Tag Archives: Film Review

Film Review: Avatar: Fire & Ash (2025)

I’ve never been the biggest fan of the Avatar films. The franchise is impressive, but once the spectacle fades, you’d soon realize that they’re just very expensive, very average movies. Fire & Ash, however, did something none of the previous films managed: it stayed with me long after I left the theater.

One of the biggest reasons is its antagonists. Colonel Quaritch and Varang completely dominate the film whenever they’re on screen. In this installment, James Cameron finally gives Quaritch the space he’s always needed, with an enormous payoff. Here, he feels like a fully realized character rather than a mere instrument of conflict. His growing exposure to Pandora’s way of life, his bond with Spider and his vendetta against Jake, gives his character real internal tension. His changing (?) nature and his compatibility with Varang’s violent nature makes him the most compelling character in the whole franchise, which was a bit surprisingly, because I thought his character was just flat in the first film.

Varang herself is a total standout! Loved her design, her chaotic and unpredictable character! I thought she’s the most interesting character Na’vi that has been introduced in the series. Her people add so much more layer in the ideological and “religious” conflict to Pandora.

That being said, for a film titled Fire & Ash, it’s hard not to feel that her people, her tribe deserved deeper exploration. It was such a shame that they never fully commit here, instead, majority of the scenes are in the water.

Another good thing, and I thought a very much-needed improvement in the series is how it handled its younger characters. The Way of Water devoted tremendous amount of time to juvenile drama, and Fire & Ash reins that in considerably.

Jake and Neytiri may not be the best protagonist, but we as an audience are already emotionally invested in their journey. I thought Neytiri’s solo rescue of Jakes was one fo the film’s best sequences.

Visually, the final act is pure Cameron magic (excess) in the best possible way. The action is massive, relentless and engaging! Whatever issues the movie has, James Cameron’s command of grandeur and spatial display remains unmatched.

That said, I thought the film’s length works against it, and structurally it feels repetitive. Characters are captured, they escape, and then recaptured again that it loses the tension. And as I’ve said ealier, it feels like we’re just watching an extended version of the Way of Water. For something that should’ve been a thematic shift for the franchise, the film struggles to find its distinct identity. Love the writing when it comes to Quaritch, Spider and even Neytiri, but most dialogues remains uninspired. T

But despite its flaws, Avatar: Fire & Ash left me buzzing in a way this franchise never has befor due to its ambitious, darker,and more character-driven story (minus the reptitivesness) , It may not fully escape the shadow of its predecessors, but I loved that it is evolving. For me, it is the most memorable Avatar installment so far, another great adventure delivered by the one and only James Cameron.

Rating: 3 out of 5 stars

Director: James Cameron
Starring: Sam Worthington, Zoe Saldaña, Sigourney Weaver, Stephen Lang, Kate Winslet, Oona Chaplin, Cliff Curtis, Edie Falco

MMFF 2025 Review: “Call Me Mother” and the Power of Chosen Family

Call Me Mother is easily one of Vice Ganda’s most surprising and rewarding films to date. Unlike her usual comedy-driven projects—this film leans heavily into drama, with humor used sparingly and, for once, effectively. The result is a more grounded emotional ride that fully commits to its story and characters.

At the center of the film is Twinkle (Vice Ganda), whose journey as a parent anchors the narrative. Vice delivers a restrained and believable performance, proving she can finally carry emotional scenes without undercutting them with jokes. For the first time, the comedy doesn’t interrupt the drama – support lang. They are well-placed, never cringe, and serve as breathing room rather than distractions. This feels like Vice stepping fully into her acting era.

Nadine Lustre is, as expected, excellent. Her confrontations with Vice’s character, especially the emotionally charged scenes involving social workers and the later face-offs are some of the film’s strongest moments. There’s real tension, pain, and vulnerability in these exchanges, and neither performance feels forced.

