The Roses (2025)

My initial thought when I heard this adaptation of The War of the Roses would be directed by Roach was that it might lean into the silly, the over the top battling of soon-to-be exes, and the trailers did push it in that direction. However fortunately it actually spends more time on the relationship between its lead characters than on the revenge. And that part of the movie is quite good. It's often quite smart and endearingly funny. The final act, which falls into the cliches of divorce is less so but it feels like the film knows this, sort of rushing through it so that it doesn't have to spend much of its time there. The only downside is that it doesn't give its final moments enough time to truly resolve and therefore loses some of it punch. 

The Roses examines the ways marriage itself can eat away at connection between the parties. Neither Colman or Cumberbatch's characters are ideal humans but they are both quite relatable and generally lovely, facing very real world (for upper middle class white people anyway) challenges and the film does a nice job of diving into this. The script is funny, if sometimes a bit loose, and it is delivered with a charming dexterity by the film's too amazing leads, actors who can do almost anything, and have surprisingly good chemistry together. 

So while I very much enjoyed it, The Roses left me wanting near the end as they descend into a silliness which just saps some of the power of the rest of the film for laughs which don't quite feel worth it all. I think there is a darker movie here which could have truly taken the characters into a sort of madness and then redemption in a way that might have been more heartfelt. However, as I mentioned earlier, the ending is rushed and less honest than what had come before, and I wasn't sure I entirely bought the final moments. But still, Colman and Cumberbatch are both so good (as are the supporting cast) that The Roses makes for some good, if not perfect, viewing that does ask us to consider some questions about marriage and relationships and perhaps laugh a little too. 

The Roses 

Starring: Benedict Cumberbatch, Olivia Colman, Andy Samberg, Alison Janney, Sunita Mani, Ncuti Gatwa, Jamie Demetriou, Zoë Chao, Kate McKinnon 

Director: Jay Roach

Writer: Tony McNamara

The Toxic Avenger (2025)

Despite a bumpy road Macon Blair's love letter to B-moves is finally getting its release and thank goodness cause it is a whole lot of fun with undercurrents of brilliance running through it. With its underground aesthetics, subversive messaging layered into its excessively conspicuous plot, and its heavy use of practical effects The Toxic Avenger is intentionally designed to feel like its from another age, yet its morals couldn't be more modern. It also embraces the legacy of its brand (and its genre) by leaning into silly gore in ways that are clever and damn entertaining. 

Dinklage truly shines here. While being both funny and silly, he also brings a heavy amount of pathos to his role as widowed step father trying to do right by his teen step-son. His relationship with Tremblay is sweet in a genuine way despite how tongue in cheek the movie is trying to be. Their chemistry is so strong make sure you stick around for the post-credit scene which works entirely on the strength of their relationship. 

Macon has woven quite subtly a lot of modern critiques into this otherwise very blatant, in your face film. I appreciated how many throw away lines made sharp, insightful points while we are laughing at some absurdity. This film is smart and fun and sweetly sentimental while bathed in a lot of fake looking gore and blood. 

The Toxic Avenger

Starring: Peter Dinklage, Jacob Tremblay, Taylour Paige,Julia Davis, Jonny Coyne, Elijah Wood, Kevin Bacon

Writer/Director: Macon Blair 

Caught Stealing (2025)

I have to confess I've never really liked an Aronofsky movie. I think that may have changed with his adaptation of the Huston novel Caught Stealing, a crime thriller with just enough humour to keep it from wallowing in its quite dark storyline but not tipping over into self-satire. This is the sort of film one could see Tarantino directing, which likely would have taken the film down a far more over-the-top path. Instead, Aronofsky plays it cool, sticking to the story, and letting the emotional beats hit themselves while delivering a gripping tale centred around a very likeable, and rather lucky, protagonist. 

The film's story (from the novel) does require a certain amount coincidental confluences of events that keep it from feeling overly realistic which is why Aronofsky's restrained direction makes it work. He has assembled a strong cast around Butler who truly pulls off the lead character's arc in a way that keeps us invested in him. This story could have easily jumped the shark and there may be a few moments that made me scratch my head, including a fridging moment which boarders on exploitative yet also is used to set up so much of the plot's resolution. In fact a lot of characters have to die for our central character to make it out alive, but I found the film pays respect and makes us all feel the losses without getting too weighed down in the misery nor shrugging it off with inopportune humour. 

I felt is all came together rather well and set up what could be a film series if Butler and Aronofsky are so inclined. I normally do not find Aronofsky's choices to be ones I am interested in, but this film, a bit more commercially minded and accessible, is made in the way I enjoy a good commercial movie to be made, with a bit more brains and a strong cast doing good work. So while his "artier" films aren't to the taste of how I like my "arty" films, perhaps our aesthetics related to mainstream movies are a bit more aligned.

Caught Stealing

Starring: Austin Butler, Regina King, Zoë Kravitz, Matt Smith, Liev Schreiber, Vincent D'Onofrio, Benito A Martínez Ocasio (Bad Bunny), Griffin Dunne, Carol Kane, Laura Dern

Director: Darren Aronofsky

Writer: Charlie Huston

The Thursday Murder Club (2025)

It isn't often a film has a cast as wonderful as this. The rest of my review may sound a bit critical so I want to say first off how much I enjoyed The Thursday Murder Club, and that is entirely due to just how wonderful watching all these actors together was. Mirren, Brosnan, Kingsley, Imrie, Pryce, Grant... legends everyone. Ackie and Tennant are some of my favourite working actors right now. It was impossible for me not to have a fun time with all of these talents gathered together. 

Having said that The Thursday Murder Club suffers from best-seller-itis symptoms. Like a lot of popular fiction it is designed to hit all the typical plot points in the most mundane and accessible ways to be generally pleasing over being actually interesting or intellectually challenging. It doesn't help that it is directed by the ultimate paint-by-numbers director working in Hollywood. There is no flare or mystery to this mystery. 

*Slight Spoilers* Also the mystery best-seller genre is rife with stories that are woven to be a series of red herrings with an unlikely twist revealing who'd you'd least expect. So the trick is to simply expect the least expected no matter how convoluted the path to getting there needs to be. The Thursday Murder Club is a primary example of this problem. The fact that resolution is centred around likeable characters we are sympathetic to feels less inventive and more formulaic. 

