Reviews

‘Crime 101’ Review

Wannabe Movie Critic
An elusive thief, eyeing his final score, encounters a disillusioned insurance broker at her own crossroads. As their paths intertwine, a relentless detective trails them hoping to thwart the multi-million dollar heist they are planning.

Crime 101 is the kind of crime thriller that reminds you why this genre works so well when it’s done right. It’s stylish, deliberate, performance-driven, and confident enough to let its actors carry the weight. Rather than relying on nonstop action, the film plays like a cool, controlled slow burn — one that’s more interested in character dynamics, tension, and atmosphere.

At the center is Chris Hemsworth, delivering one of his most restrained and compelling performances. He plays Mike, a quiet jewel thief who operates under a strict moral code: no violence, no unnecessary risk, just clean jobs. He’s technically a criminal, but the film positions him more as an anti-hero — someone you can’t help but root for. Hemsworth leans into subtlety here, trading his usual larger-than-life energy for calm intensity and quiet charisma, and it really pays off.

A huge part of what humanizes Mike is his relationship with Monica Barbaro, who plays his love interest. She’s not just there as a side character — she’s essential to the emotional core of the story. Barbaro brings warmth, intelligence, and natural chemistry with Hemsworth, and their dynamic echoes the classic crime-film trope: the professional criminal who lives by rules suddenly finding something — or someone — worth risking everything for.

That element feels especially reminiscent of Heat, where falling in love complicates the strict code that keeps a criminal alive. Like that influence, Crime 101 explores how personal connection can become both a lifeline and a vulnerability, adding emotional stakes to what could otherwise be just a stylish heist story.

Opposite him, Mark Ruffalo plays the determined cop trying to track him down. Ruffalo is incredibly believable in these roles — grounded, persistent, and emotionally layered. His cat-and-mouse dynamic with Mike is one of the movie’s strongest elements, adding tension without ever feeling over-the-top.

The supporting cast is stacked with memorable performances. Halle Berry shines as an insurance investigator working for wealthy clients. She brings intelligence, authority, and emotional nuance to a role that could have easily been one-note. Her storyline gradually intersects with both Mike and Ruffalo’s characters, helping drive the film toward its eventual collision of perspectives.

Meanwhile, Barry Keoghan absolutely steals scenes as the film’s most despicable figure — a reckless, morally bankrupt criminal who serves as the complete opposite of Mike. Where Mike has rules and restraint, Keoghan’s character thrives on chaos and selfishness. He’s deeply unlikable in the best possible way, making him a perfect antagonist you can’t wait to see get his comeuppance.

The rest of the ensemble adds texture and credibility. Nick Nolte brings gravitas as Mike’s mentor figure — the seasoned operator who helps orchestrate jobs. Tate Donovan pops up in a smaller but memorable role that adds a touch of sleazy realism, while Corey Hawkins provides solid supporting energy that helps round out the world of the story.

Director Bart Layton deserves major credit for the film’s polished execution. Visually, the movie is gorgeous — using Los Angeles not just as a backdrop but as a living, breathing environment. The cinematography leans into nighttime neon, urban textures, and wide cityscapes that give the film a sleek, modern noir feel.

And while the movie is mostly a slow burn, when the action hits, it really hits. The standout sequence is a nighttime chase where Mike pursues Keoghan’s character — one on a motorcycle, the other in a car — weaving through the streets of LA. It’s tense, beautifully shot, and expertly paced, serving as one of the film’s most memorable moments.

Tonally, the film clearly draws inspiration from crime classics like Heat, Drive, and The Place Beyond the Pines. You can feel those influences in its mood, moral ambiguity, and emphasis on character over spectacle. Yet it never feels like a copy — more like a confident blending of those styles into something modern and engaging.

Ultimately, what makes Crime 101 work is simple: it trusts its cast. This is a movie that lets actors be movie stars — giving them room to perform, interact, and build tension naturally. It plants narrative seeds early and delivers satisfying payoffs by the end, creating a conclusion that feels earned rather than forced.

It may not reinvent the crime thriller, but it executes its vision with such precision, style, and strong performances that it becomes one of the most satisfying entries in the genre in recent years — a cool, polished ride that keeps you glued to the screen.

Crime 101 = 87

Reviews

Kingdom Hearts — The Game That Captured My Heart

Wannabe Movie Critic
Game legit changed my life

Growing up, I was obsessed with two things: Disney and RPGs. Disney in the ’90s was a golden era — Aladdin, The Lion King, Tarzan, Alice in Wonderland — every story felt magical. At the same time, I was diving deep into Final Fantasy, captivated by its worlds and characters. And then, in Christmas 2002, my cousin called me about this new game: Kingdom Hearts. At first, I thought it sounded ridiculous — Disney and Final Fantasy together? But the moment I sat down on Destiny Islands, meeting Sora, Riku, and Kairi, I was hooked instantly.

