FRANKENSTEIN (2025)

 

Written & Directed by Guillermo del Toro

Based on the novel “FRANKENSTEIN OR THE MODERN PROMETHEUS” ByMary Shelly 

Cinematography: Dan Laustsen 

Editor: Evan Schiff 

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Christoph Waltz, Charles Dance, David Bradley, Ralph Ineson, Lars Mikkelsen, Nikolaj Lie Kaas, Lauren Collins, Sofia Galasso 

Dr. Victor Frankenstein, a brilliant but egotistical scientist, brings a creature to life in a monstrous experiment that ultimately leads to the undoing of both the creator and his tragic creation.

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Guillermo del Toro’s adaptation of Frankenstein arrives with the kind of anticipation usually reserved for cinematic pilgrimages. It’s a long-gestating passion project by a filmmaker whose devotion to monsters borders on religious. And yes, it’s gorgeous. Ravishing. Sculpted with the kind of gothic precision that makes you want to pause the frame and hang it in a museum (which, ironically, is part of the problem).

Because for all its visual majesty, the film feels less like a living, beating story and more like a beautifully lit museum chamber piece sacred, admired, but curiously still. Almost like a Wes Anderson film

Watching Frankenstein at home, even on the biggest TV you can justify without shame, is like trying to view a cathedral through your peephole. You get the idea, but not the impact. As The film Is A Gorgeous Experience That Never Quite Comes Alive

Del Toro stages the movie like a theatrical spectacle; wide, grand, operatic. It demands an audience seated in the dark, collectively hopefully

holding their breath. On a smaller screen the whole thing compresses, and so does its emotional force. It becomes one more thing you’re “watching while also texting,” its larger-than-life gestures suddenly feeling muted. Which might be why this film doesn’t reach me. As much as it would in a theater more secluded and direct. 

It’s a reminder of an uncomfortable truth: not every film needs the big screen, but this one absolutely does. Shrink it, and the soul shrinks with it.

A friend once described last year’s NOSFERSTU remake as “a museum piece”—impeccable, reverent, exquisitely lit, styled, designed and emotionally distant. It comes off more as a presentation than a movie. Del Toro’s Frankenstein often slips into that same territory.

The sets are Immaculate. The creature design is inventive. The mood? Pretentiously Overwhelming in the best way.

And yet… it rarely moves you. The emotions are presented but not felt. They are laid before the viewer with academic seriousness, like annotations on a text everyone already knows by heart. Maybe that’s the curse of remaking a story we’ve collectively known since childhood: the beats land, but they don’t surprise.

It becomes less a story and more an opportunity to witness someone else’s interpretation of a myth you’ve heard too many times.

Del Toro is too talented to ever make something bad, but here he feels like a director in his Tim-Burton-phase: Instead of breaking new ground, he’s lovingly recreating  the things that inspired him growing up. Unlike Burton, del Toro doesn’t defang his monsters or turn them into punchlines. He actually adores them too much for that, but the result is still a filmmaker circling familiar territory rather than charting new routes. 

And yes, the del Toro signature remains: a gothic romance at the center, a creature yearning for connection, a broken heart inside a larger-than-life body. It’s easy to see what drew him to the material. It’s also easy to wish he’d returned to an original idea instead.

Christoph Waltz—shockingly—goes big. He’s operatic, but also the kind of actor who benefits from stern directorial supervision. Left unchecked, he can become his own genre. Here, he hovers just on the edge of self-parody, charismatic but distracting. 

The rest of the cast plays it with earnestness and restraint, letting del Toro’s production design do most of the heavy emotional lifting. Sometimes too much.

So… Is It Good? Absolutely. Is it essential?

Not quite. As Frankenstein is an achievement, a vision, a painterly triumph. But it’s also one more retelling of a story that has been told so many times it now arrives pre-interpreted. Beautiful, yes undeniably. But also strangely hollow, like an echo of itself.

It’s a noteworthy film, worth admiring, worth seeing on the biggest screen you can find.

But it’s not a new favorite. More a reminder of what del Toro can do… and what we wish he’d dare to do next.

Grade: B 

CHRISTMAS EVE IN MILLER’S POINT (2024)

 

Directed by: Tyler Taormina

Written By: Tyler Taormina and Eric Berger

Story Editor/Editor: Kevin Anton

Cinematography: Carson Lund

Cast: Matilda Fleming, Maria Dizzia, Ben Shenkman, Francesca Scorsese, Elsie Fisher, Michael Cera, Gregg Turkington, Tony Savino, Steven Alleva, Grege Morris, Sawyer Spielberg

On Christmas Eve, a family gathers for what could be the last holiday in their ancestral home. As the night wears on and generational tensions arise, one of the teenagers sneaks out with her friends to claim the wintry suburb for her own.

