Stranger Things – Season Five (2025) | TV REVIEW

Gaten Matarazzo as ‘Dustin’ in Stranger Things: Season Five — PHOTO: Netflix (Still image from trailers).

Regardless of what you think about the show or this season, I think you have to admire the gusto of the release strategy for the final season of Stranger Things, of which the first volume (episodes one to four) was released early in December, the second volume on Christmas, and the series finale on New Year’s Eve or New Year’s Day (depending on your region). Stranger Things really took over a huge chunk of the online entertainment focus in December, despite the fact that massive trailers for huge films were released alongside a new Avatar film in theaters around the world. They really made the three-part release of the show into events. But did the series finale of the most popular US-based Netflix original series, or the season as a whole, live up to the hype it created for itself? Well, let’s talk about it, because it’s not a straightforward answer. 

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Wake Up Dead Man: A Knives Out Mystery (2025) | REVIEW

Daniel Craig and Josh O’Connor in Rian Johnson’s WAKE UP DEAD MAN — PHOTO: NETFLIX (Still image from trailers).

Directed by Rian Johnson — Screenplay by Rian Johnson.

Rian Johnson, the renowned writer-director behind films like Looper and Star Wars: The Last Jedi, has successfully made himself synonymous with the whodunnit mystery genre in recent years with his Knives Out films centered around Benoit Blanc, the heavily accented detective character, which has helped Daniel Craig reinvent his career following his James Bond exit. These are films that have become highly celebrated for their distinctive detective, their star-studded casts, and the way they merge comedy, modern inventiveness, and a genre affinity to form films that are always a highlight of the year in which they are released. This was the case with both Knives Out and Glass Onion, and it is certainly also the case with Wake Up Dead Man, which, arguably, features the best protagonist performance that we’ve seen in any of these films.

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Train Dreams (2025) | REVIEW

Felicity Jones and Joel Edgerton in TRAIN DREAMS — PHOTO: NETFLIX (Still image from trailers).

Directed by Clint Bentley — Screenplay by Clint Bentley and Greg Kwedar.

Clint Bentley’s Train Dreams is a gripping character drama, based on Denis Johnson’s 2011 novella of the same name, that chronicles the life of a man named Robert Grainier (played by Joel Edgerton), a quiet and humble railroad construction worker and lumberjack. Among other things, over the course of the film, we witness him get to know others like him, fall in love, face heartbreaking loss, and experience some mysterious events in the woods of America. 

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Frankenstein (2025) | REVIEW

Oscar Isaac as Victor Frankenstein in Guillermo Del Toro’s FRANKENSTEIN — PHOTO: NETFLIX (Still image from the trailers).

Directed by Guillermo Del Toro — Screenplay by Guillermo Del Toro.

There are literally hundreds of films either directly based on or partially inspired by Mary Shelley’s Frankenstein; or, The Modern Prometheus, so the story of Victor Frankenstein (and his creature, or monster, that is often wrongly referred to as just ‘Frankenstein’) is one that audiences of most ages know quite well either through having seen films based on the story or through references in pop culture that, with stories as familiar as this one, tend to fasten in your audiovisual language through a process of cultural osmosis. One auteur, however, hopes that his passion project can add something new to the storied legacy of the character, and now Netflix has given that opportunity to that auteur. I am, of course, referring to Guillermo Del Toro, the Oscar-winning filmmaker with a known love for classic monsters, creature effects, and both horror, fairy tale, and gothic storytelling. It should be a match made in heaven, and, frankly, I do think the wait for Del Toro’s take on Frankenstein, his 13th feature film as a director, was worth the wait. 

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‘Ballad of a Small Player,’ ‘The Home,’ ‘Det Andet Offer,’ and More | Bite-Sized Reviews

Top Row (L-R): ‘Ballad of a Small Player (Netflix);’ ‘The Home (Lionsgate /Roadside Attractions);’ ‘Det Andet Offer (SF Studios).’
Bottom Row (L-R): ‘Under Stjernerne På Himlen (SF Studios;’ ‘Opus (A24),’ ‘The Amateur (20th Century Studios).’

Every once in a while, I don’t quite have enough to say or the time to put it into enough words for me to write full, dedicated reviews for everything new that I see. So, from time to time, I will just post a short review on Letterboxd, and, as you may have noticed, sometimes these reviews find their way to this site in the form of bite-sized reviews in a compilation article. That is exactly what’s happening today.

