Tag: DRAMA

HEDDA (2025)

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Written & Directed By: Nia DaCosta

Based on the play “HEDDA GABLER” by Henrik Ibsen

Cinematography: Sean Bobbitt

Editor: Jacob Schulsinger

Cast: Tessa Thompson, Nina Hoss, Imogen Poots, Tom Bateman, Nicholas Pinnock, Finbar Lynch, Mirren Mack, Saffron Hocking, 

In a provocative, modern re-imagining of Henrik Ibsen’s classic play, Heather finds herself torn between the lingering ache of a past love and the quiet suffocation of her present life. Over the course of one charged night, long-repressed desires and hidden tensions erupt-pulling her and everyone around her into a spiral of manipulation, passion, and betrayal.

This is a film that understands atmosphere before it  worries about plot. It looks great deliberately gray, restrained, and textured. Which is impressive especially considering how much of it stays in a single location. The art direction, costumes, and camera work all do quiet but confident heavy lifting, turning limited space into something moody, elegant, and faintly suffocating in the best way.

Tessa Thompson is very good here, even if her affected accent initially throws you off. At first it feels like something you’re constantly aware of, but as the film settles into its rhythms, so does she. Once again, Thompson proves her range and commitment, leaning the character with a confidence that ultimately outweighs any early hesitation. She knows how to command stillness, and this film gives her plenty of room to do exactly that.

I’ll admit I went in blind, unfamiliar with the original play, and for much of the runtime I wasn’t entirely sure where things were heading. The narrative keeps its cards close, and clarity doesn’t fully arrive until the end. At which point it confirms what you may have suspected from early on. That slow reveal can be either intriguing or frustrating depending on your patience, but it feels intentional rather than careless.

One of the most interesting aspects is how the material is reframed around African American characters, along with more openly LGBTQ+ identities and the politics surrounding them. What’s notable is how relaxed the film feels about this. Instead of leaning into heightened tension or historical accuracy, it presents these dynamics as part of everyday life. Even if that ease may feel more modern than the period itself. That creative choice gives the film a looseness and accessibility that invites the audience to engage with the material from a fresh angle.

Though as shame as they’re are only three African-American characters, and by the end two will try to attack and kill each other. 

This isn’t an especially exciting film in the traditional sense. As period pieces rarely are, but the shifting power dynamics within relationships and the sharp, biting dialogue keep things moving. Conversations matter here. They keep the film alive and keep the audience leaning in, especially as everything circles around a lavish, almost dreamlike dinner party that feels both glamorous and quietly ominous.

Most importantly, this stands out as one of Nia DaCosta’s more original-feeling projects. While it’s still an adaptation, it’s not tied to sequels, franchises, or existing cinematic universes. You can feel her breathing a bit easier here, letting her style emerge more clearly and trusting the audience to follow. It’s a reminder of her talent as a filmmaker rather than a caretaker of someone else’s vision.

Hopefully, this leads to more projects where she has that kind of control. where she can fully flex her artistic muscles instead of feeling like a placeholder executing someone else’s plan. There’s a strong filmmaker here, and films like this suggest she’s at her best when she’s allowed to lead rather than follow.

As even after the film, one still is thinking about it

Grade: B-

IT WAS JUST AN ACCIDENT (2025)

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Written & Directed By: Jafar Panahi

Cinematography: Amin Jafari

Editor: Amir Etminan

Cast: Vahid Mobaseseri, Mariam Afshari, Ebrahim Azizi, Hadis Pakbaten, Madjid Panahi, Mohamad Ali Elyasmahr, Delmaz Najafi, Afssaneh Najmabodi, George Hashemzedah 

An unassuming mechanic is reminded of his time in an Iranian prison when he encounters a man he suspects to be his sadistic jailhouse captor. Panicked, he rounds up a few of his fellow ex-prisoners to confirm the man’s identity.

It’s Best to go into not knowing too much about the film I only went as it was so highly recommended and rated. Though now there are spoilers in this review.

I was not prepared for what I saw, though that was half the fun of it was discovering the characters the film the story as it went along as we’re not given that much initial information we have to go with what we are being shown and wondering where this is all going to go and then once the story does set itself up, we follow with bated breath

As the film is a morality tale overall, in which there is a central mystery to everything and as it goes along, we’re introduced to new characters who have their own stories and show us different ways of dealing with grief, but also raise the mystery even deeper and thankfully are not just types. They might be representations of different moods, but overall they do feel like real characters.

The film ask you as a revenge tale what would you do and to look at humanity your morals, your sense of justice in finding peace and could you ever with questionable or maybe purely circumstantial evidence?