Yet, as I said in the beginning. I enjoyed it immensely anyway, despite all its flaws. While a film like this had the potential to be very rewatchable, its extreme blandness likely lessons the fun of any subsequent viewings. However would I be excited if they announced a seuqel with this cast coming back? You bet your sweet bippy I would. 

The Thursday Murder Club

Starring: Helen Mirren, Pierce Brosnan, Ben Kingsley, Celia Imrie, David Tennant, Johnathan Pryce, Naomi Ackie, Richard E Grant, Tom Ellis

Director: Chris Columbus

Writers: Katy Brand, Suzanne Heathcote

Ne Zha 2 (2025)

After the success of the first Ne Zha it is clear the producers felt they could go all in on the sequel and they do. It is an epic film, a visual feast, and a set up for even more to come. They know they are on to something that audiences around the world are eating up and they are going for it. And it's paying off with Ne Zha 2 becoming the highest grossing animated film in the world.

As I already mentioned Ne Zha 2 is truly epic in scope. The cast is huge and the adventure is big. The film is almost 2 1/2 hours and fills all of its runtime with action and drama. It never feels like it's repeating itself or stretching from the first film's premise. The film maker has built a truly immersive world and filled it with fun characters. 

Like the first, the story does often feel... convenient. Fantasy stories often suffer from the creators being able to just pull whatever rabbit out of their hat they wish to advance the story or create a set back when needed. But the adventure is so much fun and so intense its easy to forgive the short cuts. 

My main critique is more of a personal taste issue. I can't remember the last time there was this much toilet (literally) humour in a film. That never works for me but it doesn't seem to be turning off audiences. But be warned there are some intense dark moments that might make this a hard watch for younger viewers. The runtime may hinder their enjoyment too.

Ne Zha has found a unique visual style which both feels a part of its cultural tradition and very new. There is no denying this is a gorgeous film to watch and a truly good time. The film ends with an expectation there will be more and it's hard to imagine after how successful this has been that we won't be seeing part 3 sometime soon. 

Ne Zha 2

Starring: Crystal Lee, Aleks Le, Michelle Yeoh, Vincent Rodriguez III

Writer/Director: Jiaozi

 

Eenie Meanie (2025)

Eenie Meanie is the sort of film that has a lot of great ideas and a lot of good parts, but doesn't quite come together in a way that works well. While it isn't a terrible watch and manages to be entertaining enough, most of it feels like it could have been better. It just doesn't quite click. There is a better film somewhere here in this story. 

Let's talk about what's good. The big thing is the cast. Weaving is clearly capable of leading a film and she does a good job here but her character isn't written quite well enough for her to truly shine. But her co-star Glusman has a breakout moment. I haven't felt he's been overly impressive in most of the films I've seen here, but his role in Eenie Meanie is a scene stealer, and he rises to the occasion. He is delightfully entertaining throughout. This movie has a far better cast than what you might expect and they all step up. I think the film's flaws would be even more obvious without them doing such a great job. 

The film's biggest weakness might be how it sets out quite a few large barriers that it never quite overcomes. Weaving's relationships are set out as quite unhealthy and it never quite redeems them enough for where they go. This is a 90 minute movie that needs more time to flesh out its story and characters. There is a great car chase near the end and some quite funny moments, and overall I wanted to be invested in what I was watching. I'm just not sure it earns all the pathos needed to really sell this successfully. 

Eenie Meanie

Starring: Samara Weaving, Karl Glusman, Jermaine Fowler, Marshawn Lynch, Randall Park, Steve Zahn, Andy Garcia 

Writer/Director: Shawn Simmons 

Night Always Comes (2025)

I found director Caron's previous film, Sharper, interesting if not perfect, and Night Always Comes feels like a step up, perhaps due to the central performance by Vanessa Kirby who truly gets to show off just how talented she is with this complex and fascinating performance. The film follows her character over the course of one night as she navigates one set back after another attempting to salvage what she can of her plan for herself and her brother while so much of her past catches up with her. She is riveting. 

The film does a good job of setting up just how classist structures prevent many people from pulling themselves out of precarious circumstances. One of the things I have found interesting is the way much of the criticism this film has taken is centred around judging the main character's choices, in the same way our culture often judges the choices of those who live day to day without the security of knowing how next week's costs are going to be paid. The meta text here proves much of the movie's point. 

For me Caron's visuals are beautiful here even if his narrative telling doesn't always feel smooth. Still Night Always Comes is extremely watchable despite some of the powerfully troubling moments in the story. Caron has shot a visually rich film. But most of what makes it work is Kirby truly shining through as the incredible actor she is, supported by what is mostly a very talented cast, especially Leigh, Gottsagen, and James. 

Night Always Comes

Starring: Vanessa Kirby, Jennifer Jason Leigh, Zack Gottsagen, Stephen James, Randall Park, Julia Fox, Michael Kelly, Eli Roth 

Director: Benjamin Caron

Writer: Sarah Conradt

Sweet Summer Pow Wow (2025)

Sometimes a film with a lot of heart and charm can still turn out to be... not great. The cast here has a lot of charisma and the story, while very rote, is engaging. But the script often lets everyone down by being awkward and unnatural. The film, following a very formulaic rom-com model uses a lot of wornout tropes and makes a great deal of narrative assumptions to the point where it rarely feels authentic. 

Where the film succeeds is in how organic and natural it weaves in its cultural references. There is an ease to this which makes it all flow nicely despite the romance storyline's clunkiness. The art direction and score truly stand out and the film never feels forced. 

Some of the cast are stronger than others which sometimes takes you out of the story, but the film both benefits and suffers from having the legendary Graham Greene in an extended cameo role. His talent over-shines those weaker cast members sometimes drawing attention to it but he also pulls it all back together with his incredible on screen presence.

So while there was a great deal to like about Sweet Summer Pow Wow there were also a lot of flaws distracting us. Even having said that I would like to see where this film maker goes next. 

