Tag: movie review

MOVIE REVIEW: Reverent in Its Love for the Original, ‘Masters of the Universe’ Embraces Its Irreverence and Gives Nicholas Galitzine a Chance to Have Fun

The very name of the character in his godlike form, “He-Man,” was already distracting when I was a kid, and even more so as an adult. It’s why I entered the cinema for Masters of the Universe with very low expectations. Unless the filmmakers were going to lean into how silly it all really is, there was no way I could imagine this narrative taking itself seriously. Luckily for me, director Travis Knight along with screenwriters Chris Butler, Aaron Nee, Adam Nee, and David Callaham knows how to have a good time. Masters of the Universe is a 141-minutes of self-referential comedy that tries to stay true to the show’s spirit while poking fun at itself.

In Masters of the Universe, the story begins with a narration by Prince Adam (Nicholas Galitzine), as he reflects on growing up on the world of Eternia. As a prince, he is a bit of a clown who doesn’t take his role very seriously. This upsets his father, King Randor (James Purefoy), who wants him to grow up stronger and take his role more seriously.

(l-r): Roboto (Kristen Wiig), Man At Arms (Idris Elba), Adam (Nicholas Galitzine), Teela (Camila Mendes) and Cringer in MASTERS OF THE UNIVERSE.

However, their family friction is cut short when the mystical warlord Skeletor (Jared Leto) launches a surprise attack on the kingdom. Because Randor’s bloodline comes from a long line of champions who can wield the Sword of Power, the Sorceress (Morena Baccarin), the guardian of that power sends Adam to his mother’s home planet, Earth, to keep the blade out of Skeletor’s hands. But Adam, still a child, loses the sword and finds himself standed on Earth for over 15 years.

Adam (Nicholas Galitzine), Teela (Camila Mendes) and Cringer in MASTERS OF THE UNIVERSE.

Now an adult, Adam is isolated and unhappy in his corporate HR job while trying constantly searching for the sword that can bring him home. When he finally locates the blade, he enlists the help of Teela (Camila Mendes) to make his way back to Eternia. Upon arrival, he discovers that Skeletor has completely destroyed his homeland, forcing him to wield the power within to become the champion of his homeworld.

Jared Leto stars as ‘Skeletor’ in MASTERS OF THE UNIVERSE.

What is hilarious is just how silly the creators of this movie think the whole premise is. Adam’s extended stay on Earth serves as a clever a way to acknowledge the property’s inherent campiness; that way, when the narrative finally shifts to the science fiction and fantasy, they can go completely all out and have as much fun as they want. There is very little story involved here, though Adam does experience a lovely reckoning regarding his relationship with his father, but character’s depth remains secondary to a barrage of fight scenes and there’s even a chase scene on a space ship.

Nicholas Galitzine stars as He-Man in MASTERS OF THE UNIVERSE.

Knight and his crew deliver a lot of fan service here while acknowledging at the source material’s questionable names and abilities in the first film – like Fisto (played by Johannes Haukur Johannesson), who seems very much aware of the joke as well. Ultimately, everyone, including Galitzine and Leto, are not afraid to amp up the homoeroticism in the imagery of the classic 80s cartoon.

Galitzine attacks the role with such childlike wonder. He is clearly having a blast playing a kid who never really grew up but now finds himself inside the body of a muscle-bound god. There’s a levity and whimsical nature to his performance that really makes Masters of the Universe an absolute joy to watch. He is entirely in on the joke without ever overplaying it.

Sam C Wilson stars as Trap Jaw in MASTERS OF THE UNIVERSE.

The rest of the cast is having an equally fantastic time, from Idris Elba (who brings a wonderful gravity to Teela’s father, Man-at-Arms) to Mendes, and even Alison Brie as Evil-Lyn, who gets to play the evil henchwoman to the absolute hilt.

Alison Brie stars as ‘Evil-Lyn’ in MASTERS OF THE UNIVERSE.

It’s incredibly refreshing to encounter a movie that proudly decides to have fun and brings the audience along for the ride. There is immense reverence and love for the original 80s cartoon here, but the affection is so secure that the filmmakers can openly poke fun at the property’s inherent absurdities. They masterfully weave in various nostalgic references, even reaching outside of He-Man universe like playing songs and soundtracks of from other iconic fantasy franchises. Because the plot is secondary from the very get-go, we are directed to just what happens and enjoy the journey.

For a film that looks so glossy and expensive, it’s great that the filmmakers were cool enough to embrace irreverence rather than attempt to be serious. This was absolutely the right creative direction to take and make sure you stick around, because you will definitely want to watch all the post-credit scenes.

My Rating: 4 Stars

Masters of the Universe trades self-serious fantasy for glorious, unapologetic 80s camp. It is an absolute blast that gives Nicholas Galitzine plenty of room to shine. Don’t miss out on the fun, check showtimes here, and make sure to stay through the credits!

June 3, 2026
MOVIE REVIEW: In Praise of the Toxic Male—A Review of ‘Tayo sa Wakas’ and the Strong Perfomaces of Belle Mariano and Donny Pangilinan

There’s a shift that happens in the second part of Tayo sa Wakas that cuts away at the charm of the film, making me question how the film approaches its themes, how it romanticizes a toxic character, and how it highlights his redemption arc. It’s a strong enough story at the beginning; Cathy Garcia-Sampana’s directing is dynamic and strong, while lead stars Donny Pangilinan and Belle Mariano show off their impressive on-screen chemistry. Mariano is capable of such immense range and nuanced acting, while Pangilinan shines in the heavier, more dramatic requirements of his role.