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this film is the epitome of an ensemble film as there are no real stars. Every character plays their role essentially in each other stories, and there is no real complete story as everything is told more and snippets and scenes, but never quite from beginning to end in a complete way. 

As the film is largely plotless, but plays out over a families holiday traditions, and party as they all get together where many individual things happen some smaller some greater but nothing really happens except for this celebration.

it seems like the filmmaker wanted some more evoke, the emotions of the holiday or any holiday gathering with your family where the story is told purely at this celebration where you get updates about their lives away from one another, always wanting to showcase the best and you get a sense of the family history and their relationships with one another, but nothing is ever clearly defined 

The drama that happens as well as the comedy is more lived in and isn’t as random as everyone knows each other and because they know each other and their habits nothing is quite shocking to one another. 

The film works and its own artistry that might be frustrating to some members of the audience as it takes its time telling the story it wants to, but again the story is never told in a complete way it’s more told segments that seem like they go nowhere endless that more evoke moods as there is an inherent sadness throughout as they adults are realizing they’re getting older and how much they have in the past but also the ones who raise them are slowly deteriorating and they want to take care of them. It might be too much for them to take on

And that would also celebrates the happiness of seeing long lost family members who you grew up with who now other than these types of get together rarely ever see as those family members you never really want to see, but are forced to and have to play nice with 

The tons of cuisine and food that you can board yourself on and share with family 

As well as issues that certain family members have with one another that everyone seems to know about, but either or not acknowledged or not talked about, but clearly seen and felt 

there is a section of the film where it more focuses on the younger characters the teenagers and their wild night out though even though there’s more adventure and the film seems to have a little more energy and spirit to match the characters. It also is more told in segments whereas anytime the film comes close to anything happening, especially any kind of action or excitement it seems like it cuts to something else or another character and then we see the aftermath of the action.

As even the biggest names in the cast, who is also a producer, Michael cera barely has any lines and isn’t in much of the movie nor anal part of it, but is appearance does add a certain prestige into the film

this is a film that might be challenging for some and truly you’re either going to get into its wavelength or not.

Though as an audience member one cannot say they were totally down with everything about the film. I applaud it for its artistic choices and the mood and can identify with the material as the film presents highs and Lows joys and defeats, but isn’t meant to leave the audience depressed, but also isn’t the typical holiday movie where it’s all smiles and happiness for the audience, though the film does end with a lot of smiles for the characters.

Grade: B-

OUR LITTLE SECRET (2024)

 

Directed By: Stephen Herek

Written By: Hailey DeDominicis

Cinematography: Graham Robbins 

Editor: Heath Ryan 

Cast: Lindsay Lohan, Ian Harding, Joe Rudnitsky, Kristen Chenowith, Tim Meadows, Judy Reyes, Katie Baker, Dan Bucatinsky, Ash Santos, Henry Czerny, Chris Parnell, Kurt Yue 

Avery and Logan haven't spoken in the 10 years since they broke up. As Christmas approaches, they discover that their new partners are siblings, and both of them have been invited to stay with the family for the holidays. Avery proposes that they keep their past a secret to avoid any awkward confrontations, but hiding the truth turns out to be more difficult than it seems--and spending time together reignites old sparks.

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The film Has the screwball comedy concept down. 

In veteran director Stephen Herek’s hands makes what could have easily been insufferable into something more memorable. Very formulaic 

It get’s a bit racy but never over the edge and stays quite clean. Though goes a few places you wouldn’t expect, but keeps its subjects and targets soft. After all it is a movie aimed at the holidays for families for the most part. 

I will admit I watched this movie mainly to se actress Lindsay Lohan. I was a fan when I was younger and was alway rooting for her through her turmoil with fame, but always thought she was talented and had the skills. 

So I looked forward to her many comebacks. Luckily they have recently seemed to stick, but mostly here does what is required. She comes across a bit stiff and too poised. Especially when she needs to throw herself into it more. 

The film Is filled  with reliable recognizable and reliable actors who the audience  will instantly recognize. 

It’s a Sweet romantic comedy that is a bornvoer the top yet relatable. As most of the characters throughout are holding secrets. None that small they are all quite devastating in the end. 

Which at least leaves the movie with some gravity. As most of the other gags seem forgettable and never quite Go for  the full damage or gambit of consequences, but still Manages to leave a smile on your face. 