Sweet Summer Pow Wow

Starring: Joshua Odjick, Tatyana Rose Baptiste, Graham Greene

Director: Darrell Dennis

Writers: Darrell Dennis, Katya Gardner

KPop Demon Hunters (2025)

Yes it's completely predictable and formulaic. Yes its of-the-moment trendy capitalizing on music and art trends that are fleeting. Yes it is an American pastiche of Korean pop culture. But then how come it's so much fun. Like actual K Pop KPop Demon Hunters has a catchy hook that is hard not to get seduced by. Its also lovingly earnest in its love letter to Asian pop tropes. So while it might have the depth of a wading pool KPop Demon Hunters is too much sweet fun to dump on. 

This feels like the sort of thing that could grow into more. Further movies could explore more of the lore and characters' backgrounds. For now it feels somewhat slim and limited but there is a great deal of potential in world building here. With the success this film is having no doubt we'll get more. I just hope they don't cheep out on the sequels.

KPop Demon Hunters

Starring: Arden Cho, Ahn Hyo-seop, May Hong, Ji-young Yoo, Yunjin Kim, Daniel Dae Kim, Ken Jeong,k Joel Kim Booster

Directors: Maggie Kang, Chris Appelhans

Writers: Danya Jimenez, Hannah McMechan, Maggie Kang, Chris Appelhans

Nobody 2 (2025)

Like the first Nobody, 2 is a fun romp that seems to be what would John Wick be if he had a family and wasn't taking himself seriously. While the film begins to provide some diminishing returns, it remains a fun watch that benefits from having a tongue in cheek attitude and a blessedly short runtime. I'm not sure this feels like the sort of things that should go on in perpetuity and perhaps might be better watched on streaming that as a night out to the movies. 

Odenkirk is good in this role, being both believable and self-deprecating enough to pull it off. Lloyd and Stone are both just clearly having fun without having to put in much effort. I guess my main thing with this sequel, which makes it feel a little less than its predecessor, is that it never feels like anyone is putting that much into this. Perhaps the right expression would be "three-quarters assed" since "half-assed" doesn't feel quite fair. I think if this had been drawn out it would have overstayed its welcome but at a brisk 90 minutes it paper thin script/story manages to work. 

Nobody 2 feels little like a throw away film for watching at home that will feel like light distraction that offers little more than just mild entertainment, which isn't bad in itself. 

Nobody 2

Starring: Bob Odenkirk, Connie Nielsen, John Ortiz, RZA, Colin Hanks, Christopher Lloyd, Sharon Stone 

Director: Timo Tjahjanto

Writers: Derek Kolstad, Aaron Rabin

Weapons (2025)

Weapons manages to be both an evocative puzzle of a movie and a classic feeling horror film that draws on genre conventions in a way that pays loving tribute to its sources. While I was impressed with much of Creggar's debut film, Barbarian, I had my critiques of it too. With Weapons I feel he has elevated his ideas further being fully committed to a movie that is both a scary camp fire story, a gripping character study, and a comment on hard to process real world tragedy, all balanced with just the right dash of humour which doesn't distract from the seriousness but allows some room to breath. Weapons juggles all of this, keeping all the balls in the air, and delivers an experience that will keep you on the edge of your seat. 

There is a lot to process here and I think it's the sort of film that I will revisit and get more out of with further viewings. But it also works as a stand alone story that doesn't leave you confounded. It is remarkable how the film gives you the satisfaction of a conclusion and an explanation while also leaving so many questions to ponder. The audience can leave as the credit roll, closing the book on the tale and accepting an understanding of what they just saw. Or they can reflect on much of what was suggested, ask questions about some mysteries, and perhaps even reflect on what impact there will be for the characters and the world this is set in, after we get up and leave the cinema. Part of what makes Weapons so satisfying is just how much it works in different ways. 

I appreciated that Weapons has some iconic images that I believe are going to secure themselves in American cinema cannon. This has the potential to join the ranks of classic horror films while also leaving itself open to interpretation and water-cooler discussion about its meanings and impacts. Madigan is certainly going to go down as one of the great cinematic horror characters, and may also pop into many viewers' nightmares. 

It may be hard to do as this film enters the zeitgeist, but Weapons is the sort of movie that is best to go into knowing as little as possible. The question may be what does it mean to you? How are you processing what you watched? What emotions and fears does it trigger? What does it make you reflect on? Even if you choose not to spend much time deconstructing it, Weapons has at its heart a creepy story that is ruthlessly engaging, that it is hard to take your eyes off of. 

Weapons

Starring: Josh Brolin, Julia Garner, Alden Ehrenreich, Austin Abrams, Cary Christopher, Benedict Wong, Amy Madigan 

Writer/Director: Zach Creggar

Eephus (2025)

I had no idea what the word "eephus" means. I have no interest what so ever in baseball and find it hard to relate to heterosexual male bonding. But along comes a film like this, with its quiet tenderness, its slice of life perspective, and some honest raw performances, and I was charmed by Eephus and, dare I say, moved. Set over the course of the last amateur baseball game before the local field is demolished for new development, Eephus is a story about connections, passions, aging, and loss, filmed in the most unassuming manner that you don't expect it to hit the way it does. 

Eephus is never heavy handed or on the nose. We are presented with a cast that is made up of mostly unrecognizable faces, very real world/average faces, and we watch them play a game of baseball. But the film avoids any sport movie cliches. There isn't some final inning hailmary, no underdogs overcoming the odds, no tragic go-down-fighting loss, or any of the tropes we expect in these films. Instead the energy is in the conversations as the game is played, the connections between the friends and casual acquaintances sharing this moment of interaction. The "big" finale is not in some sporting achievement but in the playing to the end itself. 

Eephus defies expectation and ends up being something completely different than you'd expect. It doesn't do so through bold gestures but with quiet passion. There is a script here is that is masterful in feeling 100% like natural conversation while communicating so much to its audience about the men we are watching and their world. It also speaks to something beautiful about community sport and what makes community in the first place. It also, quite deftly and surprisingly, offers fascinating explorations of heterosexual male relationships and connections. There is a contemplative aspect to this film which raises it above what one might anticipate and offer something truly fresh and downright entertaining without being showy.