But the true standout of Call Me Mother is Lucas Andalio. Simply put, he steals the film – grabe! Many viewers may find themselves crying not because of Vice or Nadine, but because of him. Lucas doesn’t just recite lines—he listens, reacts, and conveys emotion far beyond his years. His micro-expressions and timing make every scene feel authentic, and dare I say that he is the film’s strongest actor.

The supporting cast also plays a big role in the film’s success. John Lapus and the rest of the ensemble provide much-needed comic relief, helping balance the heavy second half without breaking its tone. Their limited screen time works in the film’s favor, keeping the focus on the more emotional conflict.

While the story itself isn’t groundbreaking, what makes Call Me Mother special is that you can feel the care in the performances, the direction, and the pacing. The drama in the latter half carries the film leading to moments of desperation, confrontation, and release that feel earned. Some scenes may even feel like emotional “rage bait,” but they’re effective nonetheless.

Ultimately, Call Me Mother is an emotional ride that proves Vice Ganda is capable of more than his usual comedy. Even if you’re not a parent, the film finds a way to hit close to home. If this is the direction Vice Ganda continues to take—drama-first stories told with sincerity and restraint—then this is a direction worth seeing more of.

Rating: 4 out of 5 stars

Director: Jun Robles Lana
Cast: Vice Ganda, Nadine Lustre, Lucas Andalio, John Lapus, Iyah Mina, Brent Manalo, Mika Salamaca, Klarisse de Guzman, Esnyr, River Joseph, MC Muah, Shuvee Etrata

Film Review: Haikyuu!! THE MOVIE: Decisive Battle at the Garbage Dump (2024)

When the fourth season of Haikyuu!! started in early 2020 and concluded around July of the same year, I was expecting a fifth season. Given the abundance of material in the manga, a couple more seasons seemed likely. However, the decision was made to produce two movies instead. In February this year, the first movie, Haikyuu!! THE MOVIE: Decisive Battle at the Garbage Dump, was released to great success.

We’ve been anticipating this rematch between Karasuno and Nekoma for what feels like forever, and it exceeded all my expectations. Watching the film made me feel nostalgic because Haikyuu!! is one of my favorite anime series of all time. Seeing it on the big screen with fellow fans was an absolutely incredible experience.

While I would still prefer the story to continue as a series, this movie delivered on all fronts, so I have no complaints. I’m quite satisfied with it. It saddens me, however, that after the second film, it will be over, and only the memories of watching this incredible anime will remain—along with rewatching the entire series in the coming years.

Animation-wise, the film is exceptionally well made and a significant improvement over the somewhat comical and butchered animation of the fourth season. Remembering that still makes me chuckle.

The film is packed with flashbacks, funny moments, and exhilarating scenes from the manga. We get different perspectives from various characters, primarily Kenma and Hinata.

My favorite scenes from the movie include Kenma’s POV of the game. Those few minutes of seeing the play through Kenma’s eyes featured fantastic animation. Another highlight is seeing young Kuroo and Kenma. And, of course, Hinata’s resolve as he was challenged by Kenma to play his best, and vice versa.

The story is, as always, top-notch. The humor was spot on, and the characters—what can I say? Haruichi Furudate is a genius for creating these wonderful characters that we fans have come to cherish over the years and will continue to cherish moving forward.

The movie opens in the country on May 15 and should be available in major theaters nationwide. Be sure to catch it while it’s showing!

Rating: 5 out of 5 stars

Director: Susumu Mitsunaka
Based on Haikyu!! by Haruichi Furudate
Cast: Ayumu Murase, Kaito Ishikawa, Yuki Kaji, Yuichi Nakamura

Review: Napoleon (2023)

Nominated for Best Costume Design, Best Production Design.

I won’t be writing a long review for this because I fear that if I do, it would sound like I’m just a hater. This nearly three-hour odyssey offers glimpses of Napoleon’s brilliance amidst a sea of sluggish storytelling.

