“Mickey 17 reintroduces [Bong Joon Ho] as one making the most of a high-concept story, unafraid to wander a little more. A bit too much, as it turns out. But even with the threat of filler dulling his consistency, his creativity remains boundless, crafty, and no less reflective. Once he found its intergalactic rhythm, I wasn’t ready to depart, knowing I was witnessing 2025’s first real standout.”
Full review ——> warm1069.com/review-mickey-17-a-perplexingly-silly-space-odyssey/
“Hancock only needed minutes to start impressing my better fortune with this cautionary tale that deflates the tension of AI as a societal threat but doesn’t undercut its real-world function for a controllable evil, repacking it as a relatable struggle for dominance. Companion quickly gains the upper hand and refuses to relax its grip, even after the credits roll, a stunned face frozen by horror, and possibly delighted in unfiltered decadence.”
Full review ——> warm1069.com/review-companion-robot-friend-for-almost-forever/
“Conclave lifts a heavy curtain to a troubled practice observed by a mighty few, emulated and criticized by the whole of society, and now made transparent for the better of our adaptable social conscience. All too rightfully, it is one of the best, and most essential, films of this year, if not also the decade.”
Full review ——> warm1069.com/review-conclave-corrupt-political-theater-from-the-unlikeliest-place/
Did these two gentlemen help popularize the cinema crossover into something befitting a profitable square peg? Most likely, yes. Did they still make it their own unique idea when pitting their expert wits opposite Chaney’s strict domain? More so, yes. A bit hackneyed and wobbly in their commitment to the atmosphere, tempering any expectations for this to align with a more legit Universal horror from this time. At the same time, with their stamp, and the OGs presiding for quality assurance, it’s entertaining enough to play gateway. Worthy of staying in rotation with the real thing.
"Luca never dares to go too deep underwater, too far, or too complex. Were it a different director or voice in the studio’s roster, only then would it be cause for concern. However, Enrico Casarosa is certainly a diamond in the rough, his unique storytelling angle leaving plenty room to splash down hard, move freely through its 95 minutes, and accomplish an ending most bittersweet, just like the end of summer itself. Hesitations aside, that finale, after what our accidental…
What we have here is the lighter side of Quentin: not too dark, not overly violent, not one to rely so heavily on the motifs he has built over his previous films. It’s uncannily funny, nearly autobiographical, a poignant self-reflection of why film mattered back in the day. However, it’s a little easy to forget the whole Manson connection, and that’s fine. It’s nothing more than a mere footnote in a thick, hazy Los Angelenean backdrop. As such, Leo and…