But Tayo sa Wakas is centered on Pangilinan’s character, Cisco. It’s really his film, with Mariano’s Cheska serving as the romantic lead, though her character’s point of view is withheld from the film – and there is a story element as to why. Cisco is the typical romantic lead presented as the forlorn lover who cannot move on from a breakup. Despite this framing, Mariano is just so good that her character’s presence is felt all throughout the film, even when she is off-screen, her presence lingers. It’s an amazing feat, Mariano really is a powerhouse.

The film, written by Vanessa R. Valdez, opens with a dizzying flashback of a break up between Cisco and Cheska. It’s hurtful. Cheska questions whether Cisco really deserves her love, and he walks away. We cut to the present, where Cisco has shaved his head. His family is scared for him as he insists on borrowing a car to visit someone. Not getting any help from his family, he goes to a friend (played by Joross Gamboa) who lends him a car and gives him advice. As Cisco is about to leave, Cheska appears and insists on going on a breakup trip. On the road, the two rehash their moments, the ones Cisco wants to hold on to and the ones Cheska wants to remind him of, when everything went wrong.

Belle Mariano as Cheska in Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

Through these flashbacks, we see a highly competitive Cisco who falls in love with the new intern, Cheska, who recognizes his ideas and talent even when others aren’t sure about them. We see the ways in which Cisco falls for her and makes his moves, and she falls too. It’s a classic romance story as the couple move in together. But in such close proximity, with work as a shared space, Cheska begins to rise and the highly competitive Cisco finds himself uncomfortable with his lover and protege’s growing success.

Donny Pangilinan as Cisco in Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

The first half of the movie has all the trappings of a romantic film, maybe even that of a rom-com (though every time it cuts back to the present, we know this won’t be a full-on comedy with a happy ending). Garcia-Sampana’s direction keeps the narrative busy and energetic. She even brings the two leads into the realm of the sensual, showing a lot of physical intimacy and skin. It looks grown-up, but it’s deceptive. It’s the lure of youth and young love, but the hard demands of the adult world will come calling, and they will find themselves unready.

Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

But the truth is, Cheska is ready with the hard answers. Cisco, with all his privilege and bravado, is not. This is exactly where I felt more and more uncomfortable as the film progressed: Cisco is toxic. He fails at every turn when their relationship gets serious and when work gets in the way of their relationship. Throughout the film, we see only Cisco’s point of view. Garcia-Sampana’s direction tries to soften and humanize him, making the storytelling feel increadibly lopsided. Cheska’s perspective is just as important here, but the answer to that happens later in the film, leaving us entirely with Cisco’s road to redemption.

Images from: ABS-CBN Film Productions Inc. (Star Cinema) FB Page

It’s not a pleasant movie to watch, though it starts out that way at the beginning. Mariano is magnificent all throughout, while Pangilinan seems more comfortable with the heavier, dramatic aspects of the narrative, feeling a bit out of place during the rom-com atmosphere of the film’s first half. There is a serious dramatic actor in Pangilinan, and I hope they give him more roles that play to his strengths. Yes, he’s attractive and his chemistry with Mariano is electric, but he doesn’t seem as natural in the kilig scenes as he is in the more emotionally demanding ones.

Sitting through this film became difficult after a while. So many movies have put toxic men and their high expectations of women in relationship into the spotlight, but they always seem to get their hard lessons served right up to them. I can recall Never Not Love You, Un/Happy For You, and just the recent The Loved One. In those films, the woman’s perspective served as the balance that kept the narrative from romanticize the man’s toxic behaviour. As good as Pangilinan is here, not even Marianos’ fantastic performance can fully balance this narrative’s gaps.

My Rating: 2.5 Stars

Tayo sa Wakas is a beautifully acted drama where the undeniable, explosive chemistry of Donny Pangilinan and Belle Mariano makes the journey worth taking. Check your local showtimes and watch it on the big screen this weekend!

May 30, 2026
MOVIE REVIEW: Inde Navarratte Delivers a Breakthrough Role in the Terrifying ‘Obsession’

Stemming from a very simple premise, Obsession finds its chilling horror in the many ways a single wish can go wrong. With minimal characters, a lean plot, and sparse set pieces, director-screenwriter Curry Barker maximizes the scares by exposing the extremes a person would endure for their desires and the sheer damage it inflicts on the human body and those around them. While the hook is supernatural in nature, Barker utilizes very little supernatural horror and keeps it grounded in the depths of human willpower and raw emotion. Ultimately, what makes this film scary is its depiction of how far a person can go for the object or person that they want.

Baron “Bear” Bailey (Michael Johnston) is a shy, sensitive young man who is in love with Nikki (Inde Navarrette), his childhood friend and co-worker at a music store. Together with their other friends and co-workers, Ian (Cooper Tomlinson) and Sarah (Megan Lawless), Bear is constantly with Nikki, yet he cannot open up to her about his feelings.

The One Wish Willow box from the film OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Bear happens upon a a magic shop and purchases a “One Wish Willow” novelty toy, that supposedly grant a single wish when snapped in half. He was supposed to give it to Nikki but when he can’t even do that, he uses it for himself and wishes that Nikki would love him “more than anyone in the world.” The shift is instantaneous. Nikki’s affection changes into a consuming obsession and begins to do anything and everything to be around Bear, pushing further and further what a person is capable of doing to show their love for someone.

