THE MOMENT (2026)

 

Directed By: Aiden Zamiri 

Written By: Aiden Zamiri and Bertie Brandes

Based on an original idea By: Charli Xcx

Cinematography: Sean Price Williams 

Editor: Neal Farmer and Billy Sneddon

Cast: Charli Xcx, Alexander Skarsgard, Rosanna Arquette, Rachel Sennott, Kate Berlant, Hailey Benton Gates, Jamie Demetriou, Issac Powell, Rish Shah

A rising pop star navigates the complexities of fame and industry pressure while preparing for her arena tour debut.

---

This film is definitely more for Charli XCX fans then necessarily movie goers just discovering this meta mockumentary. As I believe the film will make more sense or be deeper to those in the know. 

As truthfully, in the past, this could’ve easily just been an extra on her latest album brat in the deluxe edition. Rather then a full theatrical roll-out, but while one would think this is going to be her version of a concert film. It is as it kind of dissects what goes into a tour and performance to a degree.

As interestingly enough, we’re watching this film as she gets ready for a tour and yet we barely and rarely hear any of her actual music or songs throughout the film. We more see what it takes to set up a show, as well as all the little decisions that have to be made and how confusing it can all be.

As one can admit at times I was a bit confused as to what exactly was happening at certain times also, if you are epileptic or have a light sensitivity, watch this film with caution as there are a lot of flashing lights a lot of quick cats a lot of handheld camera work that throws off your concentration at times. 

As the film, kind of show, Charli XCX trying to be herself, trying to put on a show and trying to be representative of her music while you have all the power players behind the scene, wanting to take more and more control and make more of the decisions that she doesn’t necessarily agree with or has to compromise for peace and for better.

So that we see her continuous confusion and dissatisfaction as people try to treat her as a star, but also more as a puppet to get what they want out there more than what she wants.

As the film tries to be dryly, funny throughout it is a documentary and kind of a comp Meta comedy at heart that sends up celebrity and shows some of their more privileged hardships

This isn’t gonna be the film you expected to be in some ways. It is truly eye-opening, but in other ways at times, it can be confusing in a little bit annoying. So through it all you have Goodwill for the singer, hoping it will all come together.

Even if it doesn’t give you quite the ending you’re hoping for that would tie it altogether like at least one live performance. Knowing its own way, it feels like this film is meant to be a finale or a goodbye to a certain era for her. This is the end of the brat era for her that she has lived with for quite a few years and might be ready to slow down as she’s in a different headspace or looking for something different looking to evolve and move on to a new time in her career and expression in her songs

As even this era of her career the BRAT album era and the album just seem to be a no holds a bar affair. It’s own kind of halftime report on the status of her career. where she just wanted to express everything she could and making a mainstream album that was more all about celebration and partying more than anything with still having that emotional pole to show that you’re still a person underneath it all a human being and approve that she could just do it. She could have hit album if she really tried, but now she wants to go back to making more music that she likes and she wants to not necessarily have to keep serving out hits. She can Slow down and not make so much of an impact so that maybe she can enjoy it more and not have so much writing on that and what is next.

I think this film is kind of a snapshot or placeholder for her and her career and a little message for her fans. At heart it’s a vanity project something made and allowed for her success. Also allowing itself to be a self important parody. 

I will say, even though I am a huge fan of hers. This one was a slight disappointment for me as it might be for some, but I imagine most of her fans will probably love it.

Grade: C+

PILLION (2026)

 

Written & Directed By: Harry Lighton 

Based on The Book “BOX HILL” by: Adam Mars-Jones 

Cinematography: Nick Morris

Editor: Gareth C. Scales 

Cast: Harry Melling, Alexander Skarsgard, Lesley Sharp, Douglas Hodge, Jake Shears, Mat Hill, Nick Figgis, Zoe Engerer

Colin, a weedy wallflower letting life pass him by, meets Ray, the impossibly handsome leader of a motorbike club, who then takes him on as his submissive. Ray uproots Colin from his dreary suburban life, introducing him to a community of kinky, queer bikers and taking all sorts of virginities along the way. But as Colin steps deeper into Ray’s world of rules and mysteries, he begins to question whether the life of a 24/7 submissive is for him. Has he found his calling, or simply swapped one form of suffocation for another?

---

The film is less graphic than I expected it to be.

Even though it does start off with a little bit of a shock. Though sexually frank it shocks more with its moments of tenderness. That is more universal for us all. 

Though I think it uses the BDSM aspects of the relationship as shocking at first, but also to show a kind I’ve avoidance of intimacy, especially when it came to emotions which Skarsgard’s character seeks to avoid. 

As he loves control and power, where we and Harry Melling’s character are not sure if he keeps him around just because he’s a willing consenting victim of sorts or if he feels that this is his way of showing his attraction and care for him. As obviously Skarsgard character is a fantasy come true. Skarsgard plays up the hot hunk with no emotions to the hilt. He has played this before and seems willing to try most freaky roles and go for it. Though making them recognizable human eventually.

