• Zack: Enfrentamiento Mortal

    Zack: Enfrentamiento Mortal

    This is indeed a ridiculous film that only people in Puerto Rico will get a chance to see, most probably. It is so so so bad that it's somewhat captivating to watch, but I won't jump on the hype train and call it good. Entertainingly-baffling popcorn "fun" that as you laugh at it, the film laughs back even harder. Yet still, you wish it was... I don't know... ok? Fine? Fun? Lando knows what he was doing; I wish this…

  • Don't Look Up

    Don't Look Up

    I am not an Adam McKay fan; I dislike his comedies (I slightly like The Other Guys) and his more "serious" work. Nevertheless, Don't Look Up isn't as bad as the trailers made it out to be, from my perspective. Of course, whatever Cate Blanchett does, I bow to her, DiCaprio does an anxiety-driven-yet-calm performance (except a scene which is being called his "Peter Finch in Network scene, but c'mon guys, it isn't to that extent), President Meryl is a…

  • Red Rocket

    Red Rocket


    Full frontal nudity is back at cinemas, ladies and gentlemen!

    I haven't been a fan of Sean Baker's previous films; for some reason, they didn't click with me. Albeit, his recent release, Red Rocket, had me hooked and interested from beginning to end. A couple of years after The Florida Project, he releases a funny yet ill-mannered (not in a bad way) film about a male porn star, who's at sixes and sevens, going back to his hometown to screw…

  • Licorice Pizza

    Licorice Pizza


    BURNING DAYLIGHT!!! You can smell the umph of the troubled early 70s and the need for escape within each scene of this vignette-structured "hang-out" film that Paul Thomas Anderson has crafted. I just knew that when that Suzie Quatro track started and I saw both Emma Dumont (whom I love) and Skyler Gisondo appear one before the other, I knew I was in the right hands. There is much to love in PTA's latest, Licorice Pizza, and the vignette style…

  • The Humans

    The Humans

    Stephen Karam takes his Tony-winning and Pulitzer Prize finalist play, The Humans, to the big screen with all the patience, dread, and claustrophobia attached to it. Including excellent sound design, phenomenal work by the cast, and horror-esque elements. Nevertheless, something is missing throughout the film that keeps it from having a more profound impact. Some moments drag, and other scenes do feel like they could have been cut, but its dedicated cast and Karam’s direction, as well as writing, seem to be on the right path tonally and structure-wise.

    Click here to read my full review at The Underscene.

    2021 RANKED

  • C'mon C'mon

    C'mon C'mon

    Mike Mill’s latest feature, C’mon C’mon, is a beautiful piece about the human condition amidst a time of much-needed connection. It’s a film that delivers one emotional gut-punch after the other with a usual touching script by Mills and a dynamic trio of performances by Joaquin Phoenix, Gaby Hoffmann, and newcomer Woody Norman. However, what makes this film a joy to watch is how it communicates itself to the audience with a warm heart, delicate performances, and a compelling story about the hard questions in life.

    Click here to read my full review at Minorities Report.

    2021 RANKED

  • Benedetta


    Benedetta starts as a wild, campy, and sardonic ride from Verhoeven about religious hypocrisy and unenlightenment with dedicated, slightly pantomime performances by Virginie Efira and Daphne Patakia. Still, unfortunately, it ends with its irony feeling somewhat dry by the end. At the age of 83, Verhoeven is still making pictures worthy of the price of admission and the conversation afterward, even though it doesn’t work in its entirety by the end.

    Click here to read my full review at The Underscene.

    2021 RANKED

  • Zeros and Ones

    Zeros and Ones

    Abel Ferrara ditches the psychodrama playlets and focuses on “thrills” in the Ethan Hawke-led Zeros and Ones. However, it does contain a significant amount of narrative and directorial restraints that keep it from abiding by Ferrara’s usual abstruse thematic. Although I’m still excited for what Ferrara delivers next, there is this growing frustration that he may never deliver another work similar to or to the same degree as what he did back in the 90s.

    Click here to read my full review at Music City Drive-In.

    2021 RANKED

  • Clifford the Big Red Dog

    Clifford the Big Red Dog

    Although it isn’t close to being perfect, the visual effects are fine, and some of the slapsticks run a bit dry by the end, Clifford The Big Red Dog does what it says on the poster: it’s a charming, pure, and fun film for kids to watch and it brings a nostalgic feeling for those who grew up with the cartoon pup, like me.

    Click here to read my full review at Minorities Report.

    2021 RANKED

  • Ghostbusters: Afterlife

    Ghostbusters: Afterlife

    Ghostbusters: Afterlife does have its fun moments, charismatic performances, and witty science jokes, but the second half of the film pigs out in nostalgia-inducing references that only hardcore fans are going to get; meanwhile, the rest of the audience is alienated. I hope that the fans are happy with this one, even though they don’t deserve much at all after the riot they had regarding the 2016 reboot with the SNL quartet (which isn't as bad as you may think).

    Click here to read my full review at Music City Drive-In.

    2021 RANKED

  • House of Gucci

    House of Gucci

    Sir Ridley Scott's second feature film of the year, House of Gucci, is an unstructured mess with melodramatic excess and has every cast member going in different directions in terms of the film's tone. You have Lady Gaga overacting and chewing the scenery for all she's worth with her Italian-Russian mixed accent while Jared Leto is being cartoonish with his mockish Italian accent. The only two that understand the assignment (and deliver the film's best performances) are Al Pacino and…

  • Rocky IV: Rocky Vs. Drago – The Ultimate Director's Cut

    Rocky IV: Rocky Vs. Drago – The Ultimate Director's Cut

    Sylvester Stallone’s director’s cut of the boxing classic Rocky IV (Rocky IV: Rocky vs. Drago - The Ultimate Director's Cut) does trim some of the fat that the original version had (say goodbye to Paulie’s robot) and focuses more on narrative in addition to character growth; however, some other changes are a bit silly and unneeded. Tone and pacing switcheroos do the heart-pounding substances some justice, even though its story still has holes that can’t be patched up; Stallone did a slightly-fine job trying to fasten a broken film.

    Click here to read my full review at InSession Films.

    2021 RANKED