What truly drew me in wasn’t just the story or the concept — it was the music. The main title theme, Dearly Beloved, still touches my soul today. Its subtle evolutions across Kingdom Hearts 1, 2, and 3 perfectly mirrored Sora’s journey as he matured, even if we didn’t fully realize it at the time. And the voice acting — Haley Joel Osment as Sora, David Gallagher as Riku, Hayden Panettiere as Kairi with the likes of Billy Zane, Mandy Moore and even Lance Bass, with the amazing Disney cast — made every moment feel alive. I remember playing over and over, guided by my cousin’s strategy book, discovering secrets, exploring worlds, and falling in love with every encounter.

The first game’s story was simple, pure, and perfect: travel through Disney worlds, fight the Heartless, save your friends. But within that simplicity was magic. The villains, the cutscenes, the way everything felt interconnected — it was perfect childhood storytelling.

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The Beginning: Destiny Islands and Traverse Town

Destiny Islands was such a perfect introduction. Right away, the game throws huge themes at you — light versus darkness, the strength of the heart, and above all, friendship. The bond between Sora, Riku, and Kairi feels genuine and relatable, and when that peaceful world is suddenly torn apart, you feel the loss right along with them.

Then comes Traverse Town — one of the most beloved locations in the entire franchise. It’s cozy, mysterious, and deeply meaningful because it’s where the real journey begins. It’s also where the crossover magic truly hits you. Meeting Leon (Squall), Yuffie, and Aerith from Final Fantasy makes you realize just how special this game really is.

And then comes one of the most unforgettable moments in the entire series: the cutscene where Maleficent and a council of Disney villains gather around a bubbling cauldron, watching Sora. Seeing all those iconic villains united in one place was mind-blowing at the time. It instantly raised the stakes — this wasn’t just a fun Disney adventure anymore; this was an epic battle between light and darkness.

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Worlds, Bosses, and the Magic of Exploration

The early worlds like Deep Jungle and Wonderland slowly build the story, but once you reach Olympus Coliseum, everything clicks. Competing in tournaments and meeting Hercules is exciting, but the real challenge comes with the legendary Hades Cup — 50 straight battles culminating in massive Titan fights. It felt like an endurance test of everything you had learned.

And then there’s the ultimate optional boss: Sephiroth. One of the toughest fights in gaming history, beating him for the first time feels like a personal milestone.

From there, the adventure explodes into unforgettable locations — Agrabah, Atlantica, Halloween Town, Neverland. Each world feels distinct and magical, filled with iconic boss fights like battling Captain Hook while flying after unlocking the ability to glide — one of the coolest gameplay moments in the entire game.

All the while, the music elevates every scene. The emotional power of Dearly Beloved and Friends in My Heart gives the game a soul that few other titles have ever matched.

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Hollow Bastion and the Story’s Turning Point

When you finally reach Hollow Bastion, the story takes a dramatic turn. The mystery deepens, the true villains begin to reveal themselves, and the emotional stakes skyrocket.

One of the most heartbreaking moments is when Riku claims the Keyblade and Donald and Goofy leave Sora behind. It perfectly reinforces the game’s core message: strength doesn’t come from power alone — it comes from the heart, loyalty, and friendship.

From there, the finale becomes a nonstop epic. The Maleficent dragon battle, the emotional duel with Riku, and the massive multi-stage confrontation against Ansem — voiced brilliantly by Billy Zane — still feel astonishingly ambitious for a PlayStation 2 game.

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A Bittersweet Ending and Endless Replayability

The ending is both beautiful and heartbreaking. Sora and Kairi reunite, only to be separated again. Riku is lost in the darkness. And as Simple and Clean plays, you’re left stunned — emotionally drained but completely satisfied.

It’s the kind of ending that makes you want to immediately start the journey all over again. And for me, I did — countless times.

This might be the game I’ve played from start to finish more than any other in my life. I know it inside and out. I’ve beaten every optional boss, unlocked every secret ending, completed challenge runs, and explored every version, including the later Final Mix editions that added even more content.

Even the very beginning of the game feels personal — choosing the sword, shield, or staff and answering philosophical questions about what matters most to you. From the start, it feels like the journey belongs to you as much as it does to Sora.

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Why Kingdom Hearts Still Matters

At its core, Kingdom Hearts is about heart — courage, friendship, love, and believing in what’s right. Those themes resonated deeply when I first played it as a teenager, and they still resonate today.

Sora remains one of gaming’s most inspiring heroes — innocent, optimistic, and unwavering in his belief that light will always overcome darkness.

