is definitely an Avant Garde presentation  and everyone will have a different reaction to the film or get something out of it differently than another person as it is that audacious. It tries to answer most of the questions but leaves some more ambiguous.

It also tries while dealing with these issues and subjects to be a character study for each member of the ensemble. As we wonder what fuels them and at times they’re blatant cruelty towards one another.

One will admit there are many times when I was confused as to what exactly was going on. As the film sets up some mysteries that are explained in others that aren’t quite though leads you on the path to some kind of answer. It’s that type of film.

Well, just as when we think we have figured it out or we have gotten all the answers we get another point of view on a character or a relationship that totally changes our initial opinions.

Ben Hunter who plays Dylan comes across the strongest here, but it might be because his character is also written as the biggest in the loudest, but you can tell there’s a vulnerability underneath all his bravado.

By the end, the film definitely gives the audience something to think about which it also offers throughout the film while also throwing them off base and leaving them to wander and think throughout

Grade: B- 

L’ARGENT (1983)

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Written & Directed By: Robert Bresson

Based on the story “FAUX BILLET” By: Leo Tolstoy

Cinematography: Pasqualino Desantis and Emmanuel Machuel

Editor: Jean-Francois Naudon 

Cast: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Vanden Elsen, Michael Briguet, Marc Ernest Fourneau, Jean-Frederic Ducasse 

A counterfeit bill that starts off as a schoolboy prank leads to incarceration and violence.

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Now will admit at first I thought this was going to be a kind of anthology like TWENTY BUCKS (1993) where a counterfeit bill is passed amongst many different people and we see the different experiences an adventures that come with this bill and passing it along if you haven’t seen that film I highly recommend it 

Here I would say that the first third of that of this film plays like that were a fraudulent counterfeit bill is past amongst many other others, though here it seems that after passing through a few people and us seeing their various adventures with the bill it seems to the fate of one particular character throughout 

As because of this bill in a few others that come into his possession that he has no idea our counterfeit it starts a down slide for him of losing his job going to jail his wife, leaving him all because of things that he can’t control and fats of chance

Where he does run into characters who also have experience with this bill, though he doesn’t know that they have as we see some characters further adventures because of the bill, not necessarily with the bill so they all seem to circle back, and it seems throughout while most of the characters are kind of crooked, not surely evil just morally challenged him as the most honest out of them seems to be punished the most

Most of the actors throughout this film are not professionally trained actors, which helps give the film a realism. What also makes the film so memorable is not that so much. It’s a moral film, but it’s a third act which just seems cruel and tragic. 

That goes for realism and reminds us that the world isn’t fair nor is it a fairytale where there are happy endings for everyone.

This is why me of those films that might seem rough but managed convey so much with so little. The map of the human soul and how society can be so cruel to some. When individuals try to cut corners or push the blame onto someone else rather then admit to their own mistakes.

This film is a French film, classic for a reason. It is definitely hard hitting, especially when you don’t expect it to. It has assertive charm and polished to it, but it also stays melancholy and matter fact throughout. Most of the cast are non-professional actors which helps it all feel more real and was Director Robert Bresson’s style. This was also his last film and truly feels like a loss by the end and only adds to the sting of the ending. 

it also seems to move briskly, smooth and gets straight to the point. Though it still leaves you devastated. 

Grade: A-

TOMORROWLAND (2023)

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Directed By: Brad Bird 

Written By: Brad Bird And Damon Lindelof 

Story By: Brad Bird, Jeff Jensen and Damon Lindelof 

Cinematography: Claudio Miranda 

Editor: Walter Murch and Craig Wood

Cast: Britt Robertson, George Clooney, Hugh Laurie, Raffey Cassidy, Kathryn Hahn, Keegan Michael Key, Chris Bauer, Judy Greer, Thomas Robinson

Bound by a shared destiny, a teen bursting with scientific curiosity and a former boy-genius inventor embark on a mission to unearth the secrets of a place somewhere in time and space that exists in their collective memory.

This is a film sure to make the audience nostalgic At least it did for me. As to family films, but also even just Disney films that had a lot of action and were usually sci-fi, but also had an innocence to them.

It’s ambitious in a rare way that is more earnest and adventure filled. Again an AMBLIN type movie only here we deal with adults a bit more,  it still involves children at heart.

Yes, it’s obviously following in the trend of movies based on rides or Disney attractions, hoping for the same success as PIRATES OF THE CARIBBEAN. Though this one seems a little more thawed out maybe it’s because it’s based on an attraction at the more educational Epcot Center. This film takes place in a kind of land that they were hoping the attraction would be in first place showing cutting edge, scientific inventions and hoping to inspire young minds. Not to mention more family oriented. 