And that's what "eephus" means. It is a kind of pitch that is slow yet deceptive with a long high arch. The film copies that with its narrative and cinematic trajectory and hence the name of the film. 

Eephus

Starring: Keith William Richards, Frederick Wiseman, Bill Lee

Director: Carson Lund

Writers: Michael Basta, Nate Fisher, Carson Lund

Shook (2025)

Wala impresses with this feature debut. While his script sometimes belabours his points and perhaps his jokes overstay their welcome, Shook remains an enjoyable watch. Wala's strength appears to be in creating and depicting relationships as Ash's romance, his family dynamic, and his circle of friends all feel remarkably honest and authentic. 

My main critique of Shook is how it sometimes overemphasizes things. A lot could go unsaid or unrepeated and have a greater impact. But the story here is strong as is the cast. Shook pays tribute to his home Scarborough by making the area a character itself in the story. Again sometimes this gets laid on pretty thick, but one can truly sense and feel the city and its presence. 

What impressed me most was the way he balanced three stories so seemingly effortlessly. There is the romcom, the family drama, and the buddy movie all packed in together in a way that feels seamless and natural. I like that he didn't attempt to solve the the threads either despite a bit of a rush to wrap things up in the final act. 

Overall, Shook is a delightful watch with only a few hiccups. The kind of film that makes you want to see what the film maker will do next. 

Shook

Starring: Saamer Usmani, Bernard White, Amy Forsyth, Pamela Mala Sinha 

Director: Amar Wala

Writers: Adnan Khan, Amar Wala

The Pickup (2025)

Story's recent film, The Blackening, was smart, funny, and fascinating. Unfortunately The Pickup is not really any of those things. The main problem appears to be the script which makes each set piece over the top beyond believability, that has a plot filled with cliches and holes, and is filled with humour that just isn't very funny. The cast does what it can with what its got and Story competently handles the direction. But little can overcome this dumb story that feels churned out in a weekend. 

The open scene sums up a lot of the problems with the film. It is in theory attempting to be a hilarious meet-cute bit fails on all fronts by escalating in a way that feels neither natural nor all that funny. So many of the jokes just fall flat or feel forced and so many of the film's action sequences feel overly choreographed and ridiculous. And in the end the film attempts to rehabilitate the villain in a way that is insulting to the audience's intelligence and just isn't successful. There is a line where Longoria's character looks at Davidson and says "you know how stupid that is, right?"

Perhaps the worst part is that The Pickup is boring. It's hard to believe a film starring Eddie Murphy and Keke Parlmer is this dull to watch. There is a reason this went straight to Prime and didn't get a theatrical release. 

The Pickup

Starring: Eddie Murphy, Keke Palmer, Pete Davidson, Eva Longoria, Andrew Dice Clay 

Director: Tim Story

Writers: Matt Mider, Kevin Burrows

Riff Raff (2025)

Riff Raff has a clever script and a wicked cast but it's execution often feels pedantic making it loose momentum occasionally. Still there are moments that make it worth a watch even if it doesn't always work perfectly. It has scenes that are a lot of fun, and the performances, creating relationships between the characters, do a lot of heavy lifting. So it ends up being a bit of mixed bag that you won't be sorry you watched but are unlikely to revisit. 

The biggest asset here is Coolidge who gets to play a role that isn't just the one she's been typecast in. It is a layered character that plays into her strengths but also gives her more to do than we often get to see. But she's not alone. Miles J. Harvey gives an impressive standout as the central character, our narrator, who ties everything together. He is the "everyman" character that we can connect to amongst the crazy cast of characters presented and he brings a pathos that movie needs to up its stakes. Truly the entire cast does good work here and there are moments the script gives them that are truly enjoyable. 

I will give it credit for mostly keeping its heightened violence off screen. It doesn't indulge in fetishizing any of that.

The main problem is there is a real paint-by-numbers approach to how it is shot and put together. It often feels like a copy of a Coen Brothers film or a Tarantino film instead of finding it's own voice. There are a few clunky moments that keep it from truly connecting.  It's a near miss, but if you want to enjoy some great moments from this cast it's still worth checking out. 

Riff Raff

Starring: Jennifer Coolidge, Ed Harris,Gabrielle Union,Lewis Pullman,Miles J. Harvey, Emanuela Postacchini, Michael Angelo Covino, Pete Davidson, Bill Murray 

Director: Dito Montiel

Writer: John Pollono

Together (2025)

While body horror is not my favourite genre of horror, Together has all the hallmarks of the sort of unsettling stories which get into our deep fears and pull them to the surface, which is far more up my alley. For me the strengths of the film were far more about the intellectual existential horror themes and its weaknesses were when it got into gross out horror. While I have critiques of some of its more out there moments I still think Together works and found it deeply discomforting. 

Warning I can't discuss the pros and cons of Together without *spoilers* so read this after you've seen it.

I'll get the critiques out of the way first. So much of when Together gets into showing us the graphic body merging it becomes less scary. A big part of this is because it doesn't look real. The film's budget and it's leaning into full display (instead of attempting shadow and suggestion) make it seem fake looking. Whether its the hikers in the cave or the final surrendering, the effects just weren't effective. So much of what was happening here could have been done with far less vivid imagery and likely would have felt more real and therefore more terrifying. 

Also as the film hit its climaxes, it felt too on the nose, like it was holding our hand, making sure we understood. I never need a film to talk down to me. This isn't just in the graphic images. A good example of this is Jamie. There is a scene near the end of Act II which pretty much outlines who he (they?) are we didn't need the bigger, more dramatic, more full out evil reveal near the end that just reeked of horror cliches. He didn't need to be a villain, just an example, which would have left things more ambiguous and far more interesting. The film feels like it's going for a goal of a kind of ambiguity yet it pushes its final scenes so over the top that hinders that achievement. 

Same with the ending, watching Tim and Millie physically merge was unnecessary and distracting. It could have ended with them dancing, some suggestive shots of "coming together", and then cut to that final shot. Again I would have found this a far more powerful culmination of what the film is doing. Together does great work of this in earlier bits (the legs fusing, and that incredibly filmed sex scene). I was disappointed it had to wrap it up the way it did. We knew where it was going and we understand what was going on. I wish it would have trusted us to just go with it and ride it to the end without continually asking "did you get it?" "did you get it?" "see what I did there?"