If the film does have, I won’t say a weakness, but a problem is in the third act the confession so easily given just felt a little too easy. It would’ve been better if we are left questioning if this character is giving a confession only so they can escape or be let go and be with their family, but it’s made pretty clear that is who they are or who they were and the reasons why.

after the admission, when telling why they did this, that was also could be felt as a false note but it also kind of works because that is where I feel like they’re really trying to explain themselves make excuses and try to plead so that they can see their family again

What one can appreciate mostly about this film is that it isn’t done in an intricate thriller way it’s done in a matter of fact every day type of fashion. There was no grand plan. It’s as in pest as the initial act itself and it’s adults dealing with emotions and a ticking time bomb of a situation who act in the same way, not like experts field technicians, soldiers, cops, career criminals, or anything like that just normal people trying to decide what to do and that feels like a breath of fresh air, especially in modern cinema, as you can only usually find this, unfortunately, in either Indie productions or foreign films. There seems to be a lack of adult storytelling in filmmaking in major cinema, but this is no surprise to anyone reading.

It’s a thriller that plays as a drama or a drama that tries to play like a thriller, either way it’s engaging, and it takes its time to tell its story rather than feeling rushed. There’s a film. You might wanna watch more than once and that you might feel a different way watching the second or third time and you did the first when you’re privy to more information.

 I was surprised to find out that I had seen one of the director Jafar Panahi’s films before he’s directed many but I’ve only seen one of them which was the film OFFSIDE which still deals with a serious situation and is dramatic but it’s a little bit more lighthearted and dare I say a little indefinite has a happier ending that feels all encompassing. As this film is heavy, though thankfully not as depressing as it could’ve been. Nor quite as down trodden that goes for the characters also. 

By the end, you understand the title as you wonder was it fate for this to happen or was it just one of those random coincidences?

It has one of the most tension filled and scary endings, especially in a drama that one has felt in quite some time

Grade: A 

OMNI LOOP (2025)

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Written & Directed By: Bernardo Britto 

Cinematography: Ava Benjamin Shorr

Editor: Martin Anderson and Bernardo Britto 

Cast: Mary Louise Parker, Ayo Edebiri, Carlos Jacott, Hannah Pearl Utt, Harris Yulin, Chris Witaske, Steven Maier, Eddie Cahill,

A woman from Miami, Florida decides to solve time travel in order to go back and be the person she always intended to.

This is a movie I should have enjoyed as the science fiction in minor elements were interesting and even the time travel components were fun and different. Though it never quite comes together in a strong way.

As at first the film seems to stay on target Exploring time travel and the many ways in which our main character keeps going back but has to movie forward to make any progress.

Then the second half of the film changes tone. Whereas before it was a light wacky comedy. I. The second half for becomes more dramatic. As the main character has to face some harsh truths. that no matter what her fate, will end up being the same and that maybe instead of spending her time trying to change things. She should accept what she does have and appreciate the time she has left with them.

This is after she has explored different fates and  looked up people from her past. So that the film becomes overly sentimental with some hard truths passed along. 

Which could work as the film gets you to watch with comedy and sci-fi then tells the story it wants you to truly stay for and pay attention to while remembering to reference some sci-fi again to keep it in the realm. 

It’s a sweet movie, but never quite reaches its potential and makes you wonder what exactly was the aim. As it does tell a story but makes it so maudlin and complicated getting there. That it feels a little too much and never quite raises above a certain tempo. 

Even the cast who are good seem more in the middle. Never quite too strong or excited or energetic. The film feels way too laid back and passive. 

though Ayo Edebiri get’s co-Stsr credit she is more a supporting actress and it’s featured more heavily in the first half of the film than the second half and while she does what she needs to do doesn’t make any strong impression in the role, but then again the role doesn’t really give her too much to do either

It’ not a bad movie just not for me. Maybe I am missing something. 

Grade: C

ROOFMAN (2025)

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Directed By: Derek Cianfrance

Written By: Derek Cianfrance and Kirt Gunn

Cinematography: Andrij Parekh

Editor: Jim Helton & Ron Patane 

Cast: Channing Tatum, Kirsten Dunst, Lakeith Stanfield, Peter Dinklage, Ben Mendelsohn, Uzo Aduba, Juno Temple, Melonie Diaz, Tony Revolori, Emory Cohen

A charismatic criminal, while on the run from the police, hides in a hidden space of a toy store. There, he adopts a new identity and becomes involved with an employee, beginning a relationship as unlikely as it is risky.

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This shows that Channing Tatum is a very adaptable actor, as he has previously been part of Steven Soderbergh‘s films in various capacities. Who has so far gotten the best work out of them next to the 21 JUMP STREET movies & franchise, which always offer a bit of a comeback for him. As it introduces him in appeal that is unexpected.