The One Wish Willow display from the film OBSESSION, a Focus Features release.
Credit: Manny Liotta / © 2026 FOCUS FEATURES LLC

Barker sets his world and most of the scenes at night, always filling the screen with shadows and darkness, using only minimal light to illuminate the faces of his cast. From the get-go, Nikki’s transformation is already frightening. She’s lying and making up stories – and not very good ones – just to find any excuse to be with Bear.

OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

But later on, it breaks beyond the border of obsession; Nikki is constantly at Bear’s periphery. And he tries to rationalize that the novelty toy actually granted his wish, Bear reveals a side of him that was probably always there, but never exposed until the narrative gives him more chances to show his true persona.

Inde Navarrette stars as Nikki in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Obsession does not shy away from visceral blood and gore in this film. The lengths by which Nikki would go to just to keep Bear near her and for him to pay attention to her is frightening. But Barker also gives her some scary movements, almost as if she’s possessed by some unnatural force. She would do things that would push her body’s limits just to prove her devotion to Bear. In some cases, the film leads to some terrifying jump scares that don’t feel cheap because it feels earned by the dramatic situation. Nikki becomes a patient predator, waiting in the shadows, in the sidelines, bidding her time until the best time she can be with Bear. It is surprising and it predicates that the wish has hollowed Nikki out, leaving he a captive host to an insatiable force.

Inde Navarrette stars as Nikki and Michael Johnston as Bear in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Without being too obvious about it, the film can easily be viewed through a feminist lens. It portrays how the wishes of men can sometimes boil down to wanting a woman to be completely devoted to them, even if it is against her will and to the ultimate detriment of her own mind and body. Bear does not automatically try to find a way to break the spell; instead, he only seeks to minimize its harmful effects. Even though she is acting strangely, and is clearly dangerous to herself and to others, he still tries to find a way to keep her, just without the apparent harm. While it is never explicitly emphasized or stated, it is a powerful feminist statement if I ever saw one.

Michael Johnston stars as Bear in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Johnston is incredible as Bear, playing into his soft-boy persona while also being completely overwhelmed by the story’s situation. There is a multitude of emotions running through him, and Johnston allows us to see all of them coursing through his body. It’s an excellent portrayal that demands an immense amount of skill and talent. But this movie is truly a showcase for Navarrette and her unbelievable commitment to the character and the dramatic situation. She is fearless and unpredictable. She’s a force of nature that transcends the film’s horror genre, turning it into a layered dramatic performance of a person whose entire personality has been reduced to the singular, simple wish of “loving someone more than anyone else in the world.” It’s an intensely physical role, one that is totally devoid of ego. And she is in it all the way; a star is born.

Michael Johnston stars as Bear, Megan Lawless as Sarah and Cooper Tomlinson as Ian in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Barker’s pacing and direction allow the film to build and build, allowing things to get worse and worse and earns its big finale. It’s one of those movies where the audience in the cinema begins talking out loud to the characters on screen because they simply cannot contain their fear and anxiety over what is unfolding onscreen. This is absolutely a film made for the big screen.

My Rating: 5 Stars

Fearless, brutal, and absolutely unmissable. Obsession is a masterclass in tension that demands to be seen with a crowd. Don’t wait for the spoilers, check showtimes now and witness Inde Navarrete’s powerhouse performance on the big screen!

May 29, 2026
MOVIE REVIEW: ‘Colony’ Boasts Refreshing Twists While Featuring Jun Ji-hyun in a Role She Does Best

From director Yeon Sang-ho, who previously gave us the excellent Train to Busan before veering into the middling territory of Peninsula, Colony emerges as an action-packed horror film that amps up the stakes while containing the chaos inside a high-rise building complex in downtown Seoul to maintain an intimate and intense narrative. By confining the humans inside one location, it often takes the tone and mode of a horror/thriller until the story pushes it towards more action-oriented fare. While the storytelling remains clear, its emotional core is relegated to the supporting characters rather than the protagonist. Nevertheless, Colony is a fun, exciting movie to watch in the cinema as Yeon Sang-ho knows how to utilize the big screen for maximum visceral impact.

Colony centers on a group of people who get trapped within a commercial complex, encompassing a shopping mall, corporate offices, and a convention hall, after a man-made outbreak transforms the population into hyper-aggressive zombie horde operating under a singular hive-mind.

Jun Ji-hyun (credited as Gianna Jun, which is her international name) leads the cast as Kwon Se-jeong. a brilliant, tough, and demanding biotech professor who arrives at the building to attend the Chain Bio Conference with her ex-husband, Han Gyu-seong (Go Soo).

While trying to get a job interview with the Chains Bio CEO, Se-jeong witnesses a confrontation between the executive and Suh Yeong-cheol (Koo Kyo-hwan), a disgraced former Chains Bio scientist who was fired because his research had deadly consequences that threatened the fate of humanity’s future.

Determined to take revenge and prove his research would not only improve the human race but help him exact his revenge on everyone who had wronged him. Yeong-cheol injects both himself and the CEO with a bio-weapon virus, now a zombie, unleashing a localized patient zero, an infects other who rapidly turns the entire complex into a claustrophobic house of horrors.

The building perimeter is quickly sealed off as the attacks intensify and trapping a small cluster of survivors within the building. Among them are the complex’s security officer, Choi Hyun-seok (Ji Chang-wook), his sister Choi Hyun-hee (Kim Shin-rok), who needs a wheelchair to move, and a few other desperate civilians.

Trapped in the building, without any exit strategy, the survivors is forced to navigate through the maze-like building, executing tense evasion tactics to bypass a rapidly multiplying, hive-minded horde to avoid detection if they want to make it out alive.