The film feels like a live action cartoon in scope. Not as in looking like animation filled with bad and unrealistic cgi. More just the energy and size of the production.  The energy is fun and infectious for the audience at first. As the film obviously promotes imagination and science. As well as big ideas and being creative. 

It even has legendary editor Walter Murch doing part of the editing. Truly making it kind of old school. 

Wouldn’t expect anything less from Director Brad Bird. Who seems to specialize in these types of science during and action films. From the days when he was making animated films and shorts. Though it has a bit of an JJ Abrams flavor. As it has that mystery box, Mcguffin that opens you up to the rest of the film and its themes. Maybe because it was written by his go to screenwriters Damon Linelof. 

The film is held or centered around a star. Who goes the film it’s own kind of Wizard of oz. As he really is the star of the second half of the movie. As star Brit Robertson passes the baton from the first half but still stays in the running. Only pushed to the background. As she is still the audience surrogate.

The film steals seems to encourage the destiny dead Mom narratives with the encouraging dad father figure or just dad issues even though here her father seems to be a good one. He just doesn’t know what to do with her ambition and still seems oddly out of touch even though he’s in her life.

The film does get a little cutesy, but should kind of have a wide audience other than Disney adults and families. Even if it does tend to get a little plan towards the end yet positive and tries to be enticing. It’s idealistic not excellent, but good enough.

It’s like Epcot center in general, a fun ride yet tries to teach and encourage intelligence.

This film should have had a better box office and be talked about more. Hopefully it find its crowd. 

Grade: B- 

CARS (2006)

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Directed By: John Lasseter and Joe Ranft 

Original Story By: John Lasseter, Joe Ranft and Jorgen Klubien 

Written By: John Lasseter, Joe Ranft, Jorgen Klubien, Dan Fogelman, Kiel Murray and Phil Lorin 

Cinematography: Jean-Claude Kalache 

Editor: Ken Schretzmann 

Cast: (Voices) Owen Wilson, Paul Newman, Bonnie Hunt, Larry The Cable Guy, Tony Shaloub, John Ratzenberger, Cheech Marin, Jenifer Lewis, George Carlin, Michael Keaton, Paul Dooley, Katherine Helmond, Edie McClurg, Bob Costas, Jeremy Piven

While traveling to California for the dispute of the final race of the Piston Cup against The King and Chick Hicks, the famous Lightning McQueen accidentally damages the road of the small town Radiator Springs and is sentenced to repair it. Lightning McQueen has to work hard and finds friendship and love in the simple locals, changing its values during his stay in the small town and becoming a true winner.

I can understand the appeal of this Pixar animated film. At its core, it’s pure Americana: a glossy, well-meaning fable about loyalty, humility, and using your fame and talent for something larger than yourself. Those are solid morals, clearly communicated, and for its intended audience they land without much friction.

That said, the film feels like a throwback, almost as if it were designed in the mold of a 1980s family movie. It’s the kind of project that might have felt more innovative if it had arrived during Pixar’s early years. By the time it actually came out, however, it already felt a bit behind the curve. While undeniably a huge hit, its priorities seem tilted more toward younger kids and families, and unsurprisingly for Disney toward merchandising and franchise potential rather than pushing storytelling or filmmaking forward.

There’s nothing here you haven’t seen before. The story is traditional to a fault, the themes are familiar, and the animation, while sleek and polished, feels more simplified and childlike than truly impressive. It lacks the sense of boundary-pushing that once defined Pixar as essential, must-see cinema. Watching it now, it’s still entertaining, but it also feels basic, pleasant in the moment and oddly disposable afterward, even considering it spawned multiple sequels.

I’ll admit I’m not the biggest animation fan, but this film does reinforce an important idea: any story can be told in countless ways, and it doesn’t always need human characters to resonate. Still, this particular execution feels engineered to appeal across as many audience quadrants as possible, which makes its success and its expansion into sequels, spin-offs, and entire sub-franchises feel inevitable. This was clearly the start of a cash cow, one that meant a great deal to many viewers.

For me, though, it ultimately plays like standard blockbuster entertainment: competently made, intermittently heartfelt, and easy to watch, but also hard to fully trust. It delivers warmth and familiarity, yet offers little that lingers once the credits roll.

One just expects more especially for a film that had six screenwriters. 

Grade: B- 

PULSE (1988)

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Written & Directed By: Paul Golding 

Cinematography: Peter Lyons Collister 

Editor: Gib Jaffe 

Cast: Joey Lawrence, Cliff De Young, Roxanne Hart, Bill Durham, Dennis Redfield, Matthew Lawrence, Robert Romanus, Myron D. Healy

A visiting son tries to warn his father and stepmother that they are being menaced by a living and intelligent pulse of electricity that moves from house to house and terrorizes the residents therein.