I’ve read a few accounts about Napoleon, and naturally, I’d expected some epic battles and grand conquests, only to find myself tangled in a web of sexual repression, marital infidelity, and the mundane daily life of our characters.

While the movie’s visuals and production design dazzle, the narrative just falls short for me. Joaquin Phoenix delivers a commendable portrayal of Napoleon, despite the distraction of his noticeably older appearance and weird accent.

My main issue, as I’ve mentioned earlier, is its pacing. The film just drags on. Period drama enthusiasts may find themselves disappointed by the sluggish pacing and the lackluster performances overall. 

Though the movie captures some elements of Napoleon‘s complexity, it falls short in historical accuracy and fails to prioritize the most significant aspects of his life and career. While it may entertain those looking for a fictionalized take on history, history buffs may find themselves frustrated by its deviation from the truth.

In the end, “Napoleon” offers glimpses of greatness but ultimately fails to deliver a truly captivating cinematic experience. Two stars for effort, but I truly believe that this character deserves better treatment.

Rating: 2 out of 5 stars

Directed by: Ridley Scott
Produced by: Ridley Scott, Kevin J. Walsh, Mark Huffam, Joaquin Phoenix
Cast: Joaquin Phoenix, Vanessa Kirby, Tahar Rahim, Rupert Everett, Ben Miles, Ludivine Sagnier, Matthew Needham, John Hollingworth, Youssef Kerkour, Sinead Cusack, Julian Rhind-Tutt, Phil Cornwell, Édouard Philipponnat, Jannis Niewohner, Miles Jupp, Edward Bennett etc…

Review: Killers of the Flower Moon (2023)

Nominated for Best Picture, Best Director, Best Actress, Best Original Score, Best Original Song, Best Production Design, Best Cinematography, Best Costume Design, Best Film Editing.

Martin Scorsese’s “Killers of the Flower Moon” clocks in as his longest film to date, spanning three hours and 26 minutes. Adapted from David Grann’s 2017 non-fiction work, the film delves into the 1920s Oklahoma backdrop, focusing on the harrowing narrative of Osage members falling victim to a string of homicides following the discovery of oil on the tribal land of the Osage Nation.

The film unveils a haunting narrative of greed, revealing how the pursuit of wealth permeated even the treatment of Native Americans, casting them as obstacles to prosperity.

The film, as mentioned above, was very long, but its measured pacing is matched by the exquisite acting from the cast, especially by DiCaprio, Gladstone, and De Niro. DiCaprio showcased his versatile talent, seamlessly transitioning between emotional states, while Lily Gladstone, portraying Mollie Burkhart, maintained a captivating idealism throughout her trials. Her understated portrayal effectively conveyed emotions without verbal expression. In my opinion, they all deserved an Oscar nod, and I’m very happy that Gladstone at least received acknowledgment.

Despite its length, the film remained engaging. However, the attention given to the antagonists left me feeling more contempt towards them than sorrow for the victims and their families.

Although I haven’t read the book yet, I’m certainly intending to explore it thoroughly for a deeper understanding of this tragic event. 

This film is an absolute must-watch for its grand depiction of a tragic yet often overlooked piece of history. The fact that it’s based on real events makes it all the more poignant, leaving audiences utterly heartbroken by the end.

Rating: 4 out of 5 stars

Directed by: Martin Scorsese
Produced by: Dan Friedkin, Bradley Thomas, Martin Scorsese, Daniel Lupi
Cast: Leonardo DiCaprio, Robert De Niro, Lily Gladstone, Jesse Plemons, Tantoo Cardinal, John Lithgow, Brendan Fraser

Review: Poor Things (2023)

Nominated for Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Adapted Screenplay, Best Original Score, Best Production Design, Best Cinematography, Best Makeup and Hairstyling, Best Costume Design, Best Film Editing.

I’ve heard a lot of things about this film, and one of them is that it’s too graphic, so I was somewhat prepared but still found myself occasionally taken aback. Personally, I’m not keen on excessive sex scenes in non-pornographic films, haha, so the abundance of that here was quite WOW.