The structural set up is very clear and precise. Yeon Sang-ho, co-writing alongside Choi Gyu-seok, injects a new twist into the zombie genre by adding elements of biotech elements into the mix. Rather than acting on standard rabid instinct, these zombies are patterned from certain parasitic fungus and ants colonies. They communicate with each other and exchange information through pheromones.

Consequently, any intelligence and information gained by a single zombie is shared with another. Se-jeong must use her intellect to try and outsmart the hive-mind horde to find a cure or find an escape route before they all succumb.

Much like Train to Busan, Yeong Sang-ho fills the surviving party with the familiar genre archetypes – the law enforcer, teenagers (including bullies and the bullied), the vulnerable older person, and a rich man who thinks his wealth dictates the value of his life.

And among them is the everyman, in the form of Ji Chang-wook, who actually works as an everyman despite his good looks – but he plays against type and creates new and refreshing dimensions with these characters. Some people are not what they seem and they play out in the survival aspect of the movie in unpredictable ways.

But make no mistake: this is entirely Jun Ji-hyun’s movie. The camera and the world revolve around her, leaving Ji Chang-wook to merely playing support. Yet, it provides the film with a much-needed emotional core with Ji Chang-wook’s relationship with his sister, played by Kim Shin-rok, who is always excellent in anything she does. As a person with physical disability, Kim Shin-rok’s Choi Hyun-hee is initially framed as a liability, however, a beautifully planted character trait completely shifts the narrative landscape later on. It’s their sibling bond that lends the film its genuine heart, but it is ultimately Jun Ji-hyun’s presence as Se-jeong that gives the film forward momentum.

Both Jun Ji-hyun and Koo Kyo-hwan make for strong lead characters – the protagonist and the antagonist – in roles they have mastered in their many dramas and films before this. These characters are types they’ve played before, but it is so fun watching them do it.

Ultimately, Colony is a tight, exceptionally fast-paced, and action-packed ride. It makes full use on the claustrophobic setting to create an exciting cat-and-mouse thriller, that surprises with some twists in the second and third acts that ensure the story remains unpredictable and refreshing. It has dynamic, sweeping camera movements that keeps the action scenes breathlessly kinetic and heart-pounding while the choreography of the zombie horde is distinct and frightening from start to finish.

My Rating: 4.5 Stars

Don’t miss the claustrophobic terror and relentless thrills of Colony. Gather your friends, buy your tickets, and experience the hive-mind horror on the biggest screen possible. Now playing in cinemas nationwide! Check your local theater listings for showtimes.

May 29, 2026
MOVIE REVIEW: Departing From Her Usual Style, Director Irene Emma Villamor Presents ‘Midnight Girls’ as a Film About the Strength of Women in an Exploitative Industry

Of all of the films in Irene Emma Villamor’s filmography, Midnight Girls is the film that feels completely different, a heavy departure from her usual movies about the complex nature of love. This is a different kind of love story, one that explores what is at the core of friendships amongst Filipina entertainers in Nagoya, Japan. It is an ensemble film, featuring four strong performances from its lead cast: Jodi Sta. Maria, Sanya Lopez, Jane Oineza, and Loisa Andalio.

Almost plotless, Midnight Girls follows four women working in a hostess bar in Japan. Vicki (Sta. Maria) the most mature of the group, sending money to a son with whom she no longer has any real relationship after being gone for so long. She is practical and rational, but years in the working abroad have left her cold, despite her role as “older sister” to the others.

Paris (Lopez) is the explosive one, wearing her heart on her sleeve and carries the story of falling in love with a local man.

Saki (Oineza) faces an identity crisis, while the work forces her to be intimate with men, she finds herself gravitating to Paris. Finally, Wanna (Andalio) is the newcomer who left home and a boyfriend, to earn a living to send money back home.

Each woman becomes representative of the specific struggles hostesses face in this industry. Villamor takes a very interesting approach, investigating each character’s emotional struggle without delving into the inherent exploitation of the work involved. This is not an exploitation film, nor does this film attempts to paint these women as victims. Instead, Villamor is more deadset on navigating their emotional space, detailing their highs and lows, and humanizing them.

The exploitation is implied – though never spoken about – and is always at the periphery but never made present. This is not that kind of movie, and while there are other films tackle that aspect of these women’s lives head on. Instead, Midnight Girls centers its characters as people with hopes, dreams, fears, and regrets. The human aspect is front and center.

Villamor intersperses the film with actual interviews of women who are later revealed to be the inspirations for these characters. By merging the real people behind the fictional characters, the film sidesteps the need for melodrama. While the narrative occasionally skirts toward that territory, Villamor is too sophisticated a director to let go of her restraint.

What I do miss is the director’s signature capacity for capturing the full complexity of her characters on screen. With four main characters – though Sta. Maria serves as the film’s foundation and really holds it all together – Villamor can only really touch the surface of each character, rushing certain narrative beats in order to give everyone their due within just under two-hour runtime. Had the film focused on a single character, Villamor’s trademark writing and directing style would have undoubtedly unearthed the best and worst of these people and would do it incredibly well but as an ensemble piece, we only get fragments of the bigger story. This is still a style and structure that Villamor has yet to continue to practice getting better at it.

Ultimately, the film as a whole is a gorgeous love letter to these women. Elevated by incredible performances all around – especially by Sta. Maria and Oineza – Midnight Girls has moments that will make you both laugh and cry. As the film just flows steadily on, allowing time to pass and letting the women grow within their profession and all its challenges.