But that's enough of that, cause overall I really did find Together fascinating. The way its story explores the complications of relationships, individuality, dysfunction, is so rich it is the sort of film that just begs for its audience to go for drinks after to discuss. It gives us so much to chew on and remains generally entertaining throughout without dragging its story. 

It is also quite effectively disconcerting. Our culture promotes finding "the one" and the "perfect relationship" and Together asks some difficult questions about that. It uses a very disturbing metaphor to do it and one that will not only make us squirm but perhaps shriek. The casting of real life couple Brie and Franco adds additional layers to these questions in a film that is already so robust in its themes. Overall Together is a winner even if Shanks could use a little restraint to up the ante even more. 

Together

Starring: Alison Brie, Dave Franco, Damon Herriman

Writer/Director: Michael Shanks

The Fantastic Four: First Steps (2025)

First Steps is the FOURth attempt to bring Marvel's first family to the big screen successfully and it appears they may have finally found the FOURmula. By keeping it simple stupid, The Fantastic Four have found their groove. I've always felt the criticisms of previous FF films were overblown and I feel First Steps, being very standard superhero film fare, is perhaps being treated rather generously comparatively. Still the film works and is pleasant, if light, entertainment that doesn't take any risks.  

My favourite part is likely what you'll hear the most about, the film's retrofuturist art direction and design. I felt it walked just the right balance without overdoing it. It makes it stand out and gives it some character without being draining on the audience. The story here is all set on an alternate earth which no doubt will be pulled into the main Marvel timeline in upcoming Avengers movies but for now these four get their own little corner of the universe to exist in. 

Again this is a big part of what makes it work. It just gets to focus on its simple story and characters and have fun with them. And so we get to have some fun. The film's special effects felt a bit wonky at times, especially the poorly rendered Silver Surfer, but the nostalgic vibes make up for much of that giving it such an appealing appearance. The film keeps to a rather tight timeframe and keeps its story within predictable guardrails so audiences shouldn't find anything too objectionable. Mainly my critique is how safe First Steps feels, like its designed to be as widely appealing as possible never attempting to step on any toes. 

But to be fair being widely appealing is still appealing. Maybe Marvel will give this team another shot with some more interesting takes after they have played their planned role in the next big Marvel cross-overs coming up. 

The Fantastic Four: First Steps

Starring: Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Julia Garner, Natasha Lyonne, Sarah Niles, Paul Walter Hauser, Ralph Ineson, Mark Gatiss, Robert Downey Jr.

Director: Matt Shakman

Writers: Josh Friedman, Eric Pearson, Jeff Kaplan, Ian Springer

Sorry, Baby (2025)

Writer/director Victor has made an incredibly impressive debut with her film Sorry, Baby, a surprisingly moving and entertaining reflection on surviving sexual assault and the essential connection of friendship. Early into Sorry, Baby I knew I was watching something special and excited about a new film maker.

Despite the description of the film I just gave, please understand Sorry, Baby is a very funny, very watchable film, that despite dealing with some quite significant themes, is engaging and cathartic. Victor, who also stars, brings what turns out to be a delightful, if exceptionally dry, sense of humour to her character allowing us to digest everything without dismissing it or being overwhelmed. Her handling of the narrative, through some non-linear jumps in the timeline work well without feeling gimmicky, and help bring us full circle to the climax, a rather hopeful and promising ending that the title reflects. 

Victor focuses on her friendship with Ackie’s character, cantering the importance of this friendship despite their careers and separate romantic relationships. She carves out a space for her own sexual connection with Hedges’ character which isn’t handled in a rom com meet cute way, but finds a wonderful level of humour with it, and a wonderfully honest look at how romantic/sexual relationships can be clumsy and far from perfect without being bad which is remarkable in a film about a truly bad sexual experience her character experiences elsewhere. 

Victor’s handling of the assault, which is not depicted on screen and is recounted to the audience and Ackie through her own description, is deft and sensitive. It is an extremely banal sexual assault, which also allows the film to explore the impacts of such an event despite it not being the sort of explicitly violent incident we often associate with the concept. The film has the space to acknowledge just how much this moment, both the actions of the perpetrator, and the subsequent reactions that followed, took from her and so much of what makes Sorry, Baby work.

Sorry, Baby was quietly revelatory, a sweet surprise of a film that truly grabbed my heart and gave me hope. It made me laugh and reflect on painful things at the same time. Victor has truely broken onto the scene in an exciting way with this very lovely little film. 

Sorry, Baby

Starring: Eva Victor, Naomi Ackie, Lucas Hedges, John Carroll Lynch, Louis Cancelmi, Kelly McCormack 

Writer/Director: Eva Victor

Eddington (2025)

I’m not a fan of Aster and Eddington, his meandering reflection on the COVID pandemic, did little to change that. Like his previous effort, Beau is Afraid, Eddington dragged and plodded along somewhat aimlessly, masquerading as profound. His films have always felt performative to me in how they offer so little in substance while putting on an air of significance. 

He’s not an untalented film maker. I find many of his choices as a director to be interesting. For me it’s his writing. His stories mostly have no there there. Eddington, which takes only the most surface scan of pandemic issues and boils them down to the most cliched tropes, is more focused on its increasingly absurdist plot which continually jumps in intensity. There are a number of escalations in violence and intensity which often come from nowhere. In fact the climax depends on a literal, unexplained, come from nowhere party that is never explained.

But for me the worst part is that it is boring. As I started with, the film drags. As it becomes sillier throughout I found it harder to be engaged with the characters (none of whom are developed more than 2-dimensionally) or the film entirely. 

Eddington

Starring: Joaquin Phoenix, Pedro Pascal, Luke Grimes, Deirdre O'Connell, Micheal Ward, Austin Butler, Emma Stone 

Writer/Director: Ari Aster

Brick (2025)

I'm a sucker for a high concept mystery thriller. Brick has all the elements: a confounding premise, layers of meaning within its plot, and a cast of diverse characters. I like figuring out these puzzles and enjoying the ride to get there. Brick ends up getting to an ending I appreciated, but a lot in the middle feels filler. Often these sorts of films work really well through most but end up not sticking the landing. For me Brick was the opposite, strong set up and finish but middling middle. 

