It Was Just An Accident (2025) | REVIEW

Vahid (played by Vahid Mobasseri) takes a break and a smoke while he contemplates what to do with a man he thinks was the one who ruined his life in IT WAS JUST AN ACCIDENT — PHOTO: NEON (Still image from trailers).

Directed by Jafar Panahi — Screenplay by Jafar Panahi.

For some, making art with something to say is a vocation that means risking your life if you decide to pursue it. Such is the case for renowned Iranian filmmaker Jafar Panahi. Panahi, a veteran of the art form, has had a career that has seen him come into direct conflict with the Iranian government, which has, over the years, censored, detained, imprisoned, and punished him for making films that criticize the people in charge of the country, the politics of said government, and the effects of the system in place on Iranians. A former political prisoner who has been banned from making films in his home country, Panahi has frequently been supported by organizations, politicians, and filmmakers from all over the world, and he consistently tries to find loopholes to get around the extreme difficulty of being a filmmaker in a country that has no interest in seeing him make films. To make his Palme d’Or-winning and Oscar-nominated film It Was Just An Accident, he had to film in secret without a permit and be inventive with where and when to film so as not to be approached, arrested, or worse by authorities. As the accolades won by him attest, Panahi succeeded in making something worthwhile. I finally saw it earlier today, and I thought it was a fantastic film (and important text) made even more impressive by the difficulties he and his crew had to overcome to make it.

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Obsession (2026) | REVIEW

‘Bear’ (played by Michael Johnston) on the phone, while his eerily spellbound date, Nikki (played by Inde Navarrette), walks into the frame to look for him in Curry Barker’s OBSESSION — PHOTO: Focus Features / Universal Pictures (Still image from trailers).

Directed by Curry Barker (Milk & Serial) — Screenplay by Curry Barker.

One of the more interesting recent developments in the film industry is that certain online personalities — YouTubers and TikTokers — are being afforded the opportunity to become filmmakers. The primary example of this is arguably Danny and Michael Philippou, the Australian twins who went from YouTubers to significant horror filmmakers, and their films Talk To Me and Bring Her Back. But it doesn’t stop there. Last year, YouTube film critic-turned-filmmaker Chris Stuckmann had his feature debut, Shelby Oaks, released by Neon. Earlier this year, Mark ‘Markiplier’ Fischbach self-released an adaptation of an indie video game (Iron Lung), while it was announced that Seán ‘jacksepticeye’ McLoughlin would be a producer on an animated feature film adaptation of the video game Bloodborne. In fact, just a few weeks from now, the horror film Backrooms will be released, which was directed by YouTuber Kane Parsons, whose own project the film is based on. This modern wave of online personalities breaking through in the industry is fascinating, and another example of this new wave is Curry Barker, previously best known for his online sketch comedy duo, that’s a bad idea, with Cooper Tomlinson. After years of making short films and online skits to feature on YouTube and TikTok, he self-released his hour-long found-footage horror film, Milk & Serial, in 2024, the positive response to which likely landed him on the radar of many people in the industry. Just a year later, his second feature, Obsession, premiered to raves at the Toronto International Film Festival, and major industry companies like Blumhouse and Focus Features attached themselves to and acquired it. Now, Obsession is out in theaters all around the world. I just saw it last weekend, and I can say that it is not only Barker’s best and most ambitious project yet, but it’s a fantastic horror film with a jaw-droppingly good performance at its center.

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The Voice of Hind Rajab (2025) | REVIEW

Motaz Malhees in THE VOICE OF HIND RAJAB by Kaouther Ben Hania, courtesy of Mongrel Media.

Directed by Kaouther Ben Hania — Screenplay by Kaouther Ben Hania.

Every once in a while, when you review films, you come across a film that is so emotionally powerful, raw, and important that it hits you like a sledgehammer right to your midsection. A film that is so overwhelming, urgent, timely, and important that you simply must review it, but which, at the same time, features elements that make it difficult to write a conventional review for it. The Voice of Hind Rajab is that kind of film. This is a film about something horrifying that really happened as recently as 2024. It is a film that makes bold choices that perhaps won’t sit well with some viewers, but whose bold and perhaps controversial choices must be included to live up to the spirit of the project. As a film, it dances on the line between documentary and a more conventional narrative feature as a docudrama that packs an emotional wallop. I think it is fair to say that there will be many people who, after they see this film, will never be the same.

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The Pitt – Season Two (2026) | TV REVIEW

Noah Wyle and Katherine LaNasa in THE PITT (Season 2 – Episode 12) — Photograph by Warrick Page/HBO Max.

One of the biggest new TV hits of 2025 was HBO Max’s The Pitt, an American medical drama. Given its central star, Noah Wyle, and its creator, R. Scott Gemmill, both having worked on Michael Crichton’s medical drama classic ER, the ER parallels were unmistakable. The show was praised for a great many things, including a focus on realism, its 24-esque real-time season formula, and for how it felt like a return to a TV-season model that many of us are nostalgic for. Only eight months after the final episode of season one aired, the second season debuted in January 2026. It was a quick turnaround for the show, which, as the second season was being rolled out, had awards from multiple ceremonies thrown its way. Although the second season took some bold swings concerning challenging our relationship with its central character, the second season was largely more of the same (albeit with new cases and storylines), and, in the case of a television show executed at this high a level, that was mostly a welcome sight. It wasn’t without some notable missteps, though, and some of these were directly tied to the nature of its formula.

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Shelby Oaks (2025) | REVIEW

Camille Sullivan in SHELBY OAKS — PHOTO: Neon (Still image from trailers).

Directed by Chris Stuckmann — Screenplay by Chris Stuckmann.