My Rating: 4 Stars

Curious to see Irene Emma Villamor’s new direction? Experience the heart and sisterhood of Midnight Girls on the big screen. Find showtimes here.

May 14, 2026
MOVIE REVIEW: For the Fans: A Review of ‘Mortal Kombat II’

I don’t even remember the 2021 film Mortal Kombat, which Mortal Kombat II is the sequel. However, this latest release from the franchise leans so heavily into its video game lore and mode that you don’t need to have seen the first film (or even remember it) to follow the story. It’s not completely bonkers that it shifts gears into the level of camp; Mortal Kombat II is not taking itself too seriously, either. It knows its selling points: it has characters to present, action sequences to highlight, and brutal kills to show off that is reminiscent of the video game the whole IP is based on.

The story begins in the past, detailing how Sindel (Ana Thu Nguyen) and Kitara (Adeline Rudolph) joined the side of the Outworld, led by Shao Kahn (Martyn Ford). This piece of history explains how Outworld conquered the realm of Edenia. A decade later, Outworld is after Earthrealm, and Lord Raiden (Tadanobu Asano) gathers his champions to prepare for Mortal Kombat to protect the planet. His champions include returning characters Sonya (Jessica McNamee), Liu Kang (Ludi Lin), Jax (Mehcad Brooks), and Cole Young (Lewis Tan). They travel to Earth to recruit a new champion: washed-up action star Johnny Cage (Karl Urban). While the tournament will decide the fate of Earthrealm, but there are things happening underneath the surface that threaten to change the outcome of the game.

(From left) Ludi Lin as Liu Kang, Mehcad Brooks as Jax, Jessica McNamee as Sonya Blade, and Karl Urban as Johnny Cage in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Mortal Kombat II is a fast-paced fantasy and action-adventure film that feels thin on story, largely because it works too hard to give every character a chance to have their moment. Kitara begins the story and has the character with the clearest goal, yet she lacks a true character arc. Those arcs belongs to Johnny Cage and Kitara’s bodyguard and friend, Jade (Tati Gabrielle). However, the narrative is crowded: Liu Kang gets his moment, Kano (Josh Lawson) is resurrected and he gets a lot of screen time because his character is so fun and there’s a lot of plot going on in Shao Kahn’s group involving Quan Chi (Damon Herriman) and Shang Tsung (Chi Han). Consequently, the film never really feels grounded; Johnny Cage’s character development is often glossed over with a punchline, while Jade’s story is the most developed but her character is relegated to a supporting cast.

Adeline Rudolph as Kitana in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

And because this is Mortal Kombat, we see the return of Sub Zero/Bi Han (Joe Taslim) and Scorpion/Hanzo Hasashi (Hiroyuki Sanada). Of course, they too have to have their moment.

Hiroyuki Sanada as Scorpion in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Since the movie is really meant for entertainment and to deliver fan service, there’s quite a number of logical inconsistencies that I’m willing to forgive. However, what I’m expecting, though, is really good fight scenes which the film delivers inconsistently. I’m not that sure of Karl Urban’s ability to fight but his fight scenes are the ones that are the most heavily edited to try and hide the switching of a stunt double. Many of Rudolph’s fights (except the one with Johnny Cage) and that of Gabrielle were fun to watch but the real gem is the fight scene between Liu Kang and Kung Lao (Max Huang). It is fast, the choreography is stunning, the editing allows the viewer to still see the action, and it was dynamic without being overshadowed by the special effects. It’s this kind of fight scene that I hoped to see more of, yet there wasn’t a lot of it.

Martyn Ford as Shao Kahn in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Because the film felt like it was intended for fun and fan service, the finale dragged on for quite a bit as two different storylines. In the form of two different fight scenes, The constant cutting back and forth between these two battles extends the action beyond what feels comfortable. But as one-character bows out, another takes their place, and the scene extends some more. It gets a little out of hand. Ultimately, Mortal Kombat II is chaotic, messy, has a lot of story inconsistencies or easy plot fixes, and the fight scenes are not at all balanced out. However, for serious fans of the lore, there is still a lot here to enjoy. The audience at my screening were obviously fans, taking the time to ask questions about where this character showed up and if what’s mentioned is part of the official story canon or not.

My Rating: 2.5 Stars

The tournament has begun! Grab your popcorn and catch the chaos at a theater near you. Check out the latest Mortal Kombat II showtimes here.

May 13, 2026
MOVIE REVIEW: ‘The Sheep Detectives’ Successfully Juggles Multiple Genres as Comedy, Whodunnit, and Social Commentary at the Same Time

When I first saw the trailer for The Sheep Detectives, I must admit I wasn’t impressed. It looked like a typical family-friendly story of anthropomorphic animals doing human things, in this case, solving a murder. It felt a little far-fetched to me and because the trailer seemed a little over-the-top, the jokes felt expected.

I was pleasantly surprised when I finally saw the film, though. Directed by Kyle Balda and written by Craig Mazin (adapting Leonie Swann’s novel ‘Three Bags Full’), the movie is funny, heartfelt, and engaging. There is an earnestness and sincerity to it that perfectly matches the demeanor of its wooly protagonists.

(L to R) Regina Hall as the voice of Cloud Aroop Shergill as the voice of Daisy, Patrick Stewart as the voice of Sir Ritchfield, Ishi Agrawal as the voice of Pickles, Jasper Ambrose as the voice of Oliver, Rhys Darby as the voice of Wool-Eyes, Bella Ramsey as the voice of Zora, Chris O’Dowd as the voice of Mopple, Laraine Newman as the voice of the Fainting Sheep, Julia Louis-Dreyfus as the voice of Lily, Brett Goldstein as the voice of Reggie and Ronnie and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios | Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

The characters, as sheep, serve as a clever metaphor for the larger societal metaphor the filmmakers intend to discuss, however they never do so in an overt way, allowing the film to maintain its light and whimsical tone.