What is interesting is what plays out a more hard-edged cruel version of how most relationships are where at first it’s all about the attraction and the sex were one person usually has to take the lead. Hear the roles are more defined as in most relationships. They are either switched communicate communicated about or naturally happen.

Whereas most thing, what’s the worst I could happen will be something sexual here, the relationship relationships or sexual upfront, but more afraid of getting emotionally and personally involved. As it ruins the dynamic and the power-play.

For a film that seems like it’s going to be hard to take or heart edged. It’s got a surprisingly sweet spot and story. It might be mine, the audience of the film. SECRETARY now this film is a little more hard, edged around the heart, and not quite as romantic..

That we do see a relationship evolve. I believe some of the more interesting scenes are with Harry Melling’s character and his parents them wanting to see him happy but his mother who is dying of a terminal disease can tell something is off. We’re not quite right or not quite equal in the way, the relationship is by the end our premonition proves to be right.

This isn’t a film that one would expect where emotions will become a commodity that you in the audience might find yourself choked up in a good way over the film so I can give the film that much credit. As the audience gets involved way more than expected.

As by the end, though it does have a definitive ending it still leaves you wanting more be it in the form of revelations and answers. As by the end it ends up being a coming of age tale. As Melling’s character learns all sorts of lessons and breaks all kind of virginities of his own. 

Grade: B 

TWINLESS (2025)

Written & Directed By: James Sweeney

Cinematography: Greg Cotten

Editor: Nik Boyanov

Cast: James Sweeney, Dylan O’Brian, Aisling Franciosi, Lauren Graham, Chris Perfetti, Tasha Smith, Cree, Katie Findlay, Kody Harvard

In Twinless, two young men meet in a twin support group and form an unlikely friendship. Roman and Dennis both search for solace and an identity without their other halves and soon become inseparable outside the group. But when Roman meets Dennis’ ebullient co-worker, Marcie all is revealed to be not what it seems, as each man harbors secrets that could unravel everything.

---

This is a buddy comedy, but not a traditional one. Nor is it romantic, but it does involve intimacy. This also seems the type that film festival is like Sundance love. Though at least this film truly does earn it.

The film feels more with emotional humor and situational humor, all at once, as well as the absurdities of life and almost a comedy of errors that leave things awkward throughout the madcap situations the lead characters find themselves in. While dealing in loneliness and how when in that state any connection large or small might feel deeper and bigger to one individual. While the other might find it more casual or fleeting. 

Though for all of it comedic persona or personality, it gets deeply dramatic at times as a cloud of melancholy hangs over most of the film as the film looks at loneliness and the power of bonding in friendship. 

Dylan O’Brien gives a great performance in this film playing two roles and you believe him as two totally different characters. Even though they are related as they are both different and unique. As even though he is phenomenal in this film, kind of wanted to see more of him as the twin who has the shorter amount of Screen Time, who is the more entertaining in charismatic one.

Speaking of dazzling performances Aisling Franciosi again manages to transform herself to an almost unrecognizable character than she has played before emotionally and physically. So that throughout you can’t Take your eyes off of her. While you understand why she is fallen for 

Don’t get me wrong. The film is very quirky but at times it feels all too real not necessarily identifiable because of how deep the characters dig themselves but again there’s an awkwardness to it that is undeniable and feels very cringe while you watch.

The film can be understated and it stars the Writer/Director James Sweeney. Who also definitely comes across as memorable throughout the film. I’m playing the depressive yet obsessed lead but you appreciate his performance. As he seems to be smart, but makes all the wrong decisions and isn’t afraid to admit to and indulge in his dark side.

This is a film that is hard to describe or categorize exactly. As it does take you on quite the journey, even while It seems like it’s standing still though can say that it explores friendship, like any other relationship, but not one that mature is overtime more one that is intense though just as strong

GRADE: B+

A MAN OF NO IMPORTANCE (1994)

 

Directed By: Suri Krishnamma 

Written By: Barry Devlin 

Cinematography: Ashley Rowe

Editor: David Freeman

Cast: Albert Finney, Brenda Fricker, Tara Fitzgerald, Michael Gambon, Rufus Sewell, David Kelly, Patrick Malahide, Mick Lally 

Alfred Byrne is a middle-aged bus conductor in Dublin, Ireland in 1963. He would appear to live a life of quiet desperation: he’s gay, but firmly closeted, and his sister is always trying to find him “the right girl”. His passion is Oscar Wilde, his hobby is putting on amateur theatre productions in the local church hall. We follow him as he struggles with temptation, friendship, disapproval, and the conservative yet oddly lyrical world of Ireland in the early 1960s.

---

Honestly if not for some course language and a particular scene of sexual nature. This could have been a television movie. Thankfully it is a feature film for the big screen which explains the high quality cast.

I will admit I came for actress Tara Fitzgerald who I had a teenage crush on in the 1990’s and whitening e always wanted to watch this film. It took me so long. Because it reminded me of the film BRASSED OFF with her in it.

