28 YEARS LATER (2025)

Directed By: Danny Boyle

Written By: Alex Garland 

Cinematography: Anthony Dod Mantle 

Editor: Jon Harris 

Cast: Aaron Taylor Johnson, Jodie Comer, Ralph Fiennes, Alfie Williams, Edvin Ryding, Jack O’Connell, Chi Lewis Parry, Amy Cameron, Christopher Fulford

It’s been almost three decades since the rage virus escaped a biological weapons laboratory, and now, still in a ruthlessly enforced quarantine, some have found ways to exist amidst the infected. One such group of survivors lives on a small island connected to the mainland by a single, heavily-defended causeway. When one of the group leaves the island on a mission into the dark heart of the mainland, he discovers secrets, wonders, and horrors that have mutated not only the infected but other survivors as well.

This is a  Long waited, sequel from the filmmakers who made the first and original 28 days later. Come back to offer another original slice for the franchise even after sitting out the previous sequel 28 WEEKS LATER.

Well, with this film, they up the ante, actually filming it with an iPhone, but not in the way you think not an actual cell phone but the same technology and rigged up. 

while it does tell its own tale that is connected to the franchise, that might be part of the problem with the film as the film works like a Marvel movie where it should be a standalone that offers the promise of sequels or expanding the world of the 28 later franchise by the end of the film after it tells its tail it just feels like a part one of a way bigger saga so that it comes across is more episodic than a standalone which can work, but it drags the quality of the film down as everything that you’ve seen before you know is going to lead to something else but it’s not quite its own tale or its own film.

It also doesn’t help that the film isn’t really a horror film in the traditional sense. It’s more a post apocalyptic tale and family drama more than anything else. 

As it seems like the two sequels after this will be handled by different directors so it’s almost like a tag team effort like this is director Danny Boyle coming back to start it off, and then he passes the baton to the next person who then continues the story from what we’ve previously seen and tells it in their own way, and then finally the next film is held by somebody different. Who then will tell the 28 later tales in their own way, but give it an ending for now as far as we know

Though let’s focus on what this film does again it sets up the rules of this world and it’s been 28 years since it has been out there. How people have survived what the culture has been and certain territories and what it seems like the rest of the world is doing or handling the situation.

From the opening scene, this film shows that it has no sacred cows and it’s slaughter and violence so that not even children or holy people are safe. Everyone is treated the same.

The film focuses on a young boy and his family him, and his father are hunters who go to the mainland to hunt and look for any kind of supplies to hopefully bring back . Though when the young boy whose mother is suffering from a disease as there are no doctors here that there might be a doctor out there in the wild is willing to take the risk to escape with his mother to the infected lands to try and find this doctor, so hopefully diagnose and care of her so that the rest of the film is pretty much an Odyssey.

It’s also a family tale so that at times it’s its own demented fairytale that has a very demented backstory, but could be folklore also

You’re enjoyment of this film will really retested by how much you can stand this child whether you think he is making the worse and stupidest decisions or you will be able to have empathy and understand why he would risk all of this for his mother 

The film is not going, please everyone and seems to have divided audiences who either seem to have wanted more of the same of the previous films or wanted something a little better structured story wise as the visuals and direction are definitely tight but the story for some might be a little too light or feels like it’s filling the blanks

though in these days and times it’s harder and harder to make an original zombie tale when there’s already so many zombie films out there plus you have The Walking Dead television show telling tales of zombies, even if this is the franchise that helped start the trend of fast or normal speed, running zombies.

The film also has things or seems that you never would have expected on screen such as a pregnant zombie giving birth, which one hadn’t really seen since the remake of day of the dead. The film does depict the zombies with full frontal, nudity, male and female.

The actors are all good in their roles, even if not given too much to do or more playing a bit more cliche roles. As Jody Comer is the costar of the film, and even though she’s in more than half of the movie, I still wish they had given her more to do or she had more to play refines as always steals his scene in his supporting role, as well as Aaron Taylor, Johnson showing his compassion as a father, but also showing that he can do action fiercely.

