The CineFiles

Tuesday, June 9, 2026

WHISTLE (2026)

Directed By: Corin Hardy

Written By: Owen Egerton

Cinematography: Bjorn Charpentier

Editor: Nick Emerson

Cast: Dafne Keen, Sophie Nelisse, Sky Yang, Jhaleil Swaby, Ali Skovbye, Percy Hynes White, Nick Frost, Mika Amonsen, Michelle Fairley

A misfit group of unwitting high school students stumble upon a cursed object, an ancient Aztec Death Whistle. They discover that blowing the whistle and the terrifying sound it emits will summon their future deaths to hunt them down.

unfortunately, this film is pretty basic. There’s nothing revolutionary, except for some pretty good special effects and the first lead starring role for Dafne Keen. As it helps to feed off her Internet buzz and and X-MEN, LOGAN and DEADPOOL following.

The film does offer some LGBTQ representation, especially in the leading roles. Though the film feels very 1990s teen horror movie craze. Only more supernatural instead of having a slasher.

It’s strange that the film is lacking, a memorable soundtrack, even though the lead character is obsessed with music.

The film feels like it tries too hard to create or be something original, but then in doing so it makes it all the more laughable as it tries too hard.

The drug dealing faster is stupid, but wish the film leaned more into him and his character as he seemed the only thing that was fresh in this phone and while he gets more screen time in the third act, it feels way too planned and expected, especially as third act freak out

At least with the film, the events and actions start very fast so there’s no moping around in lore and mystery. Which then leads to the problem that we barely know the characters before they start getting eliminated and because of that we generally don’t feel sorry for them as we have no personal connection or sorry to see them go as we would seeing any random person get killed. Especially as the film tends to feel cruel when it doesn’t have to be.

At least the black guy doesn’t die first, but he is the only non-believer and gets paid back by having the most violent death in the film. It’ made worse as it happens in frintnof his parents, but makes for a standout scene.

The film comes across as a desperate FINAL DESTINATION rip off with mystical sacrifices thrown in. Even the one character played by Sky Yang, who is obsessed with a superhero. The superhero is a knock off

The film also never presents any real joy. It’s pretty bleak throughout. so much so that only two scenes in the whole film feel genuine.

One of which is the typical teenage crush admission and the crushes answer that is the closest the film ever comes to being heartfelt. The Lesbian romance reveals are sweet also. When she is creaking out about what to text and show interest but not too much interest

The film at certain points gets silly and so bad that it becomes entertaining to a point, which is what keeps the audience watching other than the gory deaths not so much inventive. But miraculous special effects.

There’s also barely rarely any adults shown in major roles, other than an initial kill, and the one to inform them about the whistle and the curse.

If I have paid to see this, I would not be so nice when it comes to this film. I’d actually would’ve been best but watching it for free it’s OK. It’s a popcorn movie a time waster but one I don’t ever really need to watch ever again.

if anything come for the films gory special effects you might find some other things you might like about it, but I’m betting not too much. Though I really wanted to like it. It just didn’t have enough to truly admire.

Grade: C

Saturday, June 6, 2026

I DON’T UNDERSTAND YOU (2025)

Written & Directed By: David Joseph Craig & Brian Crano

Cinematography: Lowell A. Meyer

Editor: Nancy Richardson

Cast: Nick Kroll, Andrew Rannells, Amanda Seyfried, Morgan Spector, Eleonora Romandia, Nunzia Schiano, Vincenzo Gallo, Arcangelo Iannace

An American couple, on the verge of adopting a baby, goes on an Italian vacation - an opportunity to reconnect before the new addition arrives. Everything is picture-perfect; the epitome of a European baby moon, when things begin to spiral out of control. On the way to a fabulous dinner, they get their rental car stuck in a ditch and are stranded in rural nowhere in a downpour. These two Americans, who are used to being catered to, are now in a foreign land without service, an Italian language comprehension of about zero, and clear relationship turmoil that could explode at any minute. Fear obviously takes over.

This is a film that at first seems like it will be your typical couple comedy. Which it stays throughout until it takes a dark turn and seems to stay on that road until the end.

Where usually I enjoy films like these. There is something a bit off. As it stays true to it’s title. As most of the trouble comes from miscommunication. That seems to escalate Into violence seemingly accidently.