Setting that aside, which admittedly was difficult, I found the film pretty engaging. It delves into themes of learning, female empowerment, and the journey to adulthood in a captivating and multifaceted manner. Its narrative, both heartfelt and eccentric, explores the essence of adventure, self-discovery, and the profound significance of life’s journey.

The performances by Emma Stone, Mark Ruffalo, and Willem Dafoe are truly outstanding. Stone, particularly in her role as Bella, portrays a captivating journey of self-discovery and growth. Her character’s evolution and assertion of her desires are depicted with remarkable authenticity, showcasing Stone’s talent for capturing the essence of seizing control over one’s destiny.

The production design is impressive, with top-notch cinematography and costume design adding depth to the film’s visual appeal.

In summary, Poor Things is an inventive, visually stunning, and genuinely amusing film. I’m not sure if I will be rewatching it anytime soon, but it’s definitely an experience.

Rating: 3 out of 5 stars

Directed by: Yorgos Lanthimos
Produced by: Ed Guiney, Andrew Lowe, Yorgos Lanthimos, Emma Stone
Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael

Review: Past Lives (2023)

Nominated for Best Picture and Best Original Screenplay.

“Past Lives” is a semi-autobiographical narrative that draws from the experiences of its writer and director, tracing the journey of two childhood friends across 24 years as they navigate the evolving nature of their relationship and diverging life paths. It offers a poignant exploration of fate, choices, and the complexities of human connection.

The film unfolds as a meticulously crafted story about human connections, losing them over time, and reconnecting in the future. Greta Lee delivers a captivating performance, complemented by John Magaro and Teo Yoo’s raw and understated acting, creating a palpable on-screen chemistry with both.

I think one of the film’s strengths lies in its sensitive portrayal of the immigrant experience, capturing the intricacies of cultural adaptation and belonging. It has profound dialogue, nothing that is contrived, and will most likely resonate with a lot of people. 

However, I find the pacing excessively slow, as the narrative unfolds gradually without significant plot developments.

I still think that its nomination for Best Original Screenplay is well-deserved, reflecting the depth of Celine Song’s storytelling in offering a nuanced exploration of human relationships. Celine Song really delivered a riveting debut of a film that is quite understated but still hits home.

Rating: 3 out of 5 stars

Directed by: Celine Song
Produced by: David Hinojosa, Christine Vachon, Pamela Koffler
Cast: Greta Lee, Teo Yoo, John Magaro

Review: The Holdovers (2023)

Nominated for Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay, Best Editing.

image courtesy of impawards.com

“The Holdovers” transports audiences back to the winter of 1970, where a group of boarding students find themselves stranded at school during the Christmas break. Amidst the watchful gaze of a strict classics teacher and the school’s head cook, their holiday takes an unexpected turn, leading to stirring character development that reveals both virtues and flaws.

What sets this film apart is its refreshing originality, offering a fresh narrative that breaks free from remakes, sequels, or true-story adaptations. The storyline is straightforward, but it is elevated by the exceptional performances of the cast. The chemistry between the leads is palpable, with Paul Giamatti and Da’Vine Joy Randolph delivering standout performances, while newcomer Dominic Sessa is such a revelation in his pivotal role.

Director Alexander Payne delivers a brilliant homage to 70s cinema, capturing the era’s aesthetics flawlessly. The stellar cast, including Da’Vine Joy Randolph, Giamatti, and Dominic Sessa, delivers Oscar-worthy performances, infusing the film with both heartbreaking and heartwarming moments. I’m going to nitpick its pacing, but it’s an overall charming, heartwarming, and thought-provoking comedy-drama that is going to be one of the nostalgic holiday classics in years to come!

Rating: 4.5 out of 5 stars

Director: Alexander Payne
Produced by: Mark Johnson, Bill Block, David Hemingson
Cast: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa

Review: Barbie (2023)

Nominated for Best Picture, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Costume Design, Best Original Song, Best Production Design.