The film works, as it is a tail that is set in a larger universe that has been built slowly, but surely the story might not be as strong as some people would’ve liked nor as action oriented or violent as maybe some had hoped, but I will give the film credit for trying something unexpected whether it succeeded or not is up to the individual audience member, but I enjoyed myself watching the film

The soundtrack is very good by the group young fathers who I am also a fan of him was surprised to find out they did the soundtrack for which is excellent.

it’s an adequate attempt and a good return to the franchise for Danny Boyle and Ryder Alex Garland one just wishes the film felt a little bit stronger and into more of the hints that it feels like will be revealed in further films but are introduced here that keep your imagination open but doesn’t do this to any favors of adding anything to itself.

This is like seeing the sketch before you see the finish painting that is how I would compare this film.

Grade: B 

BACK TO BLACK (2024)

Directed By: Sam Taylor-Johnson

Written By: Michael Greenhalgh

Cinematography: Polly Morgan

Editor: Laurence Johnson and Martin Walsh 

Cast: Marisa Abela, Eddie Marsan, Jack O’Connell, Lesley Manville, Juliet Cowan, Sam Buchanan, Anna Daras, Spike Fearn, Therica Wilson-Read 

A celebration of the most iconic – and much missed – homegrown star of the 21st century, BACK TO BLACK tells the extraordinary tale of Amy Winehouse. Painting a vivid, vibrant picture of the Camden streets she called home and capturing the struggles of global fame, BACK TO BLACK honors Amy’s artistry, wit, and honesty, as well as trying to understand her demons. An unflinching look at the modern celebrity machine and a powerful tribute to a once-in-a-generation talent.


I was probably always going to be harsh on this film as I am such a huge Amy Winehouse fan and I feel like the documentary. AMY is a definitive and informative statement when it comes to her life.

When it comes to biofilms the best, don’t try to tell the whole story they pick a certain period of the person’s life and fill the drama, even if the drama comes from their past. As Amy lived such a short life there might’ve been room to fit in from birth to her unfortunate death at 27

Even after all these years, it still feels too soon for a biofilm as the scars are still there. So I will say the film isn’t as bad as I thought.

Marisa Abela is the best thing about this movie. She is amazing and mimics her vocal style impressively. There are no problems with her performance.

What hurts the film? Is that even at just a little over two hours? It still feels rushed half the time where you can’t tell what part of her career she’s at times. It would also help the love interest at least the film. Would Moore sweep her off her feet and you could understand why she is so attracted to him other than similar interest. as it plays here, he always constantly seems like a walking red flag, even if he might have some raw sexuality or a danger about him, but it never comes across as convincing that she would just give herself so to this character

Another problem in the film is that we see that she gets depressed over the death of her grandmother and the volatile relationship she has with Blake, but it still never quite explains the other parts of the downward spiral. Yes, we can say depression, but it helps if we’re given more evidence instead of kind of just being told in one scene, or constantly being lonely, we need a little more to flash out and to believe in this more.

Sam Taylor Johnson directed the John Lennon bio film NOWHERE BOY, so this isn’t new territory for her she lands the plane so to speak when it comes to this film, but it is quite a bumpy ride with plenty of turbulence that is more not the adventure of the story or characters, but more in the way the story is told it tries to have a smoothness where it feels like it’s not even trying Standard something a little bit more a TV production than a cinematic vision.

As in the end, it plays more like a sad romantic, love story. That is almost one-sided, though there was definitely passion and emotion somewhere in there. 

One believes that if you are a Die Hard true fan of Amy Winehouse, you do not need to see this film. You should’ve already seen Amy but if you’re just curious as to ask her just a bio seems to be a trend. This feels more like a student rather than, someone who cares about getting the story straight and the facts down

Grade: C

FERRARI (2023)

Directed By: Michael Mann

Written By: Troy Kennedy Martin

Based on the book “Enzo Ferrari: The Man, The Cars, The Races, The Machine” by: Brock Yates 

Cinematography: Erik Messerschmidt 

Editor: Pietro Scalia 

Cast: Adam Driver, Penelope Cruz, Patrick Dempsey, Shailene Woodley, Jack O’Connell, Gabriel Leone, Sarah Gadon, Michele Savoia, Valentina Belle, Tommaso Basili 

Set in the summer of 1957, with Enzo Ferrari’s auto empire in crisis, the ex-racer turned entrepreneur pushes himself and his drivers to the edge as they launch into the Mille Miglia, a treacherous 1,000-mile race across Italy.


