Tag: Romance

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 

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 

OUR LITTLE SECRET (2024)

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Directed By: Stephen Herek

Written By: Hailey DeDominicis

Cinematography: Graham Robbins 

Editor: Heath Ryan 

Cast: Lindsay Lohan, Ian Harding, Joe Rudnitsky, Kristen Chenowith, Tim Meadows, Judy Reyes, Katie Baker, Dan Bucatinsky, Ash Santos, Henry Czerny, Chris Parnell, Kurt Yue 

Avery and Logan haven’t spoken in the 10 years since they broke up. As Christmas approaches, they discover that their new partners are siblings, and both of them have been invited to stay with the family for the holidays. Avery proposes that they keep their past a secret to avoid any awkward confrontations, but hiding the truth turns out to be more difficult than it seems–and spending time together reignites old sparks.

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The film Has the screwball comedy concept down. 

In veteran director Stephen Herek’s hands makes what could have easily been insufferable into something more memorable. Very formulaic 

It get’s a bit racy but never over the edge and stays quite clean. Though goes a few places you wouldn’t expect, but keeps its subjects and targets soft. After all it is a movie aimed at the holidays for families for the most part. 

I will admit I watched this movie mainly to see actress Lindsay Lohan. I was a fan when I was younger and was alway rooting for her through her turmoil with fame, but always thought she was talented and had the skills. Making quite the comeback here. Though not as full fledged as one would hope. Though she is trying and sells the material.

So looked forward to her many comebacks. Luckily they have recently seemed to stick, but mostly here does what is required. She comes across a bit stiff and too poised. Especially when she needs to throw herself into it more. 

The film Is filled  with reliable recognizable and reliable actors who the audience  will instantly recognize. 

It’s a Sweet romantic comedy that is a bornvoer the top yet relatable. As most of the characters throughout are holding secrets. None that small they are all quite devastating in the end. 

Which at least leaves the movie with some gravity. As most of the other gags seem forgettable and never quite Go for  the full damage or gambit of consequences, but still Manages to leave a smile on your face. 

Grade: C+

THE ACTOR (2025)

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Directed By: Duke Johnson 

Written By: Duke Johnson and Stephen Cooney 

Based on. The novel “MEMORY” by: Donald E. Westlake 

Cinematography: Joe Passarelli 

Editor: Garret Elkins

Cast: Andre Holland, Gemma Chan, Toby Jones, Tracy Ullman, Joe Cole, May Calamawy, Tanya Reynolds, Youssef Kerkour 

When New York actor Paul Cole is beaten and left for dead in 1950s Ohio, he loses his memory and finds himself stranded in a mysterious small town where he struggles to get back home and reclaim what he’s lost.

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This is a strange film as it is beautifully film, offering surreal, imagery, mystery, nostalgic throwbacks in a bit of artificiality that the film leans into when it comes to fading memories, or one memory leading to another and connected 

What a strange about this tail is that it plays a bit like film noir it seems to want to head that way, so it plays more like a romance, as well as a psychological character drama that fully tries to illustrate the lead characters, fractured, memories, and emotional state due to this condition 

Though ultimately the problem with the film is that it doesn’t really go too many places it explores the situation, but you never know where exactly it’s headed and it still doesn’t really offer any answers and what it does. They’re not really that big revelations so you wonder what are we supposed to do with this And even though the film doesn’t outright explain anything we’re able to get answers through small little clues

Obviously, the film deals with identity, and whether this is truly the person’s identity stripped away, and who he was before was always an act. This is more the emotional vulnerable him or is he in fact, truly a different person.

Just as we are left a question what’s real as the film is obviously filmed more on sites than actual locations and can easily walk over to the vaccine or memory, but it makes it not only a movie but also makes it feel more staged, but also loose in itself as there is obviously a design to it all, but you never know where it’s gonna go so more like an outfit from the runway, though in the parameters of an outfit that someone could wear daily, but still with that wild streak. As the sets work to show that each time he moves on, he is in a new scene or a new set for him in his life. 

If anything, the film plays more like a dramatic romance that is dreamlike and fits in with movies such as MOOD INDIGO, and THE SCIENCE OF SLEEP where it’s more about the creative forces,  presentation and artistry on display. As the films and the filmmaker seemed to get lost in their imagination and while it all looks good by the end, it doesn’t come too much

Though it all looks pretty and it does entertain it’s very light on material, even though there is plenty of depth. Though sometimes that creativity seems like it is more there to either distract or make up for the lack of action.