It’ not the characters exactly as they seem to be normal and just reacting to their situations that seem to get out of hand. it's the films attitude that tries to humanize the victims, but also makes them caricatures and easily either forgettable or challenges. There isn’t much to truly dwell on or feel sorry for.

While the characters aren’t hateful or malicious. They might be a bit extreme in some situations, but by the ending they cone off too easy. That leaves a bad taste in the audiences mouth. That just feels like a reminder of rich caucasian males getting away literally with murders. Not that they should be especially punished but it feels like there should be something they lose or some way in which they have to pay or lose something. As there is some evidence that they left behind that could come back to haunt them.

Though the film seems to want us to root for them Abd let them drive off and be happy. As the film gives them something that humanized them and makes us identify with them in the form of having them await the birth of a baby they are adopting. After bei g brined before they are hoping this time. They will finally get a chance to be parents. That is the only sympathetic part of the story. We truly have for them.

The movie constantoy up’a the stakes but nothing lingers. So that it feels like it’s making a cake and it comes out as a tart. As the film reminds the audience of so many sitcoms only with better production values. As at least Nick Kroll and Andrew Rennells work well off of one another that makes their pairing feel effortless and like they are inorigng in the situation that makes them and their relationship come across as natural and real. If only the rest if the film came off that way.

In the end, It just never feels like it has any real stakes. It breezes through like a wind storm (not a hurricane as the material isn’t that strong or wacky) and throws plenty against the wall to see what sticks.

Grade: C

Friday, June 5, 2026

FIRE ISLAND (2022)

Directed By: Andrew Ahn

Written By: Joel Kim Booster

Cinematography: Felipe Vera De Rey

Editor: Brian A. Mates

Cast: Joel Kim Booster, Bowen Yang, Margaret Cho, Tomas Matos, Torian Miller, Conrad Ricamora, James Scully, Matt Rogers, Nick Adams, Zane Phillips

A group of queer best friends gather in Fire Island Pines for their annual week of love and laughter, but a sudden change of events might make this their last summer in gay paradise.

FIRE ISLAND is the kind of romantic comedy that feels both delightfully old-fashioned and refreshingly modern equal parts screwball, heartfelt friendship story, and gloriously chaotic summer escape.

Andrew Ahn’s film wisely refuses to treat its queer characters as symbols or saints. Instead, it lets them be messy, funny, flawed, and fully human and that’s what makes it so refreshing. Beneath the flirtation, parties, and razor-sharp one-liners, there’s a thoughtful look at the social hierarchies that exist even within supposedly inclusive spaces: class, beauty, race, and status all quietly shape the world these characters move through. The film smartly acknowledges that prejudice doesn’t disappear just because a community has historically faced it themselves.

At the same time, FIRE ISLAND never forgets its first duty: to entertain. It’s hilarious, genuinely laugh-out-loud funny with the energy of a classic rom-com and just enough raunch to keep things spicy without losing its sweetness. Joel Kim Booster’s screenplay is clever and emotionally grounded, giving the film both bite and heart, while Bowen Yang emerges as its emotional anchor, delivering warmth and sincerity beneath the jokes.

What is refreshing about this film is that it doesn’t make it’s characters saints and gives them a chance to be three dimensional and make mistakes.

The film shows the class system both financially and physically that goes on in that culture showing there is prejudice all around no matter the strides.

Especially as the main characters themselves are Asian and tell stories of facing racism. It is an creative platform to show the racism they face and from an Asian American perspective from the lead actor who wrote the screenplay to the director.

While It’ nice to be diverse it would be something to be more representative even if that is not the main point of the movie.

Though written by star of the film Joel Kim booster and proved to be quite a launching oad for his career. Bowen Yang’s character seems to be thebehart of the film.

If there’s one small disappointment, it’s that the side characters. who are often scene-stealers in their own right, deserve even more time in the spotlight. Their presence is so funny and vibrant that you can’t help wishing the film made a little more room for them.

Still, what Fire Island gets right, it gets very right: it’s funny, heartfelt, and far more honest than your average romantic comedy. A charming, sharply observed crowd-pleaser that feels like a summer vacation you wish lasted longer.

Grade: B