What is interesting is that This film works sort of like the FINAL DESTINATION movies where there is no real villain. It’s like that happening. It’s just happenstance or recurrent that is focused yet random something you can’t really fight against as it has no face or human form. The people who are affected have very little defense, other than just general survival.

So that we watch the deterioration of a family that is affected by this that was already rather fragile, though at the heart of the film it also shows the strength of the family as they discover the problem and try to come together to survive and hopefully solve or defeat what is attacking them

I would say this film is more an introductory horror film as it’s a little too gruesome for children, but it plays almost like a family film with some heart elements. There is one death in the film, but it’s off screen, though the film is filled with a lot of tension.

Originally this film was meant to be a big summer release of 1988 after the executive in charge was replaced by Don Steele side of the studio. She’s seemingly did not want to really have to deal with his slate films that were left so this was released in certain territories in the Midwest before being buried on cable and then video stores whereas originally the promotion was to be a big summer release for the studio with plenty of money and budget behind. It’s promotion.

So far, this is one of the better  movies I’ve seen that Joey Lawrence has a big Role in and even managed to find a role for his younger brother Matthew, where they don’t play as related.

Well, this film might be a little more tame for a modern audience. This could’ve easily been one of the more scarier ambulance type movies where adults are involved, but it’s mostly the kids were on screen and experiencing things and there is a chance of danger for them as ambulance films play more to the adventure angle.

It does feel a little familiar to poltergeist in some ways, as well as having an older man character again, who feels reminiscent of a character from poltergeist, only dressed in Indiana Jones‘s wardrobe, for whatever reason

Is a film that does show a lot of originality and imagination, even if it doesn’t have a flare for the dramatics, nor is it as show off as it could’ve been it stays grounded, which helps it feel a little more reality based. 

Grade: C+

ELLA MCCAY (2025)

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Written & Directed By: James L. Brooks

Cinematography: Robert Elswit

Editor: Tracy Wadmore-Smith 

Cast: Ella Mackey, Woody Harrelson, Jamie Lee Curtis, Albert Brooks, Julie Kavner, Ayo Edebiri, Kumail Nanijani, Jack Lowden, Spike Fearn, Rebecca Hall, 

An idealistic young woman juggles her family and work life in a comedy about the people you love and how to survive them.

I really wanted to enjoy this film. As I have grown up watching James L. Brooks films or productions, not to mention Emma Mackey in one of her first big screen leading roles after making such an impact on the series SEX EDUCATION

but this was a film that was hard to take.

It might be as it is so idealistic. It would have worked in the 1950’s or before, but in today’s political climate. It comes across as more of a dream. A high concept movie that might have come along or been passable in the 1980’s but feels grating and off rhythm in today’s cinema. 

While it’s nice to watch a film that is idealistic and not so cynical in today’s climate. It can still be interesting, which unfortunately this film isn’t. It lacks an ingredient even though it has plenty of energy .  

The film feels overwritten. As one of the characters says in the movie “You don’t have to articulate everything” one wishes the movie had taken its own advice.  

As the film plays like more of a theatrical piece for the stage, especially with the characters saying their feelings out loud to one another. Theme there are so many plot threads that luckily revolve around the main character. So that they lead into one another. 

It ends up feeling way too scripted an never natural. So that the characters have all these neurosis. Though they never Come across as natural or believable. They are slaves to the directions of the screenplay

One can understand Writer/Director Brooks is doing what he does best and aiming for an old school classic dramatic comedy that is more grounded and adult. Like the One’s he might have grown up with. Which is similar to his last big screen film HOW DO YOU KNOW. Though as that film was star studded but a bomb. This is truly worse than that film. As it is questionable what he saw in this story or film.

The film feels endless and boring after awhile. Where you get to the point where you don’t care what happens, you just want the film to end. 

There Also seems to be some scenes missing as it sets up a romance for two characters. Which is obvious, but we never actually see them pursue it or watch it grow to show their chemistry. It’s implied and then in the end even them being a couple is presented in the same way. Was it controversial as it would be interracial? It’s just strange especially in a film that fees the need to over explain Everything else. That it gets modest there or leaves the audience to figure it out. As maybe the filmmaker feels he has been there way too many times before.

It plays like a romantic comedy but then tries to present itself as a comedic character study?

It’s ultimately like the film isn’t sure in which direction it should be or even wants to go. 