Though this film is admirable, if you give it a chance for its beauty and what it attempts to do not to mention where it takes you to and leaves you for you more interpret as it is sweet and old-fashioned now using more modern storytelling techniques. Not to mention the bravery of the filmmakers to make this film and live in the moments.

Another aspect that keeps the film feel more like a stage plays is that some of the noticeable and notable actors play at least three different roles throughout. Usually minor but meaningful ones. That come In each phase or territory that he travels to. 

Andre Holland in the lead is excellent as usual, truly showing his leading man presence, looks and vulberability. Gemma chan as the female lead is so precious though one wishes she was given more to do and play with. Even as with that decision she plays more of a sweetheart who the audience falls in love with, as she is truly innocent throughout.

Hopefully this will be a film that is discovered and studied by Audiences In the future and not just an undiscovered gem. That while shiny isn’t as heavy as it should be. 

by the end, you just wish that it had more to say and something you can grab a hold of so that it could truly match its beauty

Grade: B-

CONTEMPT (1963)

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Directed By: Jean-Luc Godard

Written by & based on the novel “IL DISPREZZO” By: Alberto Moravia

Cinematography: Raoul Coutard

Editor: Agnes Guillemot 

Cast: Jack Planace, Brigitte Bardot, Fritz Lang, Michel Piccoli, Giorgia Moll

A French writer’s marriage deteriorates while working on Fritz Lang’s version of “The Odyssey”, as his wife accuses him of using her to court favor with the film’s brash American producer.

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Tortured Myself again, by watching another Jean Luc-Godard From my Criterion Collection, sight unseen.

I know how dour that already sounds. You just have to know that me and Jon Luc Godard films have had a love-hate relationship. I have actually liked and enjoyed some films that I didn’t expect while other films that are considered classics I found rather boring noteworthy for different reasons.

I like the ideas of Jean-Luc Godard, in his style though the films not necessarily as much at times they work, but usually not at least for me as they become statements which might have worked at the time as bold but now come across as pretentious, cinematic, theatrical games, there is a living quality to them in an absurd quality, as they are usually quite beautiful, but leaves the audience lost to find their own way, which is commendable, if not having

I will say watching the movie is like reading a classic book you don’t like and wonder why so many do as it feels more like an assignment that you’re determined to finish 

This is one of those movies where you’re going to come up with your own theory or understanding of it so I’m only gonna present my interpretation.

Now it’s always entertaining watching a younger Jack Palance in a film, as well as young women, riding bicycles in skirts. Though watching Fritz Lang steal the movie in his scenes was worth it

It is another movie of Brigitte Bardot being torn supposedly between Teague lovers neither of which is seem a good choice, but one is better than the other and her never having chemistry who is the one who is older, has more money and seems more want her only physically.

This film is a satire film making, but it seems to turn more into a domestic drama romance of a deteriorating marriage.Even as it explores the themes of selling out or staying, true to your principles.

That was it’s a beautiful locations still end up being a hang out movie that is in the middle of paradise yet everyone is oblivious to the beauty of their surroundings or they’ve been there so long that it is normal to them, though the film still manage to showcase the beauty and appeal of Brigitte Bardot and it seems like while everybody in the film can see her beauty she is like the background to them. They’ve grown so used to her that it’s normal, but will still contest her. Well, the film and filmmaker bathe her and loving light as well as give her a meaty challenging role. Though questionable if you might actually like her by the end

One can say that at least she gets to play full character other than just a fantasy or an object of beauty pretty much a bombshell, though she does Grace the poster, so it she did help sell tickets for this phone as next to Jack Palance she’s the biggest name in the film and of course Fritz Lang. No, she seems to be the entrance or introduction for us to the Phil as the camera lingers on her

Throughout the film, we see the games that all the characters seem to be playing weather in love relationships filmmaking financing.

Now one can see where Martin Scorsese got part of his score of CASNO from. It gets  annoying a bit at times watching its source play throughout. The score “ST. MATTHEW PASSION BMV 244/PART TWO: WIR SETZEN UNS MIT TRANEN NEIDER”’By Johann Sebastian Bach 

Which leads me to wonder Did he use it to subconsciously say that all these characters are in this Idyllic Wonderland in that they are alienated from it due to mounting domestic pressures & alienation from one another

Didn’t expect this to become one of Godard Morchella Ching films even though it’s seams like most of them are as the film deals with alien nation. It almost feels more like a Michelangelo Antonioni film only no not as long, and this seem to have more of a cruel, ending the natural ending.