This wasn’t just a great game for its time. It was an extraordinary achievement — a perfect blend of storytelling, gameplay, music, and emotion. And for me, it will always stand as one of the greatest video games ever made.

A truly special, unforgettable experience that I’ll carry with me for the rest of my life. This is the definition of a 10/10 game.

I’ll be covering Kingdom Hearts 2 next.

News

‘Toy Story 5’ Trailer

Wannabe Movie Critic

Just watched the trailer for Toy Story 5, and honestly… I’m in.

It’s kind of wild to think this is the FIFTH time around for this franchise. So many people say they should’ve stopped after Toy Story 3, because that ending felt perfect — and yeah, it really was. But at the same time, this is one of those rare series where every movie has been good. They always manage to find new angles, new emotions, and new ideas.

This time, the biggest and boldest idea seems to be tackling toys vs. “iPad kids,” which is honestly such a smart and very current concept. We’re back in the bedroom with Bonnie, and it looks like Jessie might be at the center of the story, dealing with her past abandonment while facing the possibility of being replaced again — this time by technology. That emotional angle could hit HARD.

The trailer already had some really funny moments too. Seeing Woody with a little bald spot as a joke about how long the franchise has been around was hilarious. And of course, Buzz is still doing classic Buzz things.

Let’s be real — these movies don’t work without Woody and Buzz together, so it’s great to see them reunited after where the last movie left things. Tom Hanks and Tim Allen coming back just makes it feel right.

At this point, Toy Story is basically Pixar’s ultimate tentpole. As long as they keep being this good and people keep showing up, they’re going to keep making them — and honestly, that’s fine with me. There’s never been a bad one.

The trailer made me laugh, the premise feels fresh, and the emotional stakes look strong. I’ll definitely be there opening weekend. Can’t wait to see how they explore toys vs. technology and Jessie’s story in particular.

https://youtu.be/oXyJ-R54m5M?si=JOFUw4QrJaEH6Cal

Reviews

“Wuthering Heights” (2026) Review: A Wet, Stylish Misfire from Emerald Fennell

Wannabe Movie Critic
A passionate and tumultuous love story set against the backdrop of the Yorkshire moors, exploring the intense and destructive relationship between Heathcliff and Catherine Earnshaw.

Emerald Fennell has quickly become one of Hollywood’s most talked-about directors. After the audacious brilliance of Promising Young Woman and the visually lush but polarizing Saltburn, expectations for her latest, Wuthering Heights, were sky-high. And yet, for all the hype, this adaptation of Wuthering Heights by Emily Bronte lands as her weakest outing to date—an ambitious, visually striking film that ultimately feels frustratingly hollow.

Set against the backdrop of stormy moors and grand, beautiful estates—a trademark of Fennell’s visual style—the story centers on the intense, obsessive relationship between Catherine and Heathcliff, played by Margot Robbie and Jacob Elordi. Both actors are undeniably attractive and exude high sexual tension, but their performances never quite land. The chemistry is there, yes—but the emotional depth, the nuance that makes tragedy hit, is largely absent. Instead, the film presents a series of frustrating decisions and over-the-top drama that leaves the audience more exasperated than invested.

If Promising Young Woman was about shocking audiences in a way that made sense, and Saltburn was style-heavy but at least visually compelling, Wuthering Heights leans almost entirely on style over substance. The cinematography is gorgeous, the costumes are immaculate, and there are moments where Fennell’s flair shines. But these moments can’t carry the film. The narrative is scattered, and the emotional beats—supposed to be devastating—fall flat. Some viewers may find themselves deeply moved, but it never quite connects emotionally, instead feeling like a prolonged exercise in watching characters spiral through avoidable chaos.

Fennell clearly wants to explore themes of obsession, desire, and revenge, and in that sense, the film succeeds—but it’s a revenge story dressed up as a tragic romance. Heathcliff and Catherine are not heroic figures; their actions are often baffling, their emotional arcs unearned. Even Nellie and other supporting characters make decisions that feel contrived rather than authentic, which further undermines the intended tragedy. One notable exception is Alison Oliver as Isabella, who emerges as one of the few elements that truly stands out. Her performance brings a sharper emotional clarity, grounding some of the chaos and offering moments that feel more human and perceptive than much of what surrounds her. In a film where the central relationship often feels frustratingly opaque, Isabella provides one of the rare anchors.

There’s also the matter of adaptation choices. Heathcliff’s casting as Jacob Elordi sidesteps the character’s ambiguous and potentially non-white origins, something that has been a longstanding discussion with this story. While not unprecedented, it still feels like a missed opportunity for a reimagining that otherwise claims a modern perspective. Fennell also peppers the film with overt references to other tragic romances, including moments that explicitly invoke Romeo and Juliet. Instead of enriching the narrative, these touches come across as heavy-handed and almost too self-aware, drawing attention to themselves rather than deepening the emotional stakes.

