It was a good morning for horror fans as Nosferatu received several Oscar nominations, while The Substance broke through in the above-the-line categories, as it was nominated for five categories in total. It wasn’t, however, the best nomination morning for science fiction fans hoping to see Dune: Part Two get the recognition the critical acclaim would suggest it deserves. Sure, it, too, got five nominations, but it was a serious step down from the ten it got for part one, and it missed out on nominations in categories that some thought it was, frankly, a frontrunner in. So, what gives? Today, I’ve laid out ten reasons for why it had a somewhat disappointing nomination morning. So, let’s get to them.
Continue reading “Why did ‘Dune: Part Two’ underperform? | 97th Oscars – Nominations”Babygirl (2024) | REVIEW
Directed by Halina Reijn — Screenplay by Halina Reijn.
Arguably, one of Nicole Kidman’s most iconic films is the erotic mystery psychological thriller Eyes Wide Shut by auteur Stanley Kubrick. It is crazy to think that it’s been more than twenty-five years since its release. But now the time has come for Nicole Kidman to make her glorious return to the erotic thriller. Or, you know, that is the general idea with Babygirl from Bodies Bodies Bodies-director Halina Reijn. But is it actually the glorious return that we’re all hoping for? Well, let’s just say, I have thoughts.
Continue reading “Babygirl (2024) | REVIEW”Who Will Be Nominated? – Final Predictions | 97th Oscars
It’s finally that time again. Tomorrow, AMPAS is announcing its list of nominees for the upcoming 97th Academy Awards. So, of course, now is the time to fill in your final Oscars nominations predictions. This is exactly what I’ve done here. Below you’ll see what I’m predicting along with a few comments here and there. The choices are ranked from either one to five or one to ten based on how confident I am that something is getting nominated with 1 being the most confident. Let’s get to it.
Continue reading “Who Will Be Nominated? – Final Predictions | 97th Oscars”Wolf Man (2025) | REVIEW

Directed by Leigh Whannell — Screenplay by Leigh Whannell and Corbett Tuck.
It’s strange to think back to now, but the final film that I saw in theaters before the world shut down as a result of the COVID-19 pandemic in 2020 was Universal and Blumhouse’s The Invisible Man from Upgrade director Leigh Whannell. Now, almost five years later, Leigh Whannell has taken another Universal Monster under his wings with Wolf Man, as he has taken over a project that was once envisioned as Ryan Gosling vehicle from Blue Valentine and The Place Beyond the Pines director Derek Cianfrance,. Instead, Whannell’s leads are Christopher Abbott (Sanctuary) and Julia Garner (Ozark). With an early-to-mid-January release, is Whannell’s second Universal Monster adaptation as good as his first? Well, let’s have a look.
Continue reading “Wolf Man (2025) | REVIEW”‘Fly Me to the Moon,’ ‘Late Night With the Devil,’ ‘Dear Santa,’ and ‘Five Nights at Freddy’s’ | Bite-Sized Reviews

Bottom Row (L-R): ‘Dear Santa (Paramount Pictures),’ ‘Five Nights at Freddy’s (Universal Pictures).’
In this edition of Bite-Sized Reviews, I reveal my thoughts on a horror video game adaptation, a Jack Black-led Christmas film, an Apple TV+ film whose title references a Frank Sinatra song, and an indie horror film with an interesting premise.
Continue reading “‘Fly Me to the Moon,’ ‘Late Night With the Devil,’ ‘Dear Santa,’ and ‘Five Nights at Freddy’s’ | Bite-Sized Reviews”Emilia Pérez (2024) | REVIEW
Directed by Jacques Audiard — Screenplay by Jacques Audiard.
As was already evident based on Julia Ducournau’s Titane and Coralie Fargeat’s The Substance, modern day French filmmakers sometimes gravitate toward these ambitious and unique films that defy genre conventions and classifications (and that are difficult to describe to acquaintances without getting strange looks) with great success. Un Prophet and Dheepan director Jacques Audiard, a Palme d’Or winning filmmaker, had similar aspirations recently with his Emilia Pérez, which is arguably most succinctly described as a gender transition musical crime film (mostly set in Mexico and mostly in Spanish) despite the fact that it contains even more sides than even that brief description encompasses. Emilia Pérez has already earned Audiard and his cast plenty of awards attention including the Jury Prize and Best Actress award (for its four female principal actresses) at the Cannes film festival. Nonetheless, the film has also been met with criticism from both Mexican audiences and the LGBTQ+ community. Setting aside all of the praise and all of the controversy, how good is the actual film itself? Well, let’s have a look.
Continue reading “Emilia Pérez (2024) | REVIEW”‘Fallen Leaves,’ ‘C’mon C’mon,’ ‘The Salesman,’ and ‘The Dead Don’t Hurt’ | Bite-Sized Reviews

