A Sexy Blog

Given Snyder's reputation for visually striking films, I approached Rebel Moon with a mixture of curiosity and guarded optimism. After all, how could a film featuring a dying planet and a band of rebels not deliver some level of excitement? Spoiler alert: it crashes and burns rather spectacularly.

What a joyless, magnificent mess of unintended comedy this is, a late-period fever dream so overloaded with Significance and “cinematic history” that it’s hard to know if Francis Ford Coppola’s Megalopolis comes to us as a time capsule from the future of movies, or as the smoldering effluence of Hollywood’s oldest, dearest delusions.

As a long-time fan of Linkin Park, I walked into the release of "From Zero" fully aware that I wasn't expecting anything remarkable. In fact, I was almost certain it was going to be a disappointment.

So, I thought I’d check out "Cash Out," and wow, what a delightful surprise—if by "delightful surprise," I’m referring to yet another uninspired and completely unoriginal action film.

"Legacy of Lies," starring the ever-charismatic Scott Adkins, attempts to serve up a plate of action fare that feels as if it was left out in the sun a bit too long.

If there were a movie iceberg, this film would be the tip of a navigational hazard, barely visible above the surface while the bulk lurks deep below—filled with clichés, awkward dialogue, and action that makes you question if the director thought it was possible to film a spy movie without any visible budget. But hey, at least Kate Beckinsale got a chance to polish her "I'm a badass" aesthetic, right?

"The Silent Hour," directed by Brad Anderson, sees Joel Kinnaman taking on another challenging role that explores disability, following his turn in last year's "Silent Night," where he portrayed a character who lost his voice.

Welcome to "Joker: Folie à Deux," where someone clearly thought that the Joker needed a side of show tunes with his madness. I mean, why would we want a coherent follow-up to a dark, gritty masterclass in misunderstanding society?

The Platform (El Hoyo) graced us with a bleak and dystopian delight back in 2019. It served up brutal social commentary alongside prison horrors.

Let’s not beat around the bush: "Classified" is an absolute abomination of a film. If I could give it a negative rating, I would. It’s as if three separate atrocities were flung together, masquerading as a coherent movie.