(L to R) Tommy Birchall as the voice of The Winter Lamb and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

In ‘The Sheep Detectives,’ we follow a herd of sheep cared for by George Hardy (Hugh Jackman), a bit of a loner who is grouchy and dismissive toward the townspeople that live near his farm but pours all his affection into his flock. He cares for them deeply, naming each one and reading them mystery novels at night. In this world, the sheep understand him, enjoy the detective stories, and love him just as equally. After a rainy night, George is found dead under circumstances that point to murder. In such a small town, the only policeman, Tim Derry (Nicholas Braun), is a bumbling fool who misses every significant clue. Now, the sheep, led by George’s favourite, Lily (voiced by Julia Louis-Dreyfuss), must solve the case on their own.

(L to R) Nicholas Braun stars as Officer Tim Derry, Molly Gordon as Rebecca Hampstead, Kobna Holbrook-Smith as Reverend Hillcoate, Hong Chau as Beth Pennock, Conleth Hill as Ham Gilyard and Tosin Cole as Caleb Merrow in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Alex Bailey © 2026 Amazon Content Services LLC. All Rights Reserved.

Balda’s direction is fast-paced and easy to follow, allowing him to juggle the film’s various modes. On one hand, it is a coming-of-age story, as the sheep learn to become more active characters in their own lives and venture beyond the comforts of their farm. It is also a mystery film, hitting all the narrative beats of the genre and effectively playing out the whodunnit form. Then, quite subtly, the film also doubles as a social commentary, with the sheep becoming a clever metaphor for today’s modern society.

(L to R) Chris O’Dowd as the voice of Mopple and Julia-Louis Dreyfus as the voice of Lily in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

In the movie, the sheep possess the power to forget. The moment they encounter something distasteful, uncomfortable, or problematic, they can simply choose to forget it. Their reality and worldview are determined by what they allow themselves to remember. While this is an important story point for The Sheep Detectives, it is also a poignant metaphor for our current society’s inability to remember our history, hence we always find ourselves repeating the same mistakes as before.

Patrick Stewart as the voice of Sir Ritchfield in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

The sheep are carefree and passive, and why shouldn’t they be? They are well-fed, cared for, groomed, and entertained, with all their needs met. What reason do they have to do anything radical or drastic? It is only when George dies that all this comfort is threatened. Before they can choose to forget to avoid the pain, the only sheep unable to do so, Mopple (Chris O’Dowd), reminds them that to truly love George, they must remember him. It’s an early part of the film that has powerful reverberations throughout the rest of the narrative.

Laraine Newman as the voice of the Fainting Sheep and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

There’s a lot that is happening under its 109-minute runtime. Each character is well-developed and fully realised, while the film effortlessly juggles its various genres and themes. It is funny and charming, yet still packs a punch the moment you see the metaphor for what it is.

My Rating: 4.5 Stars

A rare film that manages to be both hilariously whimsical and deeply profound. Will you choose to remember? Don’t miss The Sheep Detectives at your favorite theater, check out the latest movie showtimes here.

May 9, 2026
MOVIE REVIEW: Stylish but Hollow: A Review of ‘The Devil Wears Prada 2’

I wasn’t sure if I ever wanted a sequel to The Devil Wears Prada. To me, the original was already so perfect, one of those evergreen films you can return to over-and-over again. Anne Hathaway’s Andy Sachs served as the perfect foil, played it so well that matched Meryl Streep’s iconic Miranda Priestly, who really could have won an Oscar for that performance.

(L-R): Miranda Priestly (Meryl Streep) and Andie Sachs (Anne Hathaway) in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2025 20th Century Studios. All Rights Reserved.

It was just as enjoyable to watch the banter and barbs flung with precision at perfect timing by Emily Blunt’s Emily and Stanley Tucci’s Nigel. It’s a film I could come back to and the story in itself was so complete that I had no real desire to see more from them because everything that I needed was there.

(L-R): Anne Hathaway as Andy Sachs and Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

So coming into Devil Wears Prada 2 came with a lot of resistance. The trailer didn’t tell me anything other than they were going to be delivering the same level of humor while amping up the glitz and glamour. The story finds Andy Sachs returns to Runway after losing her job due to the layoffs of media workers (and other industries) due to the current capitalist wave.

(L-R) Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Twenty years have passed, and Miranda doesn’t even remember her. Miranda herself is struggling to keep the brand afloat amidst the changes and challenges in the field of traditional publishing since the Internet and social media has changed everything.

Andy’s return to Runway isn’t Miranda’s choice and she now has to prove her worth all over again. While the story runs almost beat-for-beat with the 2006 original, the dynamic has shifted quite a bit with Andy more confident and knowledgeable about the world.

Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The performances are still enjoyable with Meryl Streep given significantly more to do as the film has her on equal screen time and agency as a character than she was in the first film. This is as much her movie as it is Andy’s. They’ve humanized her, the eponymous “Devil” of the film’s title, now left scrambling to keep her budget and her brand alive, and hoping for a promotion for “Head of Global Content” in the publishing company, a position she has spent many years forging.

(L-R): Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

However, this added storyline and humanizing of her destroys all of the character’s mystery – which some people enjoyed, though I felt lessens her impact on the film – and without that signature coldness, the film feels like it lost some of its signature bite. By grounding Miranda, I felt more inclined to look at the things that the film wants to say.