Watching this film after it being out 30 years truly shows how times have changed. As this might have been a bit stirring at the time, but watching it now seems almost quaint.

As we watch Albert Finney as an effeminate older man who is obsessed with theater. Plays in particular and puts together the locals I. Whichever place is obsessed with that time of year. His friends think he should find a nice girl to settle down with, others think he is eccentric and passionate only about his interests. 

Though we can tell that he is gay or has feelings for men. Even as he coddles and curates a local female who he has star in his play and it looks like it could be a cute little love story of acceptance and being about more than physical love.

Then he third act happens and everything goes toosy turbulence and what he and we thought of certain people is exposed. By the light of day and their true ide tires come out in the open. 

Honestly that is when the film seems to come alive or at least gets a lot more interesting whereas it feels like there was a ton of buildup just to get to this and it works effectively as a kind of shock but also of everyone showing their cards good and bad

What does work for this film is how deeply rooted the film and characters are in the community who offer a kind of chorus for all the moods and feelings and most of them might not get their time in the sunlight, but they certainly get to shine and help influence and entertain the audience. They are at the heart of the film that has its obvious stars, though luckily it’s quite ensemble.

It’s shocking again that they got the cast that they did Albert Finney, Michael Gambon, Brenda Fricker, David Kelly and a young Rufus Sewell and of course the enchanting Tara Fitzgerald. All for a coming out story.

Then again we all have our stories and coming out can be a defining moment in one’s life, so why not tell it with the best cast that you can get of acting superstars even at the time even if they are way above the quality of the material as Michael Gambin is more supporting and feels almost like an extended cameo throughout.

Give the film a chance but don’t expect too many fireworks. It’s like Levi’s blue jeans in fact, dependable durable something you can count on, but not necessarily a brand you go on and on about, but you’re glad exist and is there

Grade: C+

SENIOR YEAR (2022)

 

Directed By: Alex Hardcastle

Written By: Brandon Scott Jones, Alex Knauer and Arthur Pielli

Story By: Alex Knauer and Arthur Pielli

Cinematography: Marco Fargnoli

Editor: Sarah Lucky 

Cast: Rebel Wilson, Augourie Rice, Mary Holland, Sam Richardson, Justin Hartley, Zoe Chao, Alicia Silverstone, Avantika, Chris Parnell, Jeremy Ray Taylor, Ana Yi Puig 

In 2002, Stephanie is the most popular girl in her high school. She’s the captain of the cheerleading squad and dating the quarterback, and she’s well on her way to becoming the prom queen. Girls want to be her, guys want to be with her. She has it all until she falls off the top of the cheerleading pyramid and goes into a coma. Fast-forward 20 years and she finally awakens from her coma as a 37-year-old woman. She returns to her high school and tries to resume her role as the star of her school–and her quest to win the prom-queen crown.

---

SENIOR YEAR is the kind of movie that knows exactly what it is: big, glossy, goofy comfort food. It’s not aiming for cinematic greatness, it’s aiming to be the movie you throw on at home on a lazy night and end up enjoying more than expected. And honestly? Mission accomplished.

There’s an ongoing difference these days between films that feel made for the big screen and films designed primarily for the couch. Senior Year is very much the latter. It has that polished, sitcom-style sheen bright, easy, familiar, and built around laughs more than visual ambition. You can usually predict where it’s heading, but the fun lies in watching how it gets there.

And to its credit, it gets there with plenty of charm.

The premise is ridiculous in the best possible way: a high school queen bee from 2002 wakes up from a twenty-year coma and decides the most important thing to do is… go back and win prom queen. That’s wonderfully absurd camp. The movie leans into it too Y2K nostalgia, exaggerated teen-movie tropes, cheerleader melodrama, and enough millennial references to make you laugh and wince at the same time.

What’s surprising is that underneath all the glitter and satire, the movie occasionally sneaks in some heart. The emotional lesson arrives a little differently than expected, which gives it a bit more freshness than your average streaming comedy. Even some of the more stereotypical side characters get little moments of depth, which is a nice touch.

And Rebel Wilson remains the movie’s secret weapon, even when she’s the entire movie’s not-so-secret weapon. She has that rare comedic gift of committing fully to a joke without seeming self-conscious. There’s no vanity there, no hesitation just a willingness to look silly for the laugh, which makes her instantly likable. Even when her character is being gloriously ridiculous, she’s hard not to root for.

The supporting cast helps keep things lively too, with Mary Holland and Sam Richardson doing particularly strong work in the “steal scenes whenever possible” category, as they just try to play their characters straight to hilarious effect while Alicia Silverstone’s presence adds a fun wink to the whole enterprise.

Is the film forgettable? Probably. Is it deep? Not remotely. But it’s cute, breezy, colorful, and genuinely funny in stretches. It understands the assignment: be a crowd-pleaser, hit the nostalgia button, and let everyone’s inner teenager have a good time.

Sometimes that’s enough 

Grade: C+