Bottom Row (L-R): THE SALESMAN (Film Iran / Memento Films); The Dead Don’t Hurt (Scanbox Entertainment).
In this post, I’ll give you my thoughts on my first Aki Kaurismäki experience, a 2-time Cannes award winning Farhadi film, an underseen Joaquin Phoenix film, and Viggo Mortensen’s latest film as a writer-director.
Continue reading “‘Fallen Leaves,’ ‘C’mon C’mon,’ ‘The Salesman,’ and ‘The Dead Don’t Hurt’ | Bite-Sized Reviews”‘Night Swim,’ ‘IF,’ ‘For Evigt,’ and ‘Birthday Girl’ | Bite-Sized Reviews

Bottom Row (L-R): FOR EVIGT (Nordisk Film); Birthday Girl (Nordisk Film).
In addition to all of the other reviews I’m publishing by themselves, and other relevant articles to kick off the year, I am also starting the year by publishing a small handful of bite-sized review compilation posts. In this edition, I’ll give you my thoughts on two Danish films from last year that didn’t fully win me over, as well as an American horror film released 12 months ago, and John Krasinski’s family film about imaginary friends.
Continue reading “‘Night Swim,’ ‘IF,’ ‘For Evigt,’ and ‘Birthday Girl’ | Bite-Sized Reviews”Nosferatu (2024) | REVIEW

Directed by Robert Eggers (The Witch; The Northman) — Screenplay by Robert Eggers
Everyone knows the name Dracula. That name and character have become such an indelible part of horror fandom and popular culture since the original Bram Stoker epistolary gothic horror novel was published back in 1897 and forever put a name to the quintessential vampire figure. It’s a character that has been played by so many iconic actors through time including Bela Lugosi, Christopher Lee, Nicolas Cage, and Gary Oldman. You may not have seen all of those films, but, I’m pretty sure, even if you haven’t seen a ‘Dracula movie’ before, certain images instantly pop into your head due to cultural osmosis when you hear the name. I am, however, not as certain most people know about ‘nosferatu,’ and, unless you’re a cinephile or a horror aficionado, you almost definitely don’t know who, or what, Count Orlok is. Kids may dress up as Dracula for Halloween (and many probably do), but you’re going to have to search for quite some time if you want to find someone who dressed up as Orlok.
Continue reading “Nosferatu (2024) | REVIEW”Juror #2 (2024) | REVIEW
Directed by Clint Eastwood — Screenplay by Jonathan Abrams.
Movie-star-turned-filmmaker Clint Eastwood is a 94-year-old four-time Oscar winner who is still working with some of the industry’s best actors and studios. Although we’d all love for him to keep making films forever, this could theoretically be the final film from one of the very few stars of Hollywood of which adults of all ages will have had some kind of knowledge. It could even, given his status and talent as a filmmaker, have been a genuine Oscar contender. You would think, then, that this film — which stars actors like Nicholas Hoult, Toni Collette, J.K. Simmons, Kiefer Sutherland, and others — would be a film that Warner Bros. would proudly release in theaters as prestigious cinema for grown-ups. And yet, that’s not exactly what happened. Eastwood’s potentially final film was released in fewer than 50 theaters across the United States, as well as modest theatrical releases in only a select few territories around the world. Instead, it was prioritized as a holiday streaming release as a ‘Max Original’. It sounds like a headscratcher even before you see the film, and, frankly, it’s still a headscratcher after you see it because, well, Juror #2 is a gripping legal thriller that shows that Clint Eastwood, even at 94 years old, still has what it takes to make compelling films.
Continue reading “Juror #2 (2024) | REVIEW”