In the end, I have no problem, admitting maybe I didn’t quite get it as much as others did as I loved the concepts and drama that was introduced that lead to discussions and conversations even after you watch the film no again I can’t say I enjoyed it, or necessarily would need to watch it again

I LOVE YOU, FOREVER (2024)

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Written & Directed By: Cazzie David and Elisa Kalani

Cinematography: Christine Ng

Editor: Autumn Dea, Colin Fair and Natalie Toppino

Cast: Sofia Black D’Elia, Ray Nicholson, Cazzie David, Jon Rudnitsky, Olvier Cooper, Raymond Cham Jr., Michael Manasseri, Owen Thiele 

A subversive romantic comedy gone wrong that follows a young woman into and out of an emotionally abusive relationship.

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This film tries to say something with a more sarcastic voice in this film, though not quite loud enough it’s more like an affection.

Which is a shame, consider considering the films potential but it’s definitely a film worth checking out.

The film horrifies you and opens your eyes to a certain type of behavior and the hearts that lie within. Which can be worse as it is more intimate than spontaneous.

Though the film goes for overkill at times, and clearly shows his ridiculous scarring mental state and no one seems to note or notice it even him, and he never sees his own problems. Though we continuously see the damage it causes to our lead who is young and impressionable, even though she has had dating in relationship experience.

You wonder in the audience if the film would’ve hit harder if maybe she had a bit more experience or was a bit older and didn’t come off as desperate at times to a degree. So eager to PLEASE, but that might be the weakness of that the character played by Ray Nicholson is looking for.

The lead played by Sophia Black D’Elia is supposed to be kind of an every woman showing how anyone can fall into a trap or be prayed upon by such a person. though you can see why she would fall for this guy when her one other romantic partner is such a jerk and we never see anyone else show any interest in her

which makes sense for us in the audience to see that her choices in the dating pool are limited and messed up in someway, or are not surely looking for anything more than sex.  

Ray Nicholson seems to be the actor these days to play romantic psychopath as he appears to be quite gifted at it would be nice to see if he is truly a character actor by playing something a little different maybe a little more normal

The ending packs of punch, but also kind of treats it like a dark joke. It needed to show a bit more as you want more answers, but it leaves the audience like the main character wondering what

As the abuse scene hit hard and will have you screaming at the screen, causing an emotional reaction. Is though the film is supposed to be a comedy at times and her friends seem stuck in comedic roles, yet most of the film feels more like a drama for the most part.

So at times the film has two different styles working against each other, though for quite a few scenes they seem to work hand-in-hand.

it does make you wonder if when it comes to his friends who are very minor in this film if he pays for them to be so willing to feed into his paranoia or they doing it out of loyalty.

All the film is a subversive, romantic comedy one wishes it was a bit more subtle and stronger with its punch and it’s punchlines.

There are things to admire, but it feels a bit after school special-ish only without a typical ending.

For a debut feature The film is a great showcase for all involved, especially Cassie David, who costars who wrote and directed the film. It’s quite assured and defitnely  has something to say. Can’t wait to see what she comes up with next.

Grade: B-

THE DEAD THING (2024)

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Directed By: Elric Kane 

Written By: Elric Kane and Webb Wilcoxen 

Cinematography: Ioana Vasile

Editor: Star Rosencrans

Cast: Blu Hunt, Ben-Smith Petersen, Katherine Hughes, John Karna, Josh Marble, Brennan Mejia, Joey Millin, Aerial Washington 

A young woman lost in a series of meaningless connections falls in love with a charismatic and sensitive man, who hides a dark secret that turns her affair into a dangerous obsession.

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The film starts off with such a shock that it reminded me of the film RED WHITE AND BLUE. The shows the mundane life she has and those around her are so lifeless, but when she is with different men. She feels alive and with this one who seems to finally grab her interest and want to see more than once, is of course supernatural. Which we won’t find out like her until later. 

Though It’s never quite explained as even the character who it happens to can’t understand. The film doesn’t make it too much of a spectacle. Though it doesn’t mystery and thus life to the character, but also the film. It’s never quite fleshes out its ideas. The film is always doom And gloom as ItMs never fun and becomes quite repetitive. 

