An easily bored filmlover who doesn't know what separates a movie from a film.
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Adolescence 2025
I completely understand the general hype and genuinely appreciated Stephen Graham’s courageous attempt to explore the fragmentation and failure of the postmodern individual, particularly their inability to cope with hyper-real expectations across all aspects of life—including the early school environment. For me, the first episode was the epitome of the series; unlike many viewers, I found Owen Cooper’s performance in the third episode veering toward overacting, giving off an unnatural vibe - certainly not on the same caliber of Osments,…
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Attenberg 2010
A valuable female touch and contribution to Greek New Wave Cinema. Tsangari’s storytelling is clearly inspired by her lead actor, yet the strange part is its striking resemblance to Reha Erdem’s early filmography—“Kosmos” being the ultimate reference point. The sociopathic portrayal of Marina strongly echoes Erdem’s female characters, and it’s simply enjoyable to imagine a possible collaboration between the two directors in the future.
My main issue with the film however is the subtle breakdown of this sociopathy toward the…
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The Substance 2024
Matrix greets Chuck Palahniuk’s Invisible Monsters greets Vanilla Sky… and fails to meet artificially heightened expectations. The performances are decent, but that’s about it. The film drags with repetitive scenes that lack any significant impact on the viewer. Toward the end, elements of the abject are forcefully introduced: teeth being pulled out, nails removed, and breasts emerging from various orifices, among other grotesque visuals. However, none of these moments leave a lasting impression, and the ending is utterly nonsensical. It’s yet another addition to the overcrowded list of 2024’s cinematic disappointments.
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