A lot of what does work is the chemistry between stars Matthias Schweighöfer and Ruby O. Fee (a real life couple). The levels I am referring to are the ways the story conflates a couple being stuck together with the premise of being physically stuck in their apartment. These two pull this off. Unfortunately most of the rest of the cast do not and leave much of the journey-to-freedom feeling like going through the motions. 

Also these sorts of thrillers need to pull off the gimmick. Generally I liked where it went but there was some (again in the middle... although closer to the end) where the "technology" bits felt a little too fantastic. I would have appreciated a but more of a grounded tech that they hacked on their way to freedom. Still, the thing that saved it from being entirely a write off was how Brick actually presents an interesting explanation in the end and answers just enough without over explaining, leaving some mystery in our minds as the credits roll. 

So Brick may not be a great fun film but it is also not so bad. As a fan of Schweighöfer, who has a tremendous screen presence, I was enjoying myself through most of it even when its plot got a little off the rails. 

Brick

Starring: Matthias Schweighöfer. Ruby O. Fee, Frederick Lau, Salber Lee Williams, Sira-Anna Faal

Writer/Director: Philip Koch

 

Superman (2025)

This is not the Reeve Superman of Superman the Movie. As much as many will try to connect it to Christopher Reeve's version, in the way that Superman Returns attempted to connect, writer/director Gunn has set out on his own path. This is also not Man of Steel. James Gunn has crafted a completely new (for film) take.  For comic fans, the best way I can describe it is "Silver Age". This is the Superman of the comic books and all that implies. While 1978's legendary film attempted to make us believe a man could fly and Man of Steel tried to ground Kal-El in the real world, Superman is about bringing the world of comic books to life, and it jumps off the screen like the books jumped off the page. 

Filled with comic accurate characters (including costumes and haircuts) and the pulpy sci-fi elements that defined the character for decades in the comics (Superman robots, and of coarse, as everyone is aware, Krypto) the film isn't afraid to lean into its comic bookish leanings. It boldly embraces its roots, even structuring its story in the way comics are written, like how it starts with the action already in play. 

Corenswet nails the role, both embodying the stereotypical look and presence of the Man of Tomorrow, while also carrying himself with a natural kindness and jovial energy that makes him feel like Superman. Brosnahan has incredible chemistry with him and balances a bit of the Kidder goofiness and Adams intrepidness. Gunn's writing shines most in the scenes of them together, crafting his signature snappy dialogue into an almost Sorkinesque banter than helps build the characters but also help us feel their love. Hoult was deliciously evil in what was the most obvious source nod. He plays Lex as a comic book villain through and through and it was infectious seeing him have that much fun. 

But who are we kidding? The real star of the show was Krypto!

Some of Gunn's personality comes through. The level of humour isn't as sophomoric as the Guardians films, but there is an inherent silliness to the writing that works better sometimes than others. There are times the characters seem to be explaining themselves, their powers, their motivations in ways that feel a bit forced. Perhaps this fits with the comic book feel. Also the themes, while moving (I'm getting to that), are a bit on the thin side. Gunn hands them to us on a platter in some moments and there aren't a lot of nuances. 

But for me Gunn nails a big part of what makes Superman Superman and that means the film worked wonders for me. Sure it was just a damn entertaining film that barely stops to allow any downtime. But it also captures what makes Superman so meaningful for me. I know it's cool to think Batman is the best superhero and supposedly Superman is unrelatable. But I've never related to a billionaire orphan trust fund detective. I've related to the adopted kid who feels different. Superman finally, more than any of the live action films before, gets what it means to be Clark Kent and be raised as he was. The ending for me had me tearing up. There is good stuff about Lex's xenophobia, the immigrant struggle, and Clark's ultimate humanity playing into this story too but it was the way he captures who Clark is that truly resonated for me. 

So this is a Superman film that leans into the fun, perhaps touches on silly, embraces its nostalgia, and yet still nails the pathos. It was a truly fun time at the movies. 

Superman

Starring: David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, Isabela Merced, Wendell Pierce, Skyler Gisondo, Beck Bennett, Mikaela Hoover, Frank Grillo, María Gabriela de Faría, Milly Alcock, Sean Gunn, Alan Tudyk, Michael Rooker, Grace Chan, Pom Klementieff, Bradley Cooper, Angela Sarafyan, Michael Rosenbaum, Will Reeve

Writer/Director: James Gunn

40 Acres (2025)

I love a promising directoral debut of a film maker that I'm now excited to see what they will do. And that's just what I got with 40 Acres from R.T. Thorne. It's a tight yet beautifully filmed mix of post-apocalyptic morality tale and action film starring a strong cast, lead by the indomitable Deadwyler, that delivers both thought provoking drama and edge of your seat action. 

Thorne is very efficient with his story, working in the backstory without taking away from the action. He builds his characters and their relationships in a very organic way. There were only a couple of times I felt the script was cramming in some information. He gives us a great deal to think about in terms of how he builds our discomfort and mistrust, making us second guess our assumptions. I appreciated the way he used racial dynamics to infuse the story with relevance and layers of meaning. 

And all of this is under the surface of what is essentially an action/horror film that delivers on that. He plays with action tropes in a very clever way. At one point in the third act a character about to shoot someone makes a movie-style wise crack but it sort of backfires. I loved these little attentions to details that brought the fun into what otherwise is a serious movie. I felt Thorne's balancing of those ideas was well handled delivering solid and satisfying action along with the gravitas of a powerful story. 

Deadwyler is remarkable (not a surprise) in how she manages to build individual relationships with each of the other characters, and show a myriad of sides of her character in how she connects differently in each role. She shows strength and pain so powerfully and in the film's final moments she really brings it home summing up all that we just watched. 