The film explores, Just when you think you have made a connection and you each like one another. You get ghosted literally. As Later revelations is she a nymphomaniac using sex to make her desired and feel good about herself, not necessarily happy. As the film never quite explains her motivations. She is just very sexual and then meets the right guy. Who she makes a connection with, then her literally ghosts her and she can’t take it. Treating her how she has treated others, except without the death part 

The film is broody and moody. Though one you could certainly talk about even for It’s Cut and dry factors. It seems to have something to say, but not quite. As it seems more provocative only to be seen and noticed . It’s Not necessary, yet keeps you interested by its presentation. 

It’s also mainly due to the lead Blu Hunt that keeps one captivated. As she has an exotic yet plain attractiveness.

It seems ridiculous as her character is so attractive and she doesn’t appear to be that picky. Though even her original co-worker failed at seduction of her. But she is willing to keep hooking up with the undead/ghost/zombie/dead guy and she knows it. So that she comes off as a necrophiliac willing to cross the line because he is attractive. It’s Like the film substituted who she should have gone for for a cuter guy.

This is what happens when you forsake your friends, work and responsibilities for lust, their partner and/or sex. As Time passes and you don’t realize what you are missing or losing. 

The film keeps you guessing in its reveals but never quite tells or explains. Like in a relationship you learn more as it goes along.

The film is built on metaphors throughout. It also feels a bit superficial. 

As it’s a relationship horror film that offers It’s take on dead end relationships. Accepting the faults that might end up affecting you and killing you. 

She’s Obsessed as he Seems to feed off of her. He becomes more desperate as she rebounds. As She is ready to get over him he comes back and seems to only want sex and for her to take care of him and forget her own needs.

The film is slow paced and offers a slow burn as it takes its time. It keeps its world so small. So that there aren’t that many characters. Though it seems to take place in Los Angeles. It seems to stick to its neighborhood. 

This erotic thriller that catches your attention immediately, but always so downtrodden. As it’s only an erotic thriller as it seeks that theme with mood, sex scenes and nudity. Though the lacks of chemistry between the leads messes up the experiment and the nudity in the sex scenes is solidly focused on her and her being topless. 

How come no one else like her roommate checked on her. Even though they share a place. 

As we watch the Dangers of jumping into a relationship. Even though demand the attention does make them both feel Separately and together. Even if the couple on the middle of this film don’t necessarily have any chemistry. 

It has a plot point that you can see coming, but doesn’t need to be there. As it seems there just to add a body count. 

The film might have made a more effective short or could have been edited down a bit to be shorter. Maybe if it had gone with some stronger ideas that it sets up. It would feel stronger and about more then relationship similes and a doomed love story. Which we have seen before. 

It might have helped if there was a female writer on this film. As it is written and directed by males. Where it feels less sensitive and more masculine. 

Even the ending why does one character,  who he kills come back but not any of his other victims?

In the end it seems to be a film that shows the emptiness of sex. As it goes out of its way to make it look so unappealing for the most part and how it causes nothing but pain eventually and even death. That is the way I read it maybe i am dyslexic when it comes to this film and also I am single. 

ETERNAL BEAUTY (2019)

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Written & Directed By: Craig Roberts 

Cinematography: Kit Fraser 

Editor: Stephen Haren 

Cast: Sally Hawkins, David Thewlis, Billie Piper, Alice Lowe, Myfford Clark, Rita Bernard-Shaw, Robert Pugh, Paul Hilton, Penelope Wilton

This movie follows Jane who, after being left at the altar, had a breakdown spiraled into a chaotic episode of schizophrenia lasting 20 years, in which love (both real and imagined) and family relationships collide. Things change when she begins a darkly-comic romance with Mike, a failed musician and fellow lost soul.

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Though it got no major release. Sally Hawkins’s performance in ETERNAL BEAUTY is amazing. Better & bigger than the movie, but the movie is what she needed to truly show her talents and as a showcase. Give the movie a chance. A deep look at mental illness.

The film isn’t bad but it feels like the runway for her character and performance to launch off. It works as a kind of case study file but where we get to see the outside influences that have helped to contribute to her mental illnesses. 