(L-R) Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

And while it does mention the changes in the publishing industry – in terms of its business models and being run by billionaires who only care about making a profit and don’t care really about creating something valuable and meaningful outside of economics – it never really gets to go deep and hard into these issues. Maybe it’s not what the film is trying to do but the whole narrative is set on trying to save Runway with a Jeff Bezos-type billionaire character, Benji Barnes (played by Justin Theroux) playing a crucial role in its future, but I felt the film took for granted in showing us what was worth saving in the first place.

(L-R) Stanley Tucci as Nigel Kipling and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The film still regales us with gorgeous outfits and great styling. It features multiple cameos by real superstars and legends of the fashion world. But in this day and age of a possible global recession and a reevaluation of the true cost of luxury, I end up questioning what the point of all of it is.

Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

In the original film, that amazing monologue about “cerulean” was an important narrative beat to show Miranda’s knowledge in the world of fashion and a turning point in Andy’s discovery of what it is she was truly entering but it was also necessary because it made us realise how high fashion is connected to everything – especially back in 2006. As Andy began dressing the part, looking great, she started to attract good things coming to her. The Devil Wears Prada does not have that same moment – to show us how important and necessary high fashion is to the world today – and thus feels like the film sort of stumbles in what it is trying to do.

Emily Blunt as Emily Charlton in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Yes, we want the characters to succeed because Anne Hathaway, Meryl Streep, and Stanley Tucci are amazing and their performances truly grab at you. Emily Blunt is also great, but her character now runs adjacent to Runway. But there are so many plot points and narrative twists keeping the story moving, yet it never really stops and gives us a moment to rationalize what high fashion means in 2026. It’s all gorgeous to look at, but who can afford a three thousand dollar handbag in today’s economy? The film never showed me why that matters.

(Center – Right) Meryl Streep as Miranda Priestly and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Director David Frankel does a good job at keeping the pace, keeping the plot moving without ever feeling boring, and allowing his actors to shine. We got gorgeous cinematic moments and a lot of good humor reminiscent of the original but I don’t see the same heart that was there that got me to fall in love with the first movie.

My Rating: 3.5 Stars

Miranda doesn’t like to be kept waiting. Witness the long-awaited return of Meryl Streep and the original cast in the cinematic event of the season. Check The Devil Wears Prada 2 showtimes here.

May 4, 2026
MOVIE REVIEW: Poetic and Strange, ‘Mother Mary’ Showcases the Inner Pop Diva of Anne Hathaway

There is a profound embrace of poeticism in David Lowery’s Mother Mary. Amidst the fashionable, glamorous world of a pop star and her former costume designer and creative partner, lies a story of a friendship’s dissolution, one so devastating it leaves wounds capable of summoning specters of unsettled emotions. The film feels almost theatrical, from the dialogue spoken by Sam Anselm (portrayed by the disarming Michaela Coel) to the transitions Lowery uses to bridge the past and present. And as metaphors that take shape within the narrative, they thrust the film into an entirely different genre. It is fascinating as it is visually stunning.

Anne Hathaway stars as the titular pop icon, Mother Mary, who is about to make a comeback after a traumatic onstage accident. Exhausted, frustrated, shaken to her core by waves of emotion, she flies to England to visit the home of Sam Anselm (Michaela Coel), a fashion designer, to ask for a dress for her comeback performance. But Mother Mary and Sam have a tortured past. Sam was once Mary’s costume designer and from rifling through their history, she was more than that: a creative partner, a foundational presence who was there from the beginning, and a friend.

Mother Mary Images courtesy of Creazion Studios

Sam is cold and detached, yet she keeps Mother Mary talking, betraying her need for something from her. She takes on the job; to design and craft a dress in less than four days. And in the process, the two women hash out that moment when their friendship ended, when Mother Mary chose to replace her original circle with a new creative team behind her. It is at that point, an hour into the film, where the film shifts radically as Sam reveals that the pain of that parting led her to a supernatural encounter: a ghost.

Mother Mary Images courtesy of Creazion Studios

For the first hour, the film moves at a slow pace. Lowery focuses his lens on the very nuanced and layered conversations between Mary and Sam.

Mother Mary Images courtesy of Creazion Studios

Mary is visibly broken and desperate for connection, while Sam is keeping her cool, clearly reveling in the power of being needed. Sam’s dialogue are poetic, descriptive, and eloquent. Michaela’s English delivery and sharp English accent cast a hypnotic spell.

Mother Mary Images courtesy of Creazion Studios

In contrast, Anne Hathaway’s Mary is a broken person, her words are unfiltered, messy, and unrehearsed. This first half of the film functions almost like a stage play – a two-hander where the only action is the two characters navigating the past.

Mother Mary Images courtesy of Creazion Studios

Lowery keeps it theatrical, transitioning from present to the past with a movement of the camera to reveal the past right at the edge of the screen, coming into focus, and the character in the moment of remembrance enters into the frame to act out in the flashback. No cuts.

Mother Mary Images courtesy of Creazion Studios

Just one continuing movement allowing time and space to collapse into each scene. Though a decade has passed since their parting, the film suggests that the past is just a camera pan away. It is a visceral reminder that these events are still very real, very present, and very close to both two women.

