Movies

There’s a peculiar thrill in surrendering to a franchise you once tiptoed around, only to discover, three films deep, that what you’d dismissed as mere butchery contains a bewitching, misanthropic wit. “Terrifier 3,” the latest of Damien Leone’s splatter operettas, is that rare slasher sequel that not only resurrects the franchise corpse, but hustles it, grinning, into the main square, clad in Christmas tinsel and brandishing a bloodied candy cane.

This low-budget slasher reintroduces Art the Clown, a character who has quickly risen to iconic status within the horror genre, while delivering a story that ups the ante in every conceivable way, violence, scale, and ambition. With a runtime of over two hours, Terrifier 2 pushes the boundaries of modern horror, offering a visceral experience that caters to hardcore fans while alienating some mainstream viewers.

Frank Herbert’s “Dune” is the Mount Everest of science fiction, looming, treacherous, irresistible to climbers. Its reputation has become its curse. With each attempt to bring Herbert’s syncretic, sand-blasted cosmos to the screen, we glimpse the mirage on the horizon, the masterpiece peeking through the haze, while filmmakers crawl toward it, parched, hallucinating grandeur but often finding only the plastic taste of compromise on their tongues.

When I first heard about "Furiosa: A Mad Max Saga," I was both excited and apprehensive. Anya Taylor-Joy has always captivated me with her exceptional talent and striking beauty, so I was eager to see how she would step into the role of Furiosa.

"The Bikeriders," directed by Jeff Nichols, is a crime drama that navigates the tumultuous world of motorcycle clubs in the 1960s. Drawing inspiration from Danny Lyon's photo book, the film presents a fictionalized account of the Vandals Motorcycle Club, a portrayal that echoes real historical biker subcultures like the Outlaws.

As I settled in to watch the 2024 remake of "Road House," a mix of excitement and nostalgia coursed through me. The original, with its iconic performances by Patrick Swayze, holds a special place in cinematic history.

As a long-time admirer of Dev Patel, starting with his unforgettable role in "Slumdog Millionaire," I was eagerly looking forward to his directorial debut, "Monkey Man." This film not only showcases his remarkable acting talent but also reveals his vision and storytelling capabilities from behind the camera.

Watching Civil War was like stepping into a haunting reflection of a potential future for my society. Directed by Alex Garland, the film offered a raw and unsettling scrutiny of an America engulfed in civil conflict, all unfolded through the perspective of war journalists.

“Ben-Hur,” directed by William Wyler and released in 1959, remains a monumental achievement in cinematic history. Adapted from Lew Wallace’s 1880 novel, this film is renowned not only for its sweeping narrative and character depth but also for its ambitious scale and technical innovations.

As someone who typically gravitates toward different genres, I was pleasantly surprised to find myself enjoying "Frankie Freako," directed by Steven Kostanski.