Movies, Film, and Chili

M3GAN 2.0 continues the story of the world’s most dangerously sassy AI doll, picking up after the first film's events with a new host, new threats, and a few more upgrades. Directed by Gerard Johnstone , returning from the original M3GAN , the film keeps the same sleek look and dark humor, but the energy isn’t quite the same. The scares are toned down, the satire feels more obvious, and the plot plays it safer this time. It’s still well paced and visually sharp, just not as punchy or fresh as before. Violet McGraw , reprising her role from the first film, shows a bit more range this time. She handles the trauma beats well and sells the emotional moments, even when the script leans a bit cheesy. She’s growing as an actress, and it shows. Allison Williams , best known for Get Out and Girls , returns and feels more like a supporting character this time. She’s fine, just not given much to do besides react to the new version of M3GAN and deliver exposition. Still, she’s a steady pr...

F1: The Movie follows a veteran driver coming out of retirement to mentor a young rookie while trying to prove he still belongs on the track. Directed by Joseph Kosinski , known for Top Gun: Maverick and Tron: Legacy , the film is clean, polished, and loaded with style. But with Jerry Bruckheimer producing, it leans more into spectacle than subtlety. You can feel the Bruckheimer DNA in every dramatic slow-mo, thunderous soundtrack cue, and pit-lane explosion. That’s not a bad thing. It just feels more like his movie than Kosinski’s. Brad Pitt , fresh off Bullet Train and still riding the wave from Once Upon a Time in Hollywood , plays the aging driver with charm and edge. He’s believable behind the wheel and sells the physical and emotional wear of someone who’s spent too long chasing speed. It’s one of his more grounded roles in years, and he pulls it off without trying too hard. Damson Idris , known for Snowfall, of which I own the comic , plays the rookie and brings a mix of ...

28 Years Later picks up nearly three decades after the original outbreak, exploring a world still living under the shadow of rage and ruin. Directed by Danny Boyle , returning to the series he started with 28 Days Later , the film feels both familiar and bold. His style is all over this with tight handheld shots, eerie quiet, and sudden chaos. The worldbuilding is the strongest it’s ever been, showing what long-term quarantine would do to society. It’s slower than the earlier films but more reflective, and when the violence hits, it hits hard. Alfie Williams leads the film as a young man born into the aftermath of infection. With no major credits to his name before this, he makes a strong impression. There’s a naturalism to his performance that fits the grounded world of the film. He captures the sense of someone who has never known safety, only survival, and his quiet moments carry real weight. It’s a subdued but effective performance that keeps the story anchored. Aaron Taylor-John...

  From the World of John Wick: Ballerina follows a trained assassin seeking revenge in the familiar but slightly off-center world of Wick's underground. Directed by Len Wiseman , best known for Underworld and Live Free or Die Hard , the film has his usual stylized flair. It feels just different enough from the mainline Wick entries to stand on its own. There’s still that slick gun-fu and neon-drenched worldbuilding, but with a touch more grace and a little less grit. Wiseman’s touch gives it personality without straying too far from the formula. Ana de Armas , coming off action-heavy roles in No Time to Die and The Gray Man , does a great job handling the physicality. The choreography doesn’t pretend she’s stronger than her frame allows. Instead, she’s thrown around like Peter Parker, flipping, dodging, and surviving through skill and speed. It’s refreshing to see an action film acknowledge size and weight realistically. She’s believable, stylish, and focused. Keanu Reeves a...

Bring Her Back is a slow-burning elevated horror that leans into grief, gore, and occult horror more than traditional jump scares. Directed by Danny and Michael Philippou , the duo behind Talk to Me , the film feels more confident this time around. The pacing is tight, the tone never wavers, and there isn’t a single wasted scene. It’s got that A24 signature of letting dread simmer just under the surface while slowly turning up the volume. Brutal when it needs to be, but never flashy for the sake of it. Billy Barratt takes the lead and does a solid job balancing emotion and shock. He plays it straight and raw, and while a few moments feel a bit much, it fits the role. He sells the trauma and anchors the early part of the story well. Sally Hawkins brings a quiet intensity as the grieving mother. She’s best known for The Shape of Water , and here she uses that same subtle expression work to say more than any dialogue could. Her screen time is limited, but she leaves a lasting mark. ...

Karate Kid: Legends follows a new student stepping into the martial arts world with Jackie Chan returning as Mr. Han, trying to pass the torch once more. Directed by Jonathan Entwistle, best known for The End of the F **ing World* , the tone is strangely uneven. The movie can't decide if it wants to be a heartfelt coming-of-age story or a legacy sequel cash grab. The choreography is passable, but the film lacks the grit and discipline that made earlier entries resonate. It feels more like a corporate product than a passion project. Jackie Chan, who once balanced comedy and heart in Rush Hour and The Karate Kid (2010) , phones it in. The charm and wisdom he brought to Mr. Han over a decade ago are gone. He looks bored, says his lines like he's checking boxes, and barely engages with the story. It's a disappointing return for one of martial arts cinema's biggest legends. Ben Wang, best known for American Born Chinese , plays the new Karate Kid. He’s got presence, bu...