Mother Mary Images courtesy of Creazion Studios

Occasionally, the film allows Mary to break into full performance, emphasizing that her stage persona is every bit a part of this story. The sharp contrast between the gothic, dark design of Sam’s workshop, and the searing bright lights of Mary’s world and massive crowds – jumping into some killer songs by Jack Antonoff and Charli XCX (with Anne Hathaway herself sharing songwriting credits) – keeps the energy running while expanding the film’s themes into that of art and creation.

Mother Mary Images courtesy of Creazion Studios

The image of the pop artist is just as instrumental as the music and the performance. Sam was taken away from something she helped craft, and Mary, standing at this critical juncture in her career, realizes she must return to the source to truly move forward.

Mother Mary Images courtesy of Creazion Studios

When the ghost story emerges halfway through the film, Mother Mary fully embraces its Gothic mode. The narrative shifts to the horror genre, yet it remains firmly rooted in the one thing that both women are searching for: closure. The ghost is both literal and metaphorical, and the film adopts an air of whimsy that feels entirely earned, the emotions simmering throughout the film seemed destined for this.

Mother Mary Images courtesy of Creazion Studios

Hathaway and Coel are incredible, creating two characters so distinct and lived-in that their relationship becomes the fulcrum of all of Lowery’s storytelling techniques. The theatricality, the extreme close ups, the music, and the seamless transitions – they are all there in service to Sam and Mary’s journey towards liberation. Both actors are so profoundly committed to the film’s whole vision that the narrative never feels silly or over-the-top.

Mother Mary Images courtesy of Creazion Studios

Mother Mary is a strange, little film but if you can ride its out-of-the-box presentation, it is a rare cinematic treat. At the very least, one can simply enjoy Anne Hathaway living her pop-star dreams, proving there is formidable diva within her that has finally found the perfect stage on which to shine.

My Rating: 4 Stars

April 29, 2026
MOVIE REVIEW: What You Don’t Know About Her: A Review of the Spectacularly Unhinged ‘The Drama’

I have to begin by saying that The Drama is one of the most original movies I’ve come across. It features a spectacular script by writer-director Kristoffer Borgli and amazing performances by its two leads, Zendaya and Robert Pattinson. While it is ostensibly a love story, it is the most unhinged romance movie I’ve ever seen, juggling a variety of genres from black comedy to horror while tackling a controversial subject matter in the most complex of ways. Ultimately, it asks the most fundamental of questions: Can you truly love someone unconditionally?

The film opens with Charlie (Pattinson) seeing Emma (Zendaya) at a cafe and becoming instantly smitten. In an attempt to ask her out, he lies about having read the book she’s reading. And this awkward meet-cute, so well executed, triggers a jump to two years later, where the couple is engaged and writing their wedding speeches. The opening serves as a flashback, and through the drafting of their speeches, we get to see the couple through each other’s eyes. With only weeks left to their wedding, and in the midst of the wedding coordination, Charlie discovers something about Emma’s past that sends him on a tailspin. It is rather shocking – an important detail that was left out – and the ramifications in the days leading up to the wedding creates the film’s title: the drama.

Photo credit: Pioneer Films Philippines | A24

What is incredible about Borgli’s filmmaking – both in writing and direction – is how he introduces us into this world in a very ordinary way. Despite the presence of Zendaya and Robert Pattinson, the film and its aesthetic is lacking in gloss and shine. Cinematographer Arseni Khachaturan is excellent at framing the couple, often going in really close or situating them within a space, as if they are trapped in their own minds. While keeping the colors muted, stopping it from bursting out except for red. Charlie and Emma are presented as an ordinary couple, their love story as cute and very much-like an indie movie with the film jumping from one memory to the next until one night, while tasting the menu for their wedding, they enter a discussion with their married friends, Rachel and Mike (Alana Haim and Mamoudou Athie), and then the revelations come.

Photo credit: Pioneer Films Philippines | A24

At this point, the film shifts gears, transforming into a different movie altogether. The tone changes and the upcoming marriage is standing on a knife’s edge as Borgli’s filmmaking moves from a quirky indie romance into that of psychological horror. It’s actually funny, with Pattinson doing an amazing job portraying a man crumble under the confusion of the discovered secret. Relationships are tested, Zendaya’s Emma is desperately trying to hold her footing on stable ground. While the film’s first half sees Borgli and editor Joshua Raymond Lee whisking us back and forth from present to past, but in the second half, the film now shifts us from reality to the characters’ inner worlds. Charlie and Emma would shift into a trance-like states, imagining the worst.

Photo credit: Pioneer Films Philippines | A24

The pacing of The Drama is exquisite, carefully building momentum toward a climax that goes to a place that is packed with tension and energy. Zendaya and Pattinson are doing nuanced work that requires them to show the audience the insecurities and lies they are hoping goes unnoticed. Here, they are not movie stars but feel like ordinary people dealing with an extraordinary circumstance and it’s an acting tightrope that they manage effectively.

Photo credit: Pioneer Films Philippines | A24

While the premise itself feels larger than life in the way that it is presented, The Drama asks a really relevant question in these politically charged, socially aware times: Where do you draw the line between love and morality? The answer isn’t as simple as one might think, and the film dwells in that complexity. It is awkward and oftentimes painful. I found myself saying “oh no” and “don’t do that” loudly several times during the screening. The enjoyment of the film lies in the messy area of human frailty. It is finding comfort in watching someone unable to easily define the lines. It’s an amazing movie and I do hope that it didn’t come out early enough in the year for it to be left out during award season next year.

My Rating: 4.5 Stars

Get to know Charlie and Emma’s story, catch The Drama on the big screen while you can, this is one performance you’ll want to remember come awards season. Get showtimes here.

April 11, 2026