And then there’s the physical atmosphere of the film itself. This is an extremely wet movie—rain pouring down, tears constantly flowing, bodies slick with sweat, and a heavy emphasis on sexuality. The sensual tension between the leads is constant, but it often feels more like teasing than storytelling. For all its physical intensity, the film struggles to translate that into emotional resonance. The result is a story that feels overwrought rather than truly tragic.

That said, Fennell remains one of the few signature directorial voices working in mainstream Hollywood today. Her visual style is distinctive, her ability to provoke audiences is undeniable, and there are flashes of brilliance scattered throughout this film. It is frequently beautiful to look at, and the costume design in particular is consistently stunning. But as a cohesive narrative—and especially as a sweeping love story—it never fully comes together.

One of the few real bright spots in the film comes from Alison Oliver as Isabella, who ends up feeling like the movie’s unexpected standout. In a story packed with intense, brooding, and often emotionally exhausting characters, she brings a rare sense of energy and even flashes of humor. There’s a particular scene between Isabella and Heathcliff that stands out as one of the most memorable in the film, partly because it briefly cuts through the suffocating tone that dominates much of the runtime. In a movie where most of the characters are difficult to root for and many performances feel oddly flat, Oliver manages to create someone who actually feels alive, giving the audience one of the only anchors in an otherwise bleak and chaotic ensemble.

In the end, Wuthering Heights is a visually striking but emotionally frustrating experience. Felt like a chore and a slog to get through. Just an outright bore if you ask me. It showcases Emerald Fennell’s unmistakable style while also exposing the limits of that style when it isn’t supported by a compelling emotional core. Admirable in ambition and craftsmanship, but ultimately hollow, it stands as a rare misstep from a filmmaker who has otherwise built a reputation on bold, unforgettable storytelling.

Wuthering Heights = 57/100

Reviews

Review: Nirvanna the Band the Show the Movie

Wannabe Movie Critic
When their plan to book a show at the Rivoli goes horribly wrong, Matt and Jay accidentally travel back to the year 2008.

I just walked out of Nirvanna the Band the Show the Movie, and I can say without hesitation: I have not laughed this hard in a movie theater in years — maybe ten. This wasn’t just occasional chuckles either. This was full-on, hysterical, can’t-catch-your-breath laughter, the kind that spreads through an entire audience until the whole room feels electric.

I saw it in a completely packed Friday-night screening in Toronto, and the energy honestly felt closer to a rock concert than a movie. People were erupting into laughter, clapping mid-scene, and reacting out loud in a way that’s incredibly rare nowadays. That alone tells you something about how special this movie is as a shared theatrical experience.

Directed by Matt Johnson, this is his follow-up to BlackBerry, a movie I already loved and still revisit through clips because of how sharp and rewatchable it is. That film showed Johnson could handle fast, smart storytelling and compelling performances. This one proves he can also deliver pure, explosive comedy. With BlackBerry and now this, he’s absolutely two-for-two — two home runs right out of the gate — and firmly on my radar as a director whose future projects will now be must-watch.

The premise itself is delightfully ridiculous: two best friends spend nearly two decades trying to land a gig at a Toronto venue- THE RIVOLI, only for their obsession to spiral into time travel chaos. From there, the movie becomes a wild genre mash-up — part buddy comedy, part time-travel adventure, part meta satire.

Tonally, it feels like a uniquely Canadian collision of influences. It has the absurd musical-comedy energy of Tenacious D in The Pick of Destiny, the time-travel hijinks and reference density of Back to the Future, and its own deeply self-aware, fourth-wall-breaking style that makes it feel like a passion project bursting with personality.

What really elevates the film is its comedic writing. The gags aren’t just frequent — they’re incredibly clever and often tied to specific cultural moments. The sequences involving traveling back to the late 2000s produce some of the biggest laughs, especially when the movie plays with the era’s pop-culture landscape: who was famous, what we found funny at the time, and how quickly cultural relevance shifts. These jokes landed so hard that my theater was practically shaking with laughter.

There are also unforgettable set pieces — including one involving a wildly over-the-top stunt tied to the CN Tower — that perfectly capture the movie’s mix of ambition, absurdity, and local flavor.

Speaking of local flavor, the Toronto setting adds a huge layer of charm. Seeing streets, landmarks, and everyday locations that you recognize gives the movie a grounded authenticity. It feels deeply rooted in its city in a way that makes it uniquely personal and distinctly Canadian.