Though luckily it fits into James L. Brooks filmography pedigree. Just not up to the quality of his previous works. 

Grade: D

EASTER SUNDAY (2022)

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Directed By: Jay Chandrasekhar 

Written By: Jo Koy and Kate Angelo 

Cinematography: Joe Collins 

Editor: Steven Sprung 

Cast: Jo Koy, Brandon Wardell, Eva Noblzada, Carly Pope, Tia Carrere, Tiffany Haddish, Lou Diamond Phillips, Lydia Gaston, Eugene Cordero, Jimmy O. Yang 

Set around a family gathering to celebrate Easter Sunday, the comedy is based on Jo Koy’s life experiences and stand-up comedy.

This movie lives up to it’s title as a lightweight family comedy the only difference is that the main character in the family is Filipino so that we learn more about Filipino culture in general and the humor that can be found in it.

If you are a fan of the comedian, Joe Koy, this is kind of his big screen debut as a lead and he’s OK even if it seems majorly written around him and even allows him certain scenes to do some of his stand-up in 

The film takes place over one day mostly and all the situations he finds himself getting into while trying to please his family and handle a financial problem that his cousin has gotten him into.

That is where the strength of the film comes in is his chemistry with different characters and his one-on-one dialogue and interactions with them 

And also the family scenes of everyone either getting along or trying to run up one another .

The film is fairly and offensive, though it’s never quite exciting and comes across pretty basic as each character is more defined by their quirk half the time than feeling real even the film so-called villains feel more run of the mill something you see in a sitcom and quirky rather than dangerous

Though the film does allow for some interesting cameos from comedians and recognizable actors throughout even Tia career playing a supporting role, proving she is truly ageless as she is still quite beautiful 

The film also tries to be Meta with Joe Koy playing the lead and find some humor and Hollywood executives and business as well as San Francisco’s neighborhoods and neighbors by the end it comes across it’s so cute that you really don’t wanna hurt its feelings or it in general

It will find its audience and those who are seeking a nice inoffensive family film. That might be a little more mature or for adults, though kids can innocently watch it too. This might be the film for you.

Grade: C- 

THEY WILL KILL YOU (2026)

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Directed By: Kirill Sokolov

Written By: Kirill Sokolov And Alex Litvak

Cinematography: Isaac Bauman

Editor: Luke Doolan

Cast: Zazie Beetz, Myha’la, Patricia Arquette, Tom Felton, Heather Graham, Paterson Joseph, Willie Ludik, Angus Sampson 

A woman takes a job as a housekeeper in a NYC high-rise, unaware of the building’s history of disappearances. She soon realizes the community is shrouded in mystery.

Zazie Beetz is clearly a star and hopefully this leads to not only more roles but more action leading roles. I wish I could say a star is born, but she has been working for quite a while and always had the talent. Though here she has finally gotten a role to show it and prove it 

This film Reminds one of the director Kirill Sokolov previous film WHY DON’T YOU JUST DIE! (Which I was a big fan of) though not as good. This one has a bigger budget, cast and star power. 

It has the Same contained action and single location though working with a much bigger canvas and the space offering more inventiveness. 

While Not as action packed as expected. It still has thrills all through the film and it feels like a rollercoaster ride. So that it stays fun for the audience. 

The film’s  first half is awesome then it calms down. it keeps trying to stay captivating but seems to run out of steam halfway through. it stays entertaining but seems to Keep saying or presenting the same thing. Even as we learn more about characters and motivations through flashbacks.

The film is  Obvious in its Quentin Tarantino influences. As it does feel like a combination of other movie influences. Though making itself an original. 

The film is Very over the top violent. As Each new scene adds some layers to th film. As we get flashbacks that fill in the background 

We need to get more films like this, that are genre mixed but also have an excitement about them that you can tell by the filmmaking. That audiences are hungry for that feels Familiar but original and not an extension of a franchise. That can also have some depth to back them up and be more than artistic genre exercises. Though also adds some fun into it all while having a craft 

It feels like a film made for film fans and general audiences alike and both can appreciate fo various reasons.

Watching the film it. Makes me kick myself for not taking to Zazie Beetz or at least acknowledging I knew who she was and saying hello to her in the comic book store FORBIDDEN PLANET years ago right around the time she was announced to be in DEADPOOL 2, As the character Domino. She is as beautiful and awesome Im Person as she is on screen. Her and Nathalie Emmanuel are needed in more leading roles stat.

Extra Points: for the Playing Ryan Gosling’s band DEAD MAN’S BONES song LOSE YOUR SOUL on the soundtrack, Still hoping they do another record, love the album. 

GRADE: B-