Every holiday season, Adam Driver seems to cast a big project that might be questionable or controversial.

This film is a portrait of a certain time and the title character’s life that helps explain it and capsulate his past and present. That becomes exciting as its director, Michael Mann, and anyone who is a history aficionado of the title character.

Michael Mann seems to get older you notice that he has more interest in camaraderie and the definition of decision in a person’s life which is usually an older man looking back on life, he might identify more necessarily looking to or including the audience.

The film isn’t like the character reflecting on his life or on his last day or days before his death. It just focuses on a certain period in his life. The worst of times.

Penelope Cruz looks ravishing even here when they try to make her look plain. As she gives an exciting performance throughout the film, she has an international flavor with a jealous streak. As she gets older, she seems to become a more interesting actor, as she is no longer an ingenue, and the roles she gets are filled with more emotions and quite frankly seem to be a bit more juicy, even if not, necessarily the star or the damsel in distress.

I love Lady Gaga, but maybe her role in HOUSE OF GUCCI, if she was going to command the screen so much. She is one of the few notable things about this film. As she is so captivating, you can’t keep your eyes off of her. Takes with could’ve been a thankless role. It gives her something to do with plenty of dramatic territory and scenes. 

Shailene Woodley as the character’s unofficial mistress seems miscast, It could also be the writing as she’s never as interesting as the other characters and can’t seem to keep up with them either as even Sara Gadon playing one of Ferrari‘s drivers seems to have more of a dramatic and more to do or at least throughout.

Patrick Dempsey plays a supporting character. He is barely recognizable in the film. That was quite good.

The film is a Slow Burn. This film seems more for an audience of current enthusiasts or history fans who went to see the story you brought to life yet don’t like to read, maybe the film was meant for people to of the Ferrari car and Branding providing more insight and renewing interest. How he even views his drivers as disposable and wants to keep his brand pure, even though for success, he would have to dilute and make more cars essentially having to hand it over to another business to replicate more copies faster.

I wonder if the racing might’ve been more exciting watching in a theater. The film keeps feeling like it’s building towards something that never comes. Even if it seems like the race will be what this film will revolve around. It Never gets that exciting until a little twist, which is honestly the most shocking scene in the film and one of the best scenes of the film as it finally feels like something is happening.

The only time the film seems to come alive is in the scenes of Penelope Cruz and some of the car crashes.

This film feels like a brick, solid and heavy something to build upon or off of that never quite grows and needs more construction, though it is very well-made. It’s not that entertaining, It’s something to more admire than feel anything for.

The film is like a fine wine that has aged well. It looks luxurious. It looks delicious and refined and looks well made but when you finally go to taste it, it’s not what you expected, nor as good as it should be. Though I guess it comes down to Taste.

Grade: B- 

300: RISE OF THE EMPIRE (2014)

300: BATTLE OF ARTEMESIUM

Directed By: Noam Murro
Written By: Zack Snyder & Kurt Johnstad
Based On the Graphic Novel “XERCES” By: Frank Miller
Cinematography By: Simon Duggan
Editor: David Brenner & Wyatt Smith
Production Design By: Patrick Tatopoulos 

Cast: Eva Green, Sullivan Stapleton, Lena Headey, Rodrigo Santoro, Jack O’Connell, Peter Mensah


After its victory over Leonidas’ 300, the Persian Army under the command of Xerxes marches towards the major Greek city-states. The Democratic city of Athens, first on the path of Xerxes’ army, bases its strength on its fleet, led by admiral Themistocles. Themistocles is forced to an unwilling alliance with the traditional rival of Athens, oligarchic Sparta whose might lies with its superior infantry troops. But Xerxes still reigns supreme in numbers over sea and land

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