This film is another one that proves again Tatum’s charm in a role he fits into perfectly. That while being tough, there’s a sensitive soul, a romantic who has depth and is not all surface.

This is actually Director Derek Cianfrance most mainstream film, (THE PLACE BEYOND THE PINES, BLUE VALENTINE) but it still maintains his Indie artistic flourishes that grabbed the audience and keep the film from seeming like Hollywood fluff. Even as it adds to his repertoire of another failed romance story for him at the helm.

Another big surprise in the cast is Kirsten Dunst, who is thoroughly believable in her role, as the religious single mother whom Tatum‘s character falls for, especially after watching her under surveillance for so long.

This film is based on a true story that fits into the mold of movies like BERNIE and HIT-MAN (both directed by Richard Linkletter) that humanize is supposed to harden criminals, making their tales a bit more comedic & light than they normally would be told. Having the audience root for the criminal even if we know in the end, there will not be a happy ending at least not a traditional one. These films are usually more about the character or characters as well as the ensemble and ambience that is around them.

Was surprised that this film bombed at the box office. As it seems to have all the right elements for a non-traditional romantic comedy, but enough material that would appeal to more of a broad audience. It seems that maybe as it was a more grown-up, adult, human interest, drama and comedy, As well as being told in a small simple way that doesn’t have as many gimmicks or distractions, full of wackiness or slapstick, nor action that audiences didn’t go out and seek it more. Though could easily see this film being more of an audience pleaser.

Now some audience members might complain about the romance angle. Which might slow it down for some, but is what humanizes the characters and the story. Which makes it so compelling, rather than something thinner that you watch for action or antics. it doesn’t have to rely on filler it fills out the film.

I won’t lie and say this is the most exciting film, but it’s a nice down home story that entertains and grabs you as it goes along

Grade: B 

BALLAD OF A SMALL PLAYER (2025)

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Directed By: Edward Berger

Written By: Rowan Joffe

Based on the novel by: Lawrence Osborne

Cinematography: James Friend

Editor: Nick Emerson 

Cast: Colin Farrell, Tilda Swinton, Fala Chan, Alex Jennings, Deanie Ip, Jason Tobin, Adrienne Lau

Lord Doyle is laying low in Macau spending his days and nights on the casino floors, drinking heavily and gambling what little money he has left. Struggling to keep up with his fast-rising debts, he is offered a lifeline by the mysterious Dao Ming, a casino employee with secrets of her own. However, in hot pursuit is Cynthia Blithe a private investigator ready to confront Doyle with what he is running from. As Doyle tries to climb to salvation, the confines of reality start to close in.

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Unfortunately , this is another film where it’s a case of style over substance and the strange part is that there is enough substance to truly match the style, but by the end, it just feels so empty and almost like an opportunity wasted.

The film tries to tell the tail as the title suggest in a small way, even though it’s international, it sure does live up to the title. As it shows a small time player who wants to be bigger and more successful than what he is in this growing huge international market, and no matter how much he wins or loses, he still stuck almost insignificant in this world.

Even though director, Edward Berger gives his all and making this film flash and a visual delight with plenty of color and style throughout, not quite making the images always surreal, but definitely always making them feel alive when bright, but also feeling chill and coldness when there is no color and it’s rather plain 

which is rather shocking as with his previous two films conclave and all quiet on the Western front adaptation both seem to be simple yet highly visual with the media stories that seem to plane at the time, but as the film goes along, truly brings the audience in deeperz.

where as here the film seems to go for flash and slowly reveal a more dramatic story underneath, but there’s just no meat to be chewed on as we watch so that the only time the film truly is entertaining is when it comes to the visuals and more visual storytelling rather than the dialogue scenes and the little meat that they offer

Colin Farrell gives his all in his performance as the gambler in the middle of this, but again it’s something we’ve seen before and many other films, and we never quite understand why he makes certain decisions. There are explanations that has left more for the audience to read into. 

Just as Tilda Swinton having a supporting role here, though it feels more like a special appearance as her role is vital, but she’s not given much to do other than have kind of a frumpy noteworthy look and style. 

This one was like watching a steak or a meal that just looks so big and delicious but then when you bite into it is undercooked and thus disappointing 

Where you can imagine how great it could’ve been but have to deal with what it actually is. 

There is glitz and glamour, but they’re still seems to be something missing things. We are supposed to take for granted or figure out from little information we are given as there aren’t that many explanations, but big decisions and actions that we question the meaning behind all of them.

Grade: C

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. 

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