I don’t think it was possible to frequent YouTube in the 2010s as a film fan without eventually running into a film review uploaded by Chris Stuckmann. Stuckmann earned himself a loyal following over the years and became one of the premier YouTube film critics until the early 2020s, at which point he admitted to wanting to focus on filmmaking. He stated that he felt it wouldn’t be right for him to speak negatively about projects going forward if he wanted to break into the industry. Although his channel still posts videos wherein he talks about new releases, this change in approach has led to a litany of videos scolding him for his decision-making. But, at the same time, Stuckmann did get his wish, as his feature debut as a filmmaker, Shelby Oaks, was released theatrically in North America in 2025. This was notably after Neon picked the film up for distribution and prominent horror filmmaker Mike Flanagan attached himself to the project as an executive producer. I finally got the chance to see Stuckmann’s first film as a writer-director yesterday, and, well, while I thought it was nice to see Stuckmann’s dream come true, the film didn’t do much for me.

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Making Sense of the New Oscars Rules | Special Features

Yesterday, the Academy of Motion Picture Arts and Sciences (AMPAS) announced what changes are being made for the upcoming 99th Academy Awards in a lengthy news update and press release. These are significant rule changes in certain categories that, in one case, frankly, needed an update. There are also more technical adjustments to be found in the press release, as well as an attempt to rule out the influence of artificial intelligence on what is considered award-worthy. Do note that while a Best Stunt Design category has previously been announced, this new category will not be a part of the Oscars until the 100th ceremony in 2028; these rule changes do not take into account said category. So, today, I’m going to go through the most significant changes and answer whether these award rule changes make sense, so that you can better understand their reasoning for changing things and be better prepared for the upcoming 99th Academy Awards, which will take place on March 14th, 2027.

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Apex (2026) | REVIEW

Trailer title card — PHOTO: Netflix (Still image from trailers).

Directed by Baltasar Kormákur (Everest; Beast) — Screenplay by Jeremy Robbins.

Baltasar Kormákur’s Apex is a straight-to-streaming Netflix survival thriller that follows Sasha (played by Charlize Theron), a rock climber who lost her partner, Tommy (played by Eric Bana), in a rock-climbing accident. Some time later, Sasha finds herself in the wilderness of Australia, where she encounters Ben (played by Taron Egerton), a stranger who knows the surroundings like the back of his hand. After he intervenes and helps Sasha from a possible confrontation with two strange hunters, Ben gives Sasha two routes to her desired location, and she chooses the harder one. After kayaking, she sleeps in the wilderness and awakes to see that some of her things have been stolen. She makes her way to Ben’s camp, eventually, and he gives her the supplies she needs. But here she learns that his intentions aren’t good. He takes out a crossbow and gives her a chance to run for her escape, as he now intends to hunt her.

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War Machine (2026) | REVIEW

Trailer title card — PHOTO: Netflix (Still image from trailers).

Directed by Patrick Hughes — Screenplay by Patrick Hughes.

It is so strange that one of the biggest Netflix releases in the first half of the year is titled War Machine. Now, you might be thinking that you don’t really see how that is odd or particularly significant. But if you, like me, have paid attention to Netflix’s releases over the years, since they became a major streaming service, then you would know that one of the first major Netflix film acquisitions was that of David Michôd’s War Machine, a satirical war film starring Brad Pitt, Tilda Swinton, Ben Kingsley, and others. That 2017 release was a largely forgettable flick that is probably rarely seen these days, as it is likely lost in the vast Netflix library by now, but you would think that Netflix wouldn’t want to create confusion about two of their own releases. Although the 2017 release was a satirical war film and the 2026 flick is more at home alongside other sci-fi action films like it, the title isn’t the only thing these two movies have in common, as they’re both, in one way or another, related to America’s presence in Afghanistan. So, as you might be asking yourself, which is the better film at the end of the day? At the end of the day, I’m not sure one is drastically better than the other.

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Serenity (2019) | REVIEW

Matthew McConaughey in Steven Knight’s Serenity — PHOTO: Aviron Pictures (Still image from trailers).

Directed by Steven Knight — Screenplay by Steven Knight.

Steven Knight’s Serenity follows Baker Dill (played by Matthew McConaughey), a fishing boat captain living on the relatively secluded Plymouth Island. Dill is obsessed with catching a tuna that he nicknames ‘Justice,’ and when he isn’t smoking, fishing, or drinking, he spends time with Diane Lane’s character, ‘Constance.’ One day, Dill’s ex-wife Karen (played by Anne Hathaway) shows up and begs him to take her new husband, Frank (played by Jason Clarke), out on the water and have him killed for abusing her and Dill and Karen’s son. As Dill contemplates whether or not he should do it, he starts to question the nature of his own reality. Since this isn’t a new release, and since I’d like to address the craziness of this film directly, this is going to be more of a spoiler review, best read after you’ve seen the film.

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Godzilla Minus One (2023) | REVIEW

Trailer title card — PHOTO: Toho (Still image from trailers).

Directed by Takashi Yamazaki — Screenplay by Takashi Yamazaki.

Takashi Yamazaki’s Godzilla Minus One takes place at the end of the Second World War in Japan, and it follows a disgraced, failed kamikaze pilot, Koichi Shikishima (played by Ryunosuke Kamiki), struggling with PTSD. As Shikishima tries to build a life for himself in post-war Japan, the nuclear test-impacted dinosaur-esque kaiju known as Godzilla, which Shikishima first encountered on a Japanese base some years earlier, makes its way to Japan, where it can cause further destruction on the already heavily impacted country. To defend themselves against the gigantic mutated lizard, citizens must come together and find new ways of fighting back.

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