Performance-wise, the chemistry between Johnson and Jay McCarroll is the emotional backbone of the film. Their friendship feels completely genuine, which makes the story’s heartfelt moments land just as effectively as the jokes. Underneath all the chaos and comedic insanity is a surprisingly sincere story about persistence, friendship, and chasing creative dreams for years against ridiculous odds.

That balance — heartfelt and hilarious — is what ultimately makes the movie stand out. It’s not just funny for the sake of being funny; it feels like a scrappy, deeply personal project made by people who truly love what they’re doing. That passion radiates from every scene.

The biggest takeaway is simple: this is easily the funniest movie I’ve seen in recent memory, and it already feels like a strong contender for funniest of the year. It’s inventive, energetic, self-aware, and packed with unforgettable comedic moments.

One of the most mind-blowing aspects of the movie is simply how it was made. Walking out of the theater, I kept wondering how they actually pulled it off. The time-travel elements alone feel incredibly ambitious, especially the way past footage, different time periods, and real-world settings are blended together so seamlessly. On top of that, so much of the film appears to have been shot directly on the streets of Toronto in a way that feels almost guerrilla-style — like Matt Johnson and the crew just went out and captured chaos in real time while traffic and everyday life kept moving around them. It gives the movie an unpredictable, “how did they get away with this?” energy that makes the production itself feel like an incredible creative feat, not just a backdrop for the comedy.

Another fascinating layer to the film is realizing that this isn’t a concept that suddenly appeared out of nowhere. The movie grows out of the long-running TV series Nirvanna the Band the Show, which Matt Johnson and Jay McCarroll have been building for years. You absolutely don’t need to have seen the show to understand or enjoy the movie — I hadn’t — but knowing this context makes the film’s ambition even more impressive. It helps explain how they were able to weave together older footage, long-running ideas, and newly shot material into a seamless time-travel story. Rather than feeling like a recently invented premise, the movie plays like the payoff to a creative project that’s been evolving for nearly a decade, which makes its scale, cleverness, and technical execution feel even more extraordinary.

If you love creative comedies that take big swings, break rules, and deliver nonstop laughs while still having genuine heart, this is an absolute must-see. Matt Johnson has firmly established himself as a filmmaker to watch, and if this streak continues, he’s only just getting started.

Nirvana The Show The Band The Movie 88/100

Reviews

Shelter Review: Jason Statham Gonna Jason Statham

Wannabe Movie Critic
A recluse on a remote Scottish island rescues a girl from the sea, unleashing a perilous sequence of events that culminate in an attack on his home, compelling him to face his turbulent history.

There are two certainties in life: death, taxes, and a Jason Statham action movie dropping every January. Shelter continues that proud tradition. After The Beekeeper and A Working Man, we now get him as a badass recluse living alone on an island with his dog, Jack. Immediate bonus points for Jack—the movie dog MVP. Any film with a good dog already starts in the positives.

Statham’s character lives off the grid, getting weekly supply runs from an uncle and his niece, Jessie. When a boating accident goes wrong, Statham saves Jessie—played by Bodie Ray Brethnock—and takes her in to treat her injuries. What follows isn’t quite a father-daughter story, but it’s close. The dynamic is very The Last of Us–coded: two people thrown together by chance, slowly forming trust while danger closes in. Of course, it turns out Statham isn’t just some random hermit—he’s a former MI6 agent in hiding, which means it’s time for him to start doing Jason Statham things, aka killing people in cool ways.

Shelter is firmly a B-action movie, and it knows it. What really carries it is the chemistry between Statham and Jessie. If that casting hadn’t worked, this movie would’ve gone completely off the rails—but she’s competent, grounded, and believable, which keeps the whole thing afloat. Everything else is pretty much copy-paste: bits of John Wick, bits of Jason Bourne, and a whole lot of “I’ve seen this before.” There’s even a nightclub scene that feels like it’s trying very hard to be John Wick, which is tough, because no one actually does John Wick better than John Wick.

One thing that really stood out to me, though, was the ending—or more specifically, how it doesn’t quite stick the landing. I’m not saying I could write a better movie, but while watching it, I was already thinking, “Okay, I know exactly how this is going to end.” And then it ends… and it’s fine. It’s a cool enough ending. But the movie teases certain ideas and setups early on and then just never circles back to them. That’s the part that confused me. If you’re going to plant those little seeds at the beginning of the movie, why not let them pay off at the end? Even something small—like Jessie forming a stronger bond with Jack, or some emotional button that ties back to the opening—would’ve gone a long way. Give the girl a puppy, give us something. This is the kind of movie where you technically don’t need that level of storytelling, but then why tease it in the first place?