40 Acres explores the tensions between what we do to survive and the reasons surviving is worth while at all. It explores the tensions between our responsibilities as parents and the love we have for our children. All of that wrapped up in an engaging action film that knocks it out of the park. I love it when a film can do a whole bunch of things all at once and a new film maker appears to be starting an exciting career. 

40 Acres

Starring: Danielle Deadwyler, Kataem O'Connor, Michael Greyeyes, Milcania Diaz-Rojas, Leenah Robinson, Jaeda LeBlanc

Director: R.T. Thorne

Writers: Glenn Taylor, R.T. Thorne

 

The Old Guard 2 (2025)

To sum up my feelings about The Old Guard 2, the cast and the story are delivering what they can with this sequel but the production feels so corner-cut it always feels a bit off. The story in The Old Guard films is good but Netflix feels like they are only half-assing the execution, Netflix not the cast. So there are so many moments that you know would have come off even better if this had been treated like a major cinematic franchise. 

As someone who enjoyed the first film I still enjoyed this, enjoyed seeing the characters back, and enjoyed their further development. However I was disappointed in how much it felt like a second rate production. There are moments that would have likely had me cheering but everything had an air of low budget to it, and not in a retro-cool way. Do I still want to see more of this world? I do. I just hope they find it in them to really back this project and give it the trilogy it, and its cast, deserve. 

That brings me back to wanting to shout out to the cast for doing what they can with what they are working with. Theron and her troupe never phone it in, even if Golding and Thurman feel underused. 

*Spoiler*

The film boldly ends on a cliffhanger. And not just any cliffhanger. It doesn't even finish its story. This is like Wicked, Dune, Spider-verse, or Dead Reckoning level cliffhanging. This is really only the first part of the story and we end somewhere in the middle of the action. Without The Old Guard 3 greenlit this was an interesting choice. One that might leave fans hanging without any resolution. 

The Old Guard 2

Starring: Charlize Theron, KiKi Layne, Marwan Kenzari, Luca Marinelli, Matthias Schoenaerts, Vân Veronica Ngô, Chiwetel Ejiofor, Uma Thurman, Henry Golding 

Director: Victoria Mahoney

Writer: Greg Rucka

Jurassic World Rebirth (2025)

I had a lot of fun at Rebirth. I'm not sure I can say it's a good movie. There are issues, which I will get to, that keep it from being great. But pound for pound this is one of the most fun Jurassic movies in the series. 

Okay lets get the bad out of the way. The script stumbles... a lot. Especially in the beginning the movie is so eager to get to its main plot that it really cuts corners on the development of characters and situations in the first act. Throughout there are a lot of oh-come-on-now moments like Johansson cutting the wire on a fence to climb through despite the wires being far enough apart any human could climb through. The characters are drawn paper thin and the plot is completely borrowed from JP3 and JW Fallen Kingdom but who's counting? Finally I bet you can guess who lives and who dies after the first 20 minutes of the film. It's all quite predictable. 

Okay, now that's out of the way let me talk about why I had a good time at Rebirth. The film, more than any previous instalments of this series, leans into its monster-movie roots. From the cold open, which is scored like a 50s science fiction b-movie, the film lays out what it is, a monster mash up, and it doesn't give up on that. The film is one scene of dino carnage after another and despite the predictability I mentioned, I was on the edge of my seat the whole time. The film doesn't spend time worrying about plot details or believability. It is wholly focused on mayhem and I am here for it. 

Rebirth also pays loving tribute to what's come before. There are not too subtle references to the original Jurassic Park (an early shot of a car review mirror with the "close than they appear" text, the famous museum banner that centred in the first film's money shot) and even some lifted dialogue. No this film never reaches the heights of that classic but perhaps it is better not to try and to instead just gives us a fun story, even if it doesn't always make much sense, about running from dinosaurs. 

And if we weren't convinced of the film's total embrace of its b-movie aesthetics, the end has the group facing off against a mutated dinosaur that looks like nothing something that would have evolved. It had rancor-monster from Star Wars written all over it. 

I'll give the movie one more credit and that's how it refused to shoehorn in a needless romance. Other than a teen couple (who were already dating before the story begins) no characters are flirting or falling in love. They are just trying to survive and maybe becoming friends. It is refreshing when these films don't feel the need to shove a false feeling romance sub-plot in where it isn't needed. 

Jurassic World Rebirth

Starring: Scarlett Johansson, Mahershala Ali, Jonathan Bailey, Rupert Friend, Manuel Garcia-Rulfo, Ed Skrein 

Director: Gareth Edwards

Writer: David Koepp

M3GAN 2.0 (2025)

I didn't love M3GAN in the way many did. Sure it was camp and fun, but not so much in a clever way and more in a rather average way. It was fine, had its pop culture moment, and perhaps was more about the memes than about the film itself. Well it turns out they may not be able to return to the well for another round. M3GAN 2.0 feels even more paint by numbers than the first one did and certainly is a lot less fun. 

Again, it's fine. Sure the plot doesn't make a lot of sense and feels like it's there to set up scenes more than any real organic story. The motivations of the characters, don't always seem logical. And the film goes on and on. This maybe would have been a better movie at 90 minutes than 2 hours. But it's not terrible. 

I guess if you are a die hard M3GAN fan you might enjoy it but the level of delicious camp feels muted compared to the first and I do wonder if the idea of M3GAN was more appealing than the actual movie. I'm not sure 2.0 is going to change any of that. 

M3GAN 2.0

Starring: Allison Williams, Violet McGraw, Ivanna Sakhno, Jenna Davis, Brian Jordan Alvarez, Jen Van Epps, Jemaine Clement, Aristotle Athari, Timm Sharp

Writer/Director: Gerard Johnstone

Please Don't Feed the Children (2025)

Please Don't Feed the Children is pure B-movie. The premise doesn't quite make sense. Dockery's villain is cartoonish. And the plot follows the usual sort of stumbling blocks so that it doesn't get resolved too quickly. But it works because it embraces its roots and leans into what it is in refreshing ways. It stays entertaining and satisfying right up to the end. 

In her first feature film, Destry Allyn Spielberg shows she has either inherited some of her famous father's talents, or learned from him, or both. She quite deftly films this story in a tight and engaging manner, keeping the audience on the edge of their seats even when the film feels a little on the predictable side. 

