Movies, Film, and Chili

Jurassic World: Rebirth attempts to relaunch the franchise with a fresh cast and setting, but it ends up feeling like a commercial in search of a plot. Directed by Gareth Edwards , known for Rogue One and Godzilla , the film is filled with baffling creative choices. There’s product placement in almost every scene, and most of the action sequences are over-edited and underwhelming. Edwards seems more interested in drone shots and branding than tension or logic. Written by David Koepp , who once gave us Jurassic Park and Mission: Impossible , the script is shockingly clumsy. The dialogue is flat, the pacing is off, and the characters regularly make decisions that would embarrass even the worst horror movie victims. It’s hard to believe the same writer once helped build this universe. The film is basically Aliens  but with dinosaurs. Scarlett Johansson , known for Marriage Story and Black Widow , stars but seems like she’s checked out. Her performance lacks the spark she once h...

The Old Guard 2 continues the story of immortal warriors struggling with eternity, but this time the story struggles to stay interesting. Directed by Victoria Mahoney , known for second unit work on Star Wars: The Rise of Skywalker , the film looks fine but lacks energy. The first film at least had novelty. This one has none. The action scenes are repetitive, the tone is self-serious, and it’s full of butch posturing with no real emotional stakes. The girl boss mentality is in full swing, but it doesn't make up for the lack of momentum. Kiki Layne , returning from The Old Guard and also known for If Beale Street Could Talk , is meant to be the emotional center as the “Last Immortal,” but her performance is flat. She doesn’t bring the weight or presence the role needs, and most of her scenes fall into the background. Charlize Theron , from Mad Max: Fury Road and Atomic Blonde , returns as the leader, but she seems like she’s trying too hard. Her intensity feels forced this tim...

K-Pop: Demon Hunters follows a girl group who balance battling demons by night with pop stardom by day, but the concept ends up more exhausting than exciting. Directed by first-time director  Maggie Kang , best known for being in the art department for  The Lego Ninjago Movie , the film leans hard into a hyper-stylized, neon-soaked aesthetic but forgets to bring anything fresh. The animation is polished, but the visual style feels borrowed from better films. The pacing drags even during the action scenes. It is more concerned with selling attitude than building stakes. Arden Cho , known for Teen Wolf and Partner Track , voices the group’s leader and brings charisma to the role, but the script doesn't give her much to work with. She has strong delivery and presence, but the character is more wish-fulfillment than fully realized. May Gong , in her first major role, fits the energy of the film and brings a youthful vibe. She holds her own in the group dynamic but is often sid...

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...