I also think part of why Shelter works as well as it does comes down to the director, Rick Roman Waugh. He’s not a bad director by any means—he’s a capable one. He made Shot Caller, which is a genuinely great prison movie that I loved, and he also did the two Greenland movies. The first Greenland was honestly better than I expected when I watched it at home. I haven’t seen the newest one yet, and apparently it’s not that great, but still—this is someone who knows how to keep a movie moving and give it a baseline level of competence. That’s probably why Shelter never feels like a complete and utter failure. It’s not amazing, but it’s functional.

The movie wisely keeps things tight at about an hour and forty minutes, which is another win—it doesn’t overstay its welcome. The villain is a total flavor-of-the-week action bad guy, the kind you’ve seen 30 or 50 times before, and while the supporting cast does their job, no one’s stealing the spotlight. You’re here for Statham, and that’s exactly what you get.

Overall, Shelter lands near the bottom of my January movie list. It’s not terrible, it’s not great—it’s just fine. The two leads carry it, the action does what it’s supposed to do, and nothing really breaks new ground. If you’re going to the theater because nothing else is out and you want some reliable Statham chaos, this’ll get the job done. And once again, shout-out to Jack the Movie Dog.

Until next time, Jason Statham.

Shelter = 61/100

News

‘Michael’ Trailer Is Sensational

Wannabe Movie Critic
Domestic Box Office King In 2026

With biopics dropping left and right lately — Bohemian Rhapsody, A Complete Unknown, even the recent Bruce Springsteen movie — it’s clear Hollywood is deep in its music era. But let’s be honest: none of them are on Michael Jackson’s level.

Antoine Fuqua’s Michael feels like the Super Bowl of musical biopics.

Those other artists are legends in their own right, but nobody in music history was as big as Michael Jackson. Maybe decades from now we’ll see something similar for Taylor Swift — but even then, Michael’s story, impact, and global dominance are just on another plane entirely.

The second trailer only reinforces that this movie is swinging for the fences. Jafar Jackson looks like a complete revelation. It’s honestly unreal how much he channels Michael — knowing he’s his nephew makes it even more powerful. From what we’ve seen, he doesn’t just resemble Michael… he becomes him.

The supporting cast is stacked too. Coleman Domingo as Joe Jackson brings serious weight, especially given Joe’s dark and complicated legacy. Domingo excels at intense roles, so it’ll be fascinating to see how he tackles that character. Nia Long as Katherine Jackson feels perfectly cast, and with Miles Teller in the mix, this movie is clearly loaded with talent.

Of course, the real star is going to be the music. “Thriller,” “Billie Jean,” “Beat It,” “P.Y.T.” — this honestly feels less like a traditional biopic and more like a full-scale concert experience. I already know I want to see this in IMAX with the volume cranked as high as possible.

This thing has awards potential written all over it. It looks amazing. It’s going to sound amazing. The performances seem locked in. If it all comes together, I wouldn’t be surprised if this ends up being one of the biggest box office hits of the year — possibly the biggest domestically. This could be an absolute sensation.

Story-wise, it looks like the film will cover Michael’s upbringing through the ’70s and ’80s and into the early ’90s, before things started to shift in his life. There’s so much ground to cover that it wouldn’t shock me if this ends up being a two-part story.

Say whatever you want about Michael Jackson — everyone is going to see this movie. It’s that simple.

I already know I’ll probably watch it more than once. Jafar Jackson feels like a breakout star in the making, and you can’t help but think Michael would be proud. I genuinely can’t wait.

Reviews

Send Help (2026) Review — Sam Raimi Brings the Chaos Back

Wannabe Movie Critic
An employee and her insufferable boss become stranded on a deserted island, the only survivors of a plane crash. Here, they must overcome past grievances and work together to survive, will they make it out alive?

Imagine being stranded on a deserted island with your asshole boss who thinks very little of you. That’s basically the perfect tagline for Sam Raimi’s Send Help — and honestly, it tells you everything you need to know.

Raimi’s latest is a sharp, bloody, surprisingly funny two-hander that proves he still knows exactly how to balance horror, dark comedy, and character-driven tension.

Starring Rachel McAdams as Linda Little and Dylan O’Brien as Bradley, the film starts with a familiar workplace dynamic: Bradley is the rich, arrogant CEO, while Linda is the underappreciated “weird girl” coworker (quotation marks intentional — Rachel McAdams is obviously far from ugly, even when the movie tries to sell that idea).

At the beginning, they even pull the classic Princess Diaries move on her — ugly sweaters, messy hair, food on her face, eating a tuna sandwich — like we’re supposed to believe she’s this awkward nobody. You know the trope: straighten the hair, take off the glasses, boom, suddenly a perfect 10.