Not that Ms. Hawkins hasn’t Had plenty of great roles and performances since seemingly being introduced with the film HAPPY GO LUCKY. Thougbbshe had been in plenty of movies, television and theatrical productions prior. That film seemed to be her breakout role 

The film takes a Look at her paranoid schizophrenic character with a horrible family who only seems to inspire her condition to make it worse with their indifference or Using her  Where only one Family Member truly seems concerned but that character is influenced more by the rest of the family. To look the other way. Which also causes problems within her marriage. 

The first half plays out like a tragedy and the second act is more of a romance where the colors get richer and the style of the film becomes a little more surrealistic. It also becomes a bit happier though still downtrodden but hopeful 

It helps if the material is strong enough for them to base a performance on mention as they get older more is expected of them or a certain legacy is on them, and it is hard to live up to especially when you were just trying to do the work and work and more and more you’re not getting the roles you used to and the writing isn’t as strong. 

As the film goes along we learn that each of her family members has their drama  And dysfunctions as the film doesn’t  Seek to villainize any characters but shows them as human beings fallible 

The film is Advertised more as a romantic comedy between two people with mental illnesses it is deeper than that as it was kind of bait to hook More mainstream tastes seem more conventional for audiences. 

Grade: B

LOVE HURTS (2025)

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Directed By: Jonathan Eusebio

Written By: Matthew Murray, Josh Stoddard and Luke Passmore 

Cinematography: Bridger Nielson 

Editor: Elisabeth Ronaldsdottir 

Cast: Ke Huy Quan, Ariana DeBose, Lio Tipton, Cam Gigandet, Marshawn Lynch, Rhys Darby, Mustafa Shakir, Daniel Wu, Sean Astin, Drew Scott 

A realtor is pulled back into the life he left behind after his former partner-in-crime resurfaces with an ominous message. With his crime-lord brother also on his trail, he must confront his past and the history he never fully buried.

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this oddly feels like this could’ve been a sequel to the big hit only because again a gang of hitman, a love story and disposable action that is quite visual and admirable from a stunt and fight choreography standard but feels a bit much about nothing.

It feels like a lighter version of the film. NOBODY that packs a much lighter punch. as this is more of a jab.

As all the actors are likeable, you just wish that there was a stronger script because everything here feels like you’ve seen it 100 times before and it just feels so basic that even at under 90 minutes it feels a bit long like everyone is going through the motions The only thing that keeps you is lead actor Ke Huy Quan 

As he is so small and has such a gentle nature, but seeing him be a bad ass is quite watchable, but also seeing him struggle with the two sides of himself, the dangerous side and the good side is quite remarkable 

Everything else about the film though is a little bit tired or familiar even Marshawn Lynch usually is a scene stealer and most films while he’s good and humorous here it still feels like unremarkable in this film 

Same with Ariana Debose, a great actress and Oscar winning actress where you have to wonder why is she here? Was it just the paycheck because she is very enticing in this film and seems to be having fun but she feels better than the material or this film so that it feels like she’s slumming and you wanna see her and better you wanna see key and better You wanna see better than what they have.

you know when the film has multiple screen writers that it’s most likely gonna be a little bit confusing and it’s identity and probably water down. 

It feels like the film is afraid to ever slow down and its pace as every shot must be busy or they have the camera move like a 90s MTV style film with an electronic music soundtrack to keep the bass moving at times you wish it would slow down With its constant push you more and more away from the film and it’s believability

What’s worse is that I am an advocate for seeing for films being seen on the big screen as that seems to be what they when you’re making one. That’s what they’re made for but this film feels like it has blockbuster money, but the script seems more accustomed to a streaming platform and the big screen. 

At least you’re paying for the service and this is what they offer you rather than you going. Spending hard earned money on this and the quality is not that great even though maybe if you’re an action junkie, this might be up your alley, but in the end, even though it is an action film it also seems like it’s more comedic moments rather than the action at times , and it doesn’t seem to be able to have it.

It’s not a horrible film. It’s just a film that seems like it more just gets by instead of trying or attempting to be better and there’s nothing wrong with that being satisfied with who you are but let us know that in the audience beforehand instead of making it seem like you have promise .

Well at least  Ke Huy Quan has a cute moment of a reunion of THE GOONIES having played in the film as data . Here he isso close with his mentor and boss at the realty company played by Sean Astin, who played Mikey in THE GOONIES. As well as them both appearing in the film ENCINO MAN together

Grade: C