In this article, I’ll give you my thoughts on two Danish films starring the same stand-up comedian turned actor, an action thriller that came and went without much fanfare, a mystery thriller that also came and went without making an imprint, a recent Netflix casino flick, and a retirement home-set horror film that may just be one of the worst films I’ve seen this year. Let’s get to it.

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A House of Dynamite (2025) | REVIEW

Trailer title card — PHOTO: Netflix.

Directed by Kathryn Bigelow — Screenplay by Noah Oppenheim.

For most of this young century, Point Break director Kathryn Bigelow has dedicated her filmmaking career to these intensely political thrillers that have sparked a lot of discussion at the time of release (e.g., The Hurt Locker, Zero Dark Thirty, Detroit). Now, eight years after the release of Detroit, Bigelow is back with another political thriller with its finger on the pulse of America and the world with Netflix’s A House of Dynamite, an occasionally thrilling and terrifying apocalyptic triptych about a fictional immediate panicked response to a single nuclear missile headed for America. 

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The Woman in Cabin 10 (2025) | REVIEW

Keira Knightley in THE WOMAN IN CABIN 10 — PHOTO: NETFLIX (Still image from trailer).

Directed by Simon Stone — Screenplay by Joe Shrapnel, Anna Waterhouse, and Simon Stone.

The generically titled The Woman in Cabin 10 — not to be confused with The Woman in the Window, The Woman in the Yard, The Woman in Black, The Woman in the Wall, or The Woman in the House Across the Street from the Girl in the Window — is the latest feature from The Dig director Simon Stone. The film, which is based on Ruth Ware’s novel of the same name, is designed as a whodunnit psychological thriller, and it follows a journalist (Laura Blacklock, played by Keira Knightley) on a billionaire’s luxury yacht, who believes she has witnessed a passenger being thrown overboard and possibly killed. However, when she brings this up to anyone on the ship, no one seems to believe her. As our protagonist starts questioning her sanity, she also starts to uncover clues. 

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Fear Street: Prom Queen (2025) | REVIEW

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

Directed by Matt Palmer — Screenplay by Matt Palmer and Donald McLeary.

In 2021, Netflix pleased horror fans with the nostalgic horror-slasher trilogy of films, adapting R.L. Stine’s Fear Street series from director Leigh Janiak. Janiak’s films all had clear style, grisly horror sequences, and well-done references to their cinematic inspirations. They were all quite solid films that got their hooks into a certain audience, and it put Fear Street on the map for Netflix. So much so that I had, honestly, been looking forward to seeing how Netflix would follow up the relatively successful trilogy. Four years later (and, notably, without Leigh Janiak in the director’s chair), we now finally have that next step. Fear Street: Prom Queen also tries to be a nostalgic slasher flick, but it fails in most departments and, frustratingly, fumbles the goodwill that the first three films had earned.

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Nonnas (2025) | REVIEW

Trailer title card — PHOTO: Netflix.

Directed by Stephen Chbosky (The Perks of Being a Wallflower) — Screenplay by Liz Maccie.

Stephen Chbosky’s Nonnas is a biographical dramedy that follows Joe Scaravella (played by Vince Vaughn), an Italian-American man, who is grieving the loss of his mother. Hoping to honor her and his grandmother’s memory, Joe, against the wishes of his closest friend Bruno (played by Joe Manganiello), uses his mother’s life insurance money to open a restaurant in her name wherein Italian grandmothers — ‘nonnas’ — will cook the dishes they know best. But that is easier said than done, as the grandmothers have a lot of opinions about how things are done in the kitchen and, notably, because Joe has no idea how much it’ll take to open a restaurant. Meanwhile, Joe hopes to rekindle an old romance with his high school sweetheart named Olivia (played by Linda Cardellini).

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Black Mirror – Season 7 (2025) | REVIEW

Paul Giamatti in BLACK MIRROR: EULOGY — PHOTO: NETFLIX (Still image from trailers).

Like any season of Black Mirror, the hugely popular British anthology series based around the dangerous rapid development of technology and its influence on humanity, the recently released seventh season has both highs and lows. When I sat down to watch it and jotted down my initial reactions to each and every episode, I was met with, among other things, a solid sequel to one of the series’ most famous episodes, but also one of the most moving episodes of television/streaming I’ve seen all year. Below you’ll find my initial reaction to every episode of the seventh season of Black Mirror.

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