Category: Uncategorized
-
Two Creations, Two Collapses: Frankenstein and Die My Love
We are living in a fascinating year filled with new narratives and vivid emotions around parenthood. It has become a phenomenon in its own right. The shifts that are evident are the diverse ways in which this moment is being depicted. Thus far this year we’ve seen a wide and balanced set of stories —…
-
Love in the Flesh: Together (2025) Blurs Romance and Body Horror
Release Date: July 30, 2025 Runtime: 102 min (1h 42min) Rated: R — for language; graphic nudity; brief drug content; sexual content; violent and disturbing content Production Companies: 30WEST, Tango, Picturestart, 1.21; Princess PicturesClassics Producers: Alison Brie, Dave Franco, Mike Cowap, Andrew Mittman, Erik Feig, Max Silva, Julia Hammer, Timothy Headington Cinematography: Germain McMicking Editing: Sean…
-
Fantastic Four: First Steps – Marvel’s Retro Reboot That Actually Works
Release Date: U.S. release July 25, 2025; world premiere July 21, 2025 Runtime: 115 minutes (114 min 29 sec) Rating: PG‑13 (for sci‑fi action violence and thematic elements) Production Companies: Marvel Studios & 20th Century Studios; distributed by Walt Disney Studios Motion Pictures Producer(s): Kevin Feige (producer); executive producers Louis D’Esposito, Grant Curtis, Tim Lewis; co‑producer Mitch Bell…
-
Eddington Review: Ari Aster’s Dark Satire of Pandemic America
Release Date: July 18, 2025 (U.S.) Runtime: 2 h 28 m (148 min) Rating: R Production Companies: A24, IPR.VC, 828 Productions, Square Peg Producers: Ari Aster, Lars Knudsen (+ exec. producers Alejandro De Leon, Robert Dean, Harrison Huffman, Todd Lundbohm, Andrea Scarso) Cinematography: Darius Khondji Music / Composers: Bobby Krlic (aka The Haxan Cloak) and Daniel Pemberton Eddington (2025)…
-
Materialists Review: Celine Song’s Deceptive Rom-Com That Dares to Get Real About Love, Money, and Power
Release Date: June 13, 2025 (U.S.) Runtime: 117 minutes (1h 57m) Rating: R (language & brief sexual material) Production Companies: 2AM, Killer Films, A24 (domestic), Sony Pictures International Producers: David Hinojosa, Christine Vachon, Pamela Koffler, Celine Song Cinematography: Shabier Kirchner (shot on 35 mm film) Music / Composer: Daniel Pemberton; also features Japanese Breakfast and Baby Rose…
-
Review: Eva Victor’s Sorry Baby Is a Quiet Triumph of Life After Trauma
Eva Victor’s Sorry Baby is a stunning debut about the messy aftermath of trauma, the beauty in small moments, and the quiet resilience of friendship. With wit, warmth, and restraint, Victor crafts a story that lingers—delicate, disjointed, and real. A haunting, unforgettable “traumedy” that understands healing isn’t always linear.
-
Final Destination: Bloodlines — A Bloody Rebirth of Death’s Design (And Ranking Every Kill That Made Us Gasp)
Final Destination: Bloodlines revives the franchise with inventive kills, emotional resonance, and a chilling send-off for Tony Todd’s iconic character. Balancing gnarly visuals with themes of fate and generational trauma, this requel honors the original while carving out new ground. A sharp, symbolic return that doesn’t cheat death.
-
The Last of Us Season 2, Episodes 4–5: Love, Loss, and the Spiral of Vengeance
In “The Last of Us” Season 2, Episodes 4 and 5, Ellie and Dina navigate grief and revenge after Joel’s death, contrasted by moral complexities within the WLF and the emerging threat of the Seraphites. The episodes delve deep into themes of sacrifice, love, vengeance, and humanity’s struggle for survival in a brutal world.
-
Clown in a Cornfield Review: A Bloody Satire on Tradition vs. Youth
Clown in a Cornfield, set to release on May 9, 2025, is an R-rated horror slasher directed by Eli Craig. Based on Adam Cesare’s novel, it explores generational tensions in a decaying small town through satire and humor. The film features a killer clown named Frendo and a young cast navigating this chaotic environment.
-
Black Mirror: How ‘Plaything’ Echoes the Interactive Chaos of ‘Bandersnatch’
The Black Mirror episodes “Bandersnatch” and “Plaything” intertwine through shared character Colin Ritman, delving into themes of free will, trauma, and isolation. While “Bandersnatch” is an interactive experience questioning control and agency, “Plaything” explores artificial life and consequences of creation, ultimately reflecting on manipulation and human consciousness.
818 Lens 