After a corporate retreat to Bangkok goes horribly wrong and their plane crashes, the two end up stranded on an island. That’s when everything flips. Linda turns out to be a survivalist enthusiast who’s read all the books and watched all the shows, while Bradley suddenly becomes completely dependent on her. The former boss becomes the helpless one — and that role reversal is the backbone of the entire movie.

Beyond the thrills, Send Help is really about survival instincts, not judging a book by its cover, and how men in power often underestimate women in the workplace. Linda has been overlooked and undervalued her whole career, and now she’s the one keeping them alive. The movie leans into that dynamic hard, and it works.

One thing that’s genuinely funny is how Rachel McAdams somehow only gets hotter as the movie goes on. There’s literally a fade to black at one point and then — boom — suddenly she’s full Rachel McAdams mode, total smoke show. Which is hilarious, because they’re stranded on a deserted island and you’d think people would start looking worse, not better. Later there’s a reveal that explains why this is happening, which makes it even funnier in hindsight.

This is Raimi’s first full horror outing since Drag Me to Hell, and his fingerprints are all over it: gnarly gore, vomit, jump scares, wild camera work, and that trademark sense of chaos. But what really makes Send Help work is the chemistry between McAdams and O’Brien. This movie lives or dies on their dynamic, and thankfully, they’re fantastic together.

Rachel McAdams absolutely steals the show. If Game Night proved she has elite comedic timing, this confirms it — she’s hilarious one moment, completely unhinged the next, and genuinely intense when the thriller elements kick in. She also spends half the movie giving Dylan O’Brien ridiculous nicknames — “Limpy McGee,” “Grumpy Gus,” “Sweetie,” and a bunch of others — and honestly it feels improvised. “Limpy McGee” in particular killed me. Those little moments add so much personality and humor to their dynamic.

Dylan O’Brien is a great surprise here. He’s come a long way since Maze Runner, showing real range with his facial expressions and physical comedy while also making his character deeply unlikeable — at least at first. There’s also a scene involving a poisonous octopus that temporarily paralyzes him, and I’m telling you right now — that sequence is going to stick with me all year. His facial expressions, the tears in his eyes, the panicked crying, the way his body locks up — I was literally wincing in my seat going, “oh my God… this is actually happening.” It’s one of those Raimi moments where you can’t believe what you’re watching, and it’ll easily be one of the most memorable horror scenes of the year.

Despite being a survival horror thriller, Send Help is genuinely funny. Raimi leans into the absurdity, and it works. Think Cast Away mixed with Misery, Horrible Bosses, and a splash of Lord of the Flies, thrown into a blender.

There are plenty of twists — some you’ll see coming, some you won’t — including a clever reveal near the end that reframes a lot of what you’ve been watching. The movie also makes an interesting choice by eventually showing that neither character is fully “good.” By the end, someone gets a happy ending… but it’s fair to question whether they actually deserve it after everything that happens.

Still, this is a tightly crafted, wildly entertaining ride. Raimi reminds us why he’s such a master of tone, McAdams reminds us (again) how great she is, and O’Brien proves he’s got real chops.

Also, side note: between this and Red Eye, maybe just don’t get on planes with Rachel McAdams.

One of the better movies I’ve seen this year already — and it’s only February. This will almost certainly be one of 2026’s standout horror films.

Send Help = 78/100

Reviews

Hamnet Review — A Quiet Devastation Anchored by Jessie Buckley’s Tour-De-Force Performance

Wannabe Movie Critic
After losing their son Hamnet to plague, Agnes and William Shakespeare grapple with grief in 16th-century England. A healer, Agnes must find strength to care for her surviving children while processing her devastating loss.

Chloé Zhao’s Hamnet is not an easy watch — and it isn’t meant to be. This is a hushed, grief-soaked 16th-century love story that sits with sorrow rather than dramatizing it, inviting the audience into a space where silence carries as much weight as dialogue. Nearly two months after its release, I still found myself in a sold-out theater so quiet you could hear a pin drop.

Starring Paul Mescal as William Shakespeare and Jessie Buckley as Agnes, the film traces their romance, marriage, and family life with their three children — Susanna and twins Hamnet and Judith — before centering on the unthinkable loss of their son. A brief title card notes that “Hamnet” and “Hamlet” were interchangeable names at the time, setting the emotional and thematic foundation for what follows.

This is, above all else, Agnes’s story.

Jessie Buckley delivers one of the most powerful performances of the year — honestly, one of the strongest performances from anyone, period. She carries this film on her back. There are at least four scenes where you can practically see an Oscar clip forming in real time: raw, unfiltered grief pouring out of her in waves. Her Agnes is fierce, intuitive, and deeply human — a woman rumored to be the daughter of a witch, gifted with an almost supernatural sensitivity to the people around her.