Grade: C+

SILENT NIGHT (2021)

 

Written & Directed By: Camille Griffin

Cinematography: Sam Renton 

Editor: Pia Di Ciaula and Martin Walsh 

Cast: Keira Knightley, Matthew Goode, Roman Griffin Davis, Sope Dirisu, Kirby Howell-Baptiste, Lucy Punch, Annabelle Wallis, Lily-Rose Depp, Rufus Jones, Davida McKenzie

Nell, Simon, and their 3 sons are ready to welcome friends and family for what promises to be a perfect Christmas gathering. Perfect except for one thing: everyone is going to die.

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This is a film. You should know as a little about before you watch it and let yourself be surprised by it that way it can be rewarding for you.

This is a dark comedy with a surprise ending that you don’t necessarily see coming, especially with this material. Which can be subtle but does leave a sting.

As a perfectly mixes, the joy and melancholy of the holidays. As a time of joy camaraderie, but also a time of darkness, especially if not feeling that particular joy and still feel a certain loneliness or emptiness

The film starts off at typical if not cynical, though eventually you find out the downside or tragedy of what brings all the characters together. Even though there are at the beginning.

We get to see the characters go through the emotions as it dawns on them what is coming and have to face their own mortality and their past. The film surprisingly has them talking about each other, but never becoming vicious or revealing secrets that would normally tear them apart, which would direct the film into a more territory. it to be point and somewhat realistic.

The drama of it all gets to you in the audience that has its fair share of humor that comes more naturally as some secrets are revealed.

What is that? The film isn’t reliant on one thing it’s the mixture of elements that works. The same way with the cast it’s an ensemble no real stars, though wish some of the cast members or other characters had more to do than what they are given here mainly Kirby Howell-Baptiste.

This is a film, where the melancholy hangs in the air no matter how light some scenes or the atmosphere might be.

When the heart is introduced, it gets dark and all the more real thou it is a release of the underlying tension that the film has been building up.

Soon as you see  Roman Griffin Davis in this film, you should know it’s a tragedy or whoever is playing his mother won’t survive. So far his career highlights have been this and JoJo rabbit so usually a quirky dark comedy. Though he is also the film’s director’s son 

Ultimately, the film has a climate change message and is very subtle with its theme and provocations. Especially when it comes to science and the government also the establish class and youth culture.. 

I’m surprised this film is more popular as it is a gem 

Grade: B

EDDINGTON (2025)

 

Written & Directed By: Ari Aster

Cinematography: Darius Khondji

Editor: Lucian Johnston 

Cast: Joaquin Phoenix, Emma Stone, Austin Butler, Pedro Pascal, Deidre O’Connell, Michael Ward, Cameron Mann, Clifton Collins Jr., Luke Grimes, William Belleau, Amelie Hoeferle 

In May of 2020, a standoff between a small-town sheriff and mayor sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

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This film Is A Modern Western Fever Dream America Desperately Needs to Talk About

Eddington is one of those films that walks into the cultural conversation like it owns the place. It’s loud, strange, earnest, paranoid, poetic—and you immediately know you’ll be arguing about it for months. It’s a genuine conversation starter, which is why I will gently advise: go in knowing as little as possible.

That said… one has have to talk about it, and talking about it requires spoilers. So consider this your warning, your permission slip, and your parachute.

This is a film that is hard to describe or even evaluate on one review. There are so Many things going o. Where even the littlest action, decision or even detail means more by the ends 

This is a movie that is, by design, divisive. A cinematic Rorschach test. Some viewers will love it. Some will hate it. Some will think they “get” it. Some will swear others don’t “get” it. And others still will simply sit there wondering why the film dared to poke at politics, identity, and American mythmaking with a stick this sharp and this reckless.

But that’s also the point: Eddington isn’t here to soothe you. As it’s a midwest tapestry stitched with paranoia.

Set in a small Midwestern town, the film plays like a modern western that swaps out the black-hatted outlaw for pandemic panic, online conspiracy, fractured identity politics, and the creeping realization that the “outside world” has already invaded long before anyone notices.

The first half feels deceptively simple. small tensions, personal feuds, social anxietie, but those threads keep tightening, knotting, and snapping until the town erupts, not because of a single villain, but because absolutely everyone is too wrapped up in their own drama to actually talk to each other.

It’s a portrait of America where communication has been replaced with suspicion. Where rivalries escalate past all reason. Where every person is starring in their own private conspiracy thriller. Even as the real threats crawl right through the cracks.

By the end, the film begins to resemble a Donald-Trump-era conspiracy fantasy… but with absolutely none of the idol worship or flattery. It’s the nightmare version: the idea that paranoia itself becomes prophecy. That fear becomes religion. That enemies, real or imagined materialize because characters are too busy reenacting their own ideological theater to notice the world burning around them.