Greta Gerwig’s take on one of the most iconic figures in history, Barbie, is a delightful surprise, offering much more than just a glossy, plastic world. Gerwig infuses the film with layers of depth, transforming it into a thought-provoking exploration of identity and societal expectations. 

Barbie and Ken are thoroughly enjoying themselves in the vibrant and seemingly flawless realm of Barbie Land. Yet, when an opportunity arises for them to venture into the actual world, they swiftly encounter both the pleasures and pitfalls of coexisting with humans.

Margot Robbie shines in the titular role, bringing a refreshing complexity to Barbie’s character as she navigates the pressures of perfection. Ryan Gosling’s portrayal of Ken adds charm and wit to the dynamic duo, while America Ferrera’s poignant monologue resonates with the struggles women face in a world dictated by unrealistic standards.

Gerwig’s direction ensures that Barbie is not just a feminist movie but a universal story of self-discovery and realizing there really is more to life than the status quo we were told to live in. Through Barbie’s journey, audiences are invited to examine their own perceptions of gender roles and the constraints they impose.

Visually stunning and emotionally resonant, Barbie captivates with its blend of humor, heart, and social commentary. Gerwig’s signature storytelling coupled with a stellar cast make this film a must-watch for audiences of all ages.

Rating: 4 out of 5 stars

Director: Greta Gerwig
Produced by: Margot Robbie, David Heyman, Tom Ackerley, Robbie Brenner
Starring: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell, Alexandra Shipp, Hari Nef, Sharon Rooney, Ana Cruz Kayne, Ritu Arya, Dua Lipa, Nicola Coughlan, Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans, John Cena, Helen Mirren, Michael Cera, Connor Swindells, Jamie Demetriou, Emeral Fennell, Asim Chaudry, Ray Fearon, Erica Ford, Hanna Khalique-Brown, Mette Narrative, Marisa Abela, Lucy Boynton, Rob Brydon, Tom Stourton, Ann Roth, Annie Mumolo, Lauren Holt, Ryan Piers Williams,

Review: The Boy and The Heron (2023)

Nominated for Best Animated Feature.

The Boy and the Heron tells the story of a boy named Mahito (voiced by Soma Santoki), who, upon discovering an abandoned tower in his new town, ventures into a magical realm accompanied by a talking gray heron. Mahito, full of longing for his mother, travels to a realm where life and death coexist.

Watching my very first Hayao Miyazaki’s work on the big screen, I cannot help but be enchanted yet again by its meticulous animation. Each scene is a visual spectacle, transporting viewers into a world where everything feels like a new experience, even though the film is very reminiscent of the many Ghibli films from the director that we’ve come to love.

What I really appreciate about Miyazaki’s storytelling is that it is always thought-provoking and contemplative. The pacing of the film was initially slow, and its narrative seems confusing at times, but I think this ambiguity is precisely what makes it a great film because it invites its viewers to dig deeper, prompting exploration of the film’s underlying themes.

After watching the film, I was asking myself, “What did I just watch? But after a few days, while still thinking about what to write for my review, I figured that each viewer’s understanding—or rather, my understanding—is uniquely my own.

The Boy and the Heron is a captivating journey of masterful storytelling with top-notch animation that breathes life into each frame, evoking a poignant resonance that defies easy categorization because it engages its audience on a personal level based on personal experience and perspectives.

It is a testament to the power of Miyazaki’s storytelling. Whether it leaves you yearning for something undefined or sparks a newfound understanding, one thing is certain: Miyazaki’s masterwork is an experience that transcends the boundaries of cinema, leaving an indelible mark on those who dare to venture into its world.

Rating: 4.5 out of 5 stars

Director: Hayao Miyazaki
Produced by: Toshio Suzuki
Starring: Soma Santoki, Masaki Suda, Aimyon, Yoshino Kimura, Shonei Hino, Ko Shibasaki, Takuya Kimura