A Sexy Blog

Let’s be honest for a moment: I don’t follow Formula 1, and if you’d asked me to pick Daniel Ricciardo out of a lineup before Joseph Kosinski’s F1 went roaring across the IMAX, I’d have shrugged and asked for directions to pit lane. But I do go for any motorsport race I can, and I’m not immune to the thrall—the primal narcotic—of the engine’s scream and the crowd’s feverish pulse. The surprise here, sitting in a cavernous, digital theater, is that Kosinski’s film makes you almost forget about the physical sensation of the track. “Almost” is the key. The sound and the snarl are so close, so constantly engineered, you can sense the popcorn rattle, but never quite smell the gasoline.

There’s something to be said for the kind of movie that doesn’t so much ask for your suspension of disbelief as it hustles you aboard, pumps the cabin full of intoxicating nonsense, and dares you to care how, or whether, the plane lands. Fight or Flight, James Madigan’s boisterous midair free-for-all, gives us the cinematic equivalent of a B-grade cocktail: fizzy, shallow, and exactly right after a long week of seriousness. In other words, it’s a film that understands the difference between “original” and “necessary”, and, frankly, doesn’t trouble itself about either.

Oh dear, it’s always a little heartbreaking to watch a film trundle out its aspirations with confetti and sashes, only to trip over its own parade float and land face-first in the mud. Founders Day wants so much to be a cheeky contribution to the crowded boudoir of holiday slashers, a genre already thick with gore-soaked in-jokes and severed limbs of irony, but the result is the sort of limp, confounding spectacle which leaves you dazed at the exit, wondering whether you’ve seen a movie at all or simply sat through a particularly aggressive PTA meeting with unfortunate casualties.

In the 2023 sequel 4 Kings II, Phuttipong Nakthong continues his exploration of the chaotic youth culture rooted in Thailand's vocational school rivalries. While the film picks up from the impactful narrative established in the first installment, it struggles to recapture the emotional depth that resonated with audiences in 2021. Despite its engaging elements, the sequel ultimately reveals a tale that, while still worthwhile, feels unbalanced when contrasted with its predecessor.

In his directorial debut, Phuttipong Nakthong presents 4 Kings, a stirring neo-noir crime drama that explores the complexities of youth, camaraderie, and conflict within the backdrop of Thailand's 1990s vocational school culture. This film immerses audiences into a turbulent era characterized by youthful rebellion and institutional rivalries. It's a poignant yet gritty narrative that straddles themes of friendship, rivalry, and the harsh realities of growing up amid societal expectations.

In a universe not so far away, a film titled "Flight Risk" has landed—or more appropriately, crash-landed—straight onto streaming platforms, helmed by a name once synonymous with epic storytelling, Mel Gibson. Prepare yourselves, for this is not "Braveheart," nor is it a movie that wrestles with deep philosophical themes. Instead, it is a whirlwind, turbulence-riddled escapade of bewildering decisions and a plethora of questionable accents. Central to this cinematic odyssey is a pilot of questionable credentials—wink, wink—and a handcuffed accountant. Hats off to the daring filmmakers who decided the vast Alaskan wilderness would be best portrayed from inside one small cabin for 90% of the runtime.

Fight Club—the cult classic that turned pillow fights into existential crises and shopping malls into battlegrounds. You know, the film that taught us that the road to masculinity is paved with soap and subtle acts of violence.

Once in a while, a film comes drifting in on the wind, caught by almost no one, championed by even fewer, carrying the kind of oddball, heart-clutching enchantment that threatens to restore faith in the very act of cinema. Fish Story, Yoshihiro Nakamura’s time-hopping wonder, is precisely that sort of late-breaking revelation: a freewheeling, postmodern fable, at once as headlong and as intricately assembled as the punk anthem at its core. It’s hard to think of a movie, in these battered days, that is so bracingly, disarmingly optimistic—so resolutely happy to believe that music, and thus art, can literally save the world. And damned if the movie doesn’t just about convince you.

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.

Directed by Glenn Ficarra and John Requa, "Focus" is a slick 2015 heist drama that combines elements of romance, con artistry, and deception, featuring a charismatic leading duo in Will Smith and Margot Robbie.