The satire bites hard, aiming squarely at both political sides. The left -idealistic, moralizing, eager to be on “the right side of history” treats the town’s homeless man like an inconvenience. The right - fearful, defensive, easily provoked, treats him like a problem to eliminate. And everyone, absolutely everyone, is a hypocrite.

Young “progressive” locals demand justice yet lecture the Black deputy on what he should feel, while he’s simply trying to do his job and survive in a town that barely allows upward mobility. Romantic tensions reveal that personal motives are often far murkier than the ideologies people hide behind. Friendships fracture. Morals bend depending on who’s watching. It makes you wonder if the characters truly feel this or if it’s just performative social justice because that is the trend and what’s popular. Also giving them a sense of rebellion that youth seems to always desire against the aged or old ways. 

By the end the deputy has his own scars and learns the lessons his ancestors had to deal with and learn. Yet still go on day to day in pain. Never being able to forget the injustices. 

The virus infiltrates. Fear infiltrates. Antifa is said to infiltrate. But really, it’s paranoia doing all the infiltrating.

Yes, this is very much an Ari Aster film, though it’s looser, less mannered, and more sprawling than Midsommar or Beau Is Afraid. It’s a messy beauty, intentionally so. The visuals are gorgeous but less overtly stylized; the tone more erratic, more chaotic, more human. It’s a modern western of moral collapse 

If Beau Is Afraid punished its lead for everything, Eddington punishes its lead for exactly one thing: believing revenge is righteousness.

And his downward spiral, though tragic, is compelling in a mythic, moral-fable way.

The third act is where Aster lights the fuse and lets the whole film detonate.

Chaos reigns. Consequences catch up. Characters pay the ultimate price. not for their politics, but for their blindness.

Eddington refuses to pick a side because it’s too busy examining how people weaponize sides in the first place. It understands that humans are more complicated than the slogans they carry or the propaganda they share. Ideology becomes performance. Performance becomes identity. Identity becomes a trap.

And through all this, the film insists that sometimes the greatest horror story is simply a group of people refusing to truly see one another.

So that the film is about flawed people, not slogans 

Is the film perfect? No. Is it Ari Aster’s best? No 

But Is it vital? Absolutely. It’s ambitious, jagged, clunky in spots, occasionally too big for its own frame, but it’s also alive—full of ideas, full of danger, full of that rare cinematic bravery that demands viewers think rather than simply consume.

The major supporting actors. Some of the film’s biggest names. Emma Stone, Austin Butler, Pedro Pascal all appear briefly but meaningfully, flashing like caution signs in the town’s slow-motion meltdown. Their presence reinforces how everyone is part of the problem, part of the confusion, part of the noise.

Joaquin Phoenix’s acting here is more internal than external and it’s his show the ringleader to reign in. Even if by the end he is one of the acts rather then being in control. Especially the way he wants or hopes he is. 

I could try to link the various theories and interpretations that this film presents but that is for the viewer to discover for themselves and read into,  no I’m not writing that to say that I don’t

Have any or see any. I think half the interest and entertainment isn’t Always what is happening on the screen but how you or an audience reacts to it. 

I can see why some might dislike the film

Though most admit they don’t like the film but It’s 

Not a bad film as it does make you think. As it tries to be a satire that is less comedic and more political exposing the chaos of the pandemic playing out all the theories, fears and politics in a small town and making it come across as a modern western due to it’s Location and strange mix of morals and anti-hero To show that we are all flawed in some way

As when the lead does what he thinks is right out of revenge but leads to his own and others downfall that ends up with him being heroic and paying the ultimate price 

The films shows flaws I. Both sides as it is more interested in showing characters and how they can be lead astray but also victims of circumstance and survival at times 

Who are we to hate because things don’t

go the way they are supposed to or are expected to. People are people not slogans and propaganda that they might brandish or share and at the heart of all these movements the leaders are open to oversight and more interested in the message and less the followers or even supposed victims 

This is not a pass/fail film. It’s a what did this make you feel? film. A what did you see that I missed?film.

The entertainment isn’t just the plot. it’s the audience reaction, the interpretations, the debates in the parking lot afterward.

Eddington is a human horror story disguised as a political satire disguised as a western disguised as a pandemic drama.

It’s a film about how easily we fracture under pressure, how quickly we fall into narrative traps, and how dangerous it is when no one is listening.

Not my favorite Aster film… but maybe the one most urgently worth discussing.

Grade: B+