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Mickey 17 2025
“Mickey 17” generated high expectations.
With direction and screenplay by Bong Joon Ho (“Parasite”), and a cast that includes Robert Pattinson and Mark Ruffalo, the setup is promising.The premise is intriguing: in the near future, human clones can be printed and reprinted, carrying over past memories and consciousness. Essentially, everyone becomes disposable.
The film boasts an interesting futuristic aesthetic—though not groundbreaking in this genre—leaning into a cold, sterile palette of white and blue. Combined with a narrative style reminiscent of Terry Gilliam, it fails to truly engage.
At best, it entertains those who enjoy the genre.
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Babygirl 2024
“Babygirl” has been described as “9½ Weeks 2,” but that’s not accurate.
While the film leans into an exaggeratedly erotic narrative, its intent isn’t to be a shallow voyeuristic drama like “50 Shades of Grey”. Instead, it explores the affair and power dynamics between a CEO (Nicole Kidman) and a young intern (Harris Dickinson), and how that relationship impacts her family life—particularly with her husband (Antonio Banderas).
The screenplay isn’t groundbreaking, but it has its moments, especially in Dickinson’s dialogues.Translated from by
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The Gorge 2025
It tries to cover every genre. Starts as a spy thriller, shifts into a mystery, then dives into drama. Soon enough, horror takes over—completely unhinged—until, after two hours and every cliché in the book, it circles back to romance and wraps up.
The only thing keeping the plot from being totally predictable is the surreal horror segment, where the seemingly supernatural mystery turns out to have an utterly ridiculous explanation.
In short, it’s a mess—but an entertaining one.
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