Movies

Companion (2025), directed by Drew Hancock, emerges as a compelling addition to the science fiction thriller genre with notable elements of horror comedy woven into its narrative fabric. The film explores provocative themes such as artificial intelligence, autonomy, and human morality within a tense, isolated setting that amplifies its psychological intensity. Its premise—centering on a weekend getaway catalyzing chaos after revelations about a companion robot—promises a blend of suspense, dark humor, and moral dilemma, positioning it as an intriguing, if imperfect, cinematic experience. The film's tone oscillates between visceral horror and satirical commentary, inviting viewers into a domain where technology's encroachment intersects with human fragility.

Warfare (2025), directed by Ray Mendoza and Alex Garland, offers a uniquely raw and immersive perspective on modern combat, capturing the chaos and intensity of a Navy SEAL recon mission in Ramadi. The film’s commitment to realism, combined with its groundbreaking sound design—completely devoid of a traditional musical score—creates an atmosphere that feels both visceral and genuine. This movie stands as a powerful testament to the grittiness of war, emphasizing not just the violence but also the psychological toll on soldiers. Its unflinching portrayal invites viewers to reconsider the true cost of conflict, making it both an eye-opening and emotionally resonant experience.

Martin Scorsese’s “Casino” (1995) is a formidable entry in the crime genre, distinct in its grandiosity and meticulous craftsmanship. Adapted from Nicholas Pileggi’s nonfiction book, the film stars Robert De Niro as Sam “Ace” Rothstein, Sharon Stone as Ginger McKenna, and Joe Pesci as Nicky Santoro. Expectations for this film were high given Scorsese’s reputation for in-depth character studies and visceral storytelling, coupled with the critically acclaimed performances of the cast. As a long-standing admirer of Scorsese’s aesthetic and thematic depth, I anticipated a richly textured exploration of moral decay within the neon-lit facade of Las Vegas. “Casino” promised to probe the corrupt underbelly of organized crime’s entrenchment in the gambling metropolis, and it does so with an unflinching, sensory-driven intensity.

Released in 2019 under the direction of Fernando Meirelles, The Two Popes presents an intimate portrayal of two of the most influential figures within the Catholic Church—Pope Benedict XVI and Pope Francis—played masterfully by Anthony Hopkins and Jonathan Pryce, respectively. Based on Anthony McCarten’s theatrical adaptation, the film ventures into the nuanced psychological and theological terrains of these towering personalities, set against the backdrop of the Vatican during a period of upheaval. As someone interested in the intricacies of faith, doctrine, and leadership, I approached The Two Popes with anticipation, eager to see how it would balance historical authenticity with dramatic storytelling.

GATAO: Like Father Like Son (2025), directed by Ray Jiang, represents the fourth installment of the esteemed Taiwanese gangster series. Sunny Wang returns as Michael and is a prequel set several years prior to Gatao (2015). As a critical exploration of gang origins, it offers an intricate character-driven narrative that deepens the understanding of the series' core factions. Expectations from previous entries suggested a gritty, visually stylized portrayal of gang conflicts and personal histories—this film largely fulfills those, with notable improvements in production quality and narrative focus.

Gatao: The Last Stray, directed by Jui-Chih Chiang and released in 2023, constitutes the third installment in the Gatao universe. Featuring Rexen Cheng as Qing and Nikki Hsieh as Xiao Qi, the film is rooted in Taiwan’s organized crime universe yet distinguishes itself from prior entries through its nuanced approach to romance and character development. Unlike its predecessors, particularly the first Gatao film, this installment diverges from the usual romantic tropes, emphasizing introspection, moral ambiguity, and social commentary. While it surpasses the first film in quality, it does not quite reach the narrative and emotional heights of the second Gatao film, offering viewers a mixed yet engaging experience.

Gatao 2: Rise of the King, directed by Cheng-Kuo Yen, is a 2018 Taiwanese gangster film that expands upon the groundwork laid by its predecessor, Gatao. As Yen’s feature directorial debut, the film navigates a genre historically dominated by Hong Kong cinema, yet showcases Taiwanese filmmakers' capacity to produce compelling, stylistic, and intense gangster narratives. Starring Wang Shih-hsien as Ren, alongside an impressive cast including Collin Chou, the film sets out to depict a brutal underworld torn between loyalty, power, and vengeance. Expectations for Gatao 2 hinge on its ability to elevate genre conventions through innovative storytelling and dynamic action sequences, given the film’s budget and ambition.

When I first approached Gatao, released in 2015 and directed by Joe Lee, I expected a compelling Taiwanese gangster film that could elevate itself beyond the typical crime genre fare. Having been a longtime fan of Hong Kong’s "Young and Dangerous" series—an iconic representation of triad movies—my hopes were rooted in the belief that Gatao might capture some of that gritty, larger-than-life appeal. Sadly, my expectations were largely unmet. The film comes across as a tired rehash of familiar gangster tropes, constrained by budget limitations and lacking the spark needed to truly resonate.

G20, directed by Patricia Riggen and made available on Amazon Prime Video, attempts to weave an action-thriller narrative around a G20 summit in South Africa. Featuring Viola Davis as President Danielle Sutton, the film sought to engage viewers with themes of political tension, global economics, and the intersections of leadership under threat. I approached the film with anticipation, fueled by my admiration for Davis from her roles in How to Get Away with Murder and The Woman King. Unfortunately, as the credits rolled, I found myself grappling with profound disappointment as G20 tumbled into absurdity, failing to deliver on its ambitious premise.

Gunslingers, the latest addition to the Western genre, comes to us courtesy of the amateurish antics of director Brian Skiba, released in 2025 and notably available on streaming platforms for those unfortunate enough to stumble upon it. This film supposedly delves into themes of vengeance, redemption, and the convoluted nature of morality in the old West. However, if you're looking for a meaningful exploration of these concepts, you might be disappointed. In reality, it serves as a cautionary tale about how not to make a Western and how not to cast talented actors like Nicolas Cage in a script that seems to have been penned at the local saloon after an all-night poker game.