Movies, Film, and Chili

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...

  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. ...