A Sexy Blog

I began to wonder if I had inadvertently selected a dull guilty pleasure disguised as a serious exploration of societal themes as the film moved from one sleazy party scene to the next. What unfolded was, unfortunately, a mediocre experience filled with endless sexual encounters that overshadowed any glimmer of genuine storytelling.

Since Ridley Scott's original Gladiator took the world by storm in 2000, my expectations for the sequel, Gladiator II (2024), have oscillated between cautious optimism and deep skepticism. As someone who holds the first film in high esteem, there was a blend of excitement and anxiety leading up to this cinematic reunion. Would it sift through the sands of time to emerge victorious, or would it become a forgotten footnote?

It’s What’s Inside, the 2024 cinematic cornerstone (or pitfall) brought to you by the innovative Greg Jardin. With a cast that reads like a “who’s who” of talented up-and-comers—Brittany O’Grady, Gavin Leatherwood, and a few others I may forget as soon as the credits roll—you might think I was in for a treat.

Unfortunately, while I sat to watch with a sliver of hope for a nail-biting adventure—perhaps with a clever twist or two—I quickly learned that this film wouldn't be swimming with the greats. Instead, I found myself floundering through a plot filled with superficial characters and a story threadbare enough to leave many unanswered questions in its wake.

Dominique—the film that initially felt like it was going to be a bit of a struggle, but ultimately delivered a surprising punch. Directed by a team eager to deliver a compelling story, this film stars Oksana Orlan as the intriguingly complex assassin.

"Wake Up," directed by the trio of François Simard, Anouk Whissell, and Yoann-Karl Whissell, attempts to cram slasher horror, a dash of social commentary, and the spirit of eco-activism into a single flat-pack of mediocrity.

In a landscape rich with horror and psychological thrillers, I felt a pang of disappointment after watching "Longlegs," directed by Osgood Perkins and featuring a talented cast including Maika Monroe, Nicolas Cage, and Alicia Witt. While I had hoped the film would stand out, it instead floated somewhere in the realm of mediocrity.

Animal Factory, directed by Steve Buscemi and released in 2000, tries to present itself as a gritty exploration of life behind bars. Featuring actors like Edward Furlong, Willem Dafoe, and Danny Trejo, this film aims to delve into the harsh realities of incarceration.

As I prepared to watch Alien: Romulus, I felt a blend of anticipation and skepticism. I was ready to embrace a film that, while aiming to entertain, might not reach the iconic heights of its predecessors in the franchise. It’s clear that Alien: Romulus isn't a bad film, but it also doesn’t quite stand out among the earlier entries.

There’s a peculiar, illicit pleasure in witnessing a horror film that doesn’t bother appeasing the grown-up urge for context, or even moral justification, a film that simply wants to stalk you, amuse itself, and then gut you, all while wearing a fixed rictus grin. "Terrifier" announces itself with the blank-eyed mirth of Art the Clown: a creation not born so much from the tradition of slasher villains as from the very tactics of a mean-spirited magician. There is no myth, no tragic back-story, the movie barely bothers with plot at all, but dances with the sharp, ecstatic purity of a bad dream that keeps plunging into new depths.