Zhao leans into symbolism from the very beginning, including an arresting birthing scene in the woods, weaving themes of medicine, death, fate, and purpose throughout the film. Agnes’s spiritual connection to the world contrasts beautifully with William’s restless search for meaning. Mescal is quietly solid here, though his role is more restrained — Shakespeare as a man trying to escape his circumstances, eventually heading to London to find himself through theater and writing.

The child actors deserve real praise, especially the young actor playing Hamnet. The bond between the twins feels genuine and heartbreaking, which makes what comes later all the more devastating.

The film doesn’t rush grief. It sits inside it.

Hamnet’s death is the emotional core of the movie, and Zhao handles it with restraint and respect. Agnes watching her son pass away is a brutal, unforgettable moment, and the ripple effects on both parents feel painfully real. This is a story about how people survive unimaginable loss — how they try to hold families together, how they search for meaning afterward, and where the dead go once they leave us.

Emily Watson is excellent as Mary, William’s mother, providing a grounded emotional counterpoint to Agnes. Joe Alwyn also stands out as Agnes’s brother Bartholomew — understated, stoic, and quietly expressive, continuing his streak of strong supporting performances.

Visually, everything feels authentic to the period. The world looks lived-in, harsh, and fragile — exactly as life would have been in a time without medicine, when children died young and often. Zhao’s direction is confident and intimate, a reminder of how powerful she is when allowed full creative control after being swallowed up by the Marvel machine.

The score is beautiful throughout, but Zhao absolutely sticks the landing by using Max Richter’s “On the Nature of Daylight” in the final moments. It’s a devastatingly effective choice — the same track used memorably in Arrival. The instant those first notes hit, the emotional weight multiplies. It’s cinematic shorthand for heartbreak, and it works.

The film closes with Agnes attending a performance of Hamlet, believing it to be a comedy, only to confront her grief in a new way. It’s a quietly stunning ending — less about closure and more about acceptance.

Hamnet isn’t a crowd-pleaser. There are no big moments, no easy catharsis. This is an Oscar movie in the truest sense: contemplative, emotionally demanding, and deeply human. It’s about love, loss, and learning how to let go.

And at the center of it all is Jessie Buckley, delivering a career-best performance that alone makes Hamnet essential viewing.

Hamnet = 77/100

News

Super Mario Galaxy Movie Trailer Review: Bigger Worlds, Yoshi Love, and Endless Nintendo Possibilities

Wannabe Movie Critic

The new trailer for the Super Mario Galaxy movie just dropped, and honestly? It completely works for me.

Look — the first Mario movie was what it was. A fun, safe, kid-friendly animated ride. But as someone who grew up with Mario, I had a blast with it. You could tell they were playing it conservative, making sure the foundation was solid. Now, with this sequel, it feels like they’re finally ready to really expand the universe.

We already got teases in the first trailer with Baby Bowser and Rosalina (voiced by Benny Safdie and Brie Larson), but this new trailer puts the spotlight on Yoshi — and let’s be real, Yoshi is basically the GOAT of Mario characters. Seeing him front and center instantly raises the hype level.

The whole thing just feels bigger. We’re talking Mario Galaxy-level scope now: bouncing between different worlds, pulling inspiration from games like Mario Odyssey, Sunshine, and of course Galaxy itself. New locations, new characters, familiar vibes — it looks like a full-on tour of the Mushroom Kingdom and beyond.

And the voice cast continues to crush it.

Chris Pratt actually works as Mario (yeah, people complained, but he fits the role just fine). Charlie Day is incredible as Luigi. Jack Black is perfect as Bowser. Anya Taylor-Joy was great as Peach. Keegan-Michael Key brings tons of energy as Toad. Yoshi sounds like classic Yoshi, which is exactly what you want. It all clicks.

What really excites me, though, is the potential. This universe has endless possibilities. They already brought in Donkey Kong — who’s definitely coming back — and from here, who knows? Link? Star Fox? More Nintendo worlds? The door is wide open.

Sure, it’s “dumb animation meant for kids,” but I’ll absolutely be there day one. It looks like a genuinely fun theater experience, and that’s all it needs to be.

Financially, this thing feels unstoppable. The first movie was massive, and that came out while theaters were still fully finding their footing again. This one drops in April, and I’d be shocked if it doesn’t clear a billion easily — probably somewhere between $1.1 and $1.6 billion.

Bottom line: bigger scope, fan-favorite characters, solid voice work, and a universe with unlimited potential. I can’t wait.

https://youtu.be/eVJduWRCmvw?si=AuizNj8ySva2dXjQ