I don't mean to knock Dockery. Her villain may be a bit tropey but she, like the film, embraces it and commits. She becomes quite unnerving. There are a few moments that end up feeling quite unnerving, perhaps due to Spielberg's trend of turning away from gore and cleverly leaving things to our imagination. She quite effectively builds un-ease as does Dockery through her performance. 

Please Don't Feed the Children is a promising start to a second generation film maker who hopefully will make her own catalogue of great films.

Please Don't Feed the Children

Starring: Michelle Dockery, Zoe Colletti, Giancarlo Esposito

Director: Destry Allyn Spielberg

Writer: Paul Bertino

28 Years Later (2025)

I've always described 28 Days Later as a drama wearing the skin of a horror movie. While I fully admit these debates are academic only, I find it a helpful way to explain the way the film hits for me, differently than most horror. I felt 28 Weeks Later tried this with mixed success but Boyle and Garland have returned to this with their ambitious and bold 28 Years Later, a film that might be a bit inconsistent but mostly succeeds in not only the world building and character development a film like this needs to work, but in telling a narrative that I was invested in and moved by. 

I described the film as ambitious. Unlike the original film, this film is structured as a part of a larger whole, clearly there is a plan here for this story to open up to others and connect with the previous. Therefore it doesn't limit itself solely to the confinements of this 115 minute runtime. Even within that there are 3 distinct acts, each with different tones and emotional arcs. Finally those are bookended by prologue and epilogue which stand on their own.

I going to say they body of this film works. The main storyline, a series of stories featuring Williams' Spike character, are rich with emotional power and resonance. Sometimes it is a bit rushed and there are a few moments that require a bit of forgiveness. But the strength of the writing and Williams' precocious performance make it come together powerfully. This story builds, as a good sequel should, the mythology of the world. The Rage Virus is developing in ways we hadn't seen before and becoming more threatening that it was before. But this is handled in a smart and character driven way, not just in the typical more/more/more approach most sequels take. 

And this takes me back to where I started. 28 Years Later, like the film that inspired it, builds its story first on character and story and not on the "premise." Perhaps it is taking on a lot here and some of this will depend on how the next chapters go. The controversial epilogue may end up being the introduction of an incredible part of this story or perhaps something regrettable. We don't have enough to make that call yet. Check in with me after the release of the sequel.  

28 Years Later

Starring: Alfie Williams, Jodie Comer, Aaron Taylor-Johnson, Ralph Fiennes, Edvin Ryding, Jack O'Connell

Director: Danny Boyle

Writer: Alex Garland 

Elio (2025)

The best Pixar movies spark something emotional for me and it wasn't far into Elio's runtime that this one found its mark. Elio is an exploration of loneliness and the challenges of finding connection, all packaged in an all ages story that, while completely accessible for younger audiences, reaches the youngster in all of us. It finds that spot where we remember being isolated, awkward, unable to fit, and it gives us some hope. 

Elio also has a fun story about aliens. The story might cut a couple corners but it bases its imagery and mythology in familiar sci fi tropes of the past in a way that is charming and delightful. Yes the story skews younger than their recent Inside Out 2 or even the underrated Onward, but it never talks down to its audience. I'd compare it most closely to Luca, as it works by getting us all to see our inner children. 

Elio is also a beautiful film. I love that Pixar is returning to a "cartoony" look instead of aiming for photorealism. Some of the set designs and "galactic" effects are just gorgeous but the character designs are done with a flair for a very animated style. Much of Elio's look is reminiscent of Monsters Inc. but without being derivative. 

Elio was fresh and I didn't always know where it was going, which is such a rare treat these days. I know its the sequels and remakes that make all the money for these studios but when I see something like Elio I am hopeful there will always be spaces and time for original little films like this. 

Elio

Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brad Garrett, Jameela Jamil, Shirley Henderson, Matthias Schweighöfer, Brendan Hunt, Kate Mulgrew

Directors: Madeline Sharafian, Domee Shi, Adrian Molina

Writers: Julia Cho, Mark Hammer, Mike Jones

The Life of Chuck (2025)

Some of Stephen King's best works are those that don't fall into the horror genre, and that is also true of films based on his work. From Shawshank to Stand By Me King's ability to weave complex threads into accessible and gripping stories is unrivalled. The Life of Chuck, with all its personal grandeur should easily be in that category but I'm not sure it gets there. There feels something timid and restrained about this film that never lets it really take off. 

The story is lovely and speaks to our uniqueness, our specialness, and our loneliness. It is about the complicated relationships between our interior and exterior lives, our need for connections and our need to be who we are. There is an element of magic or providence involved that is at once disheartening and comforting. It contains a lot of seemingly contradictory feelings brought together in very clever ways. 

But the film never quite makes any of it real. It always feels a bit constructed, a little to pat. I never felt I could see Chuck's journey as authentic, and it always felt more like it was trying to make its point more than tell its story. 

Still it is a nice story and honestly a rather entertaining one. I didn't dislike The Life of Chuck, not at all. But it never crossed into the place where it swept me up in its magic, which, felt necessary in this particular case. 

The Life of Chuck

Starring: Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Jacob Tremblay, Mark Hamill, Matthew Lillard, Carl Lumbly, Nick Offerman, Annalise Basso, Taylor Gordon, Kate Siegal, Samantha Sloyen, Trinity Bliss, Mia Sara, Carla Gugino, Q'orianka Kilcher, Rahul Kohli, Harvey Guillén, David Dastmalchian

Writer/Director: Mike Flanagan

Materialists (2025)

I love it when a film can surprise me. Materialists sets itself up (and is marketed similarly) with what appears to be a typical love triangle scenario but quickly deconstructs that in its exploration of western conceptions of what "love" and "relationships" mean. By using this trope, Song plays with our expectations in ways that force us through our perceptions and assumptions that these sorts of films usually reinforce. I wish she had had the courage to end her journey here in a different place than she does but the journey remains interesting. 

Song has such a deft hand both as a director and a writer. The dialogue is sharp and piercing and her style of filming, while unassuming and never flashy, is so intricate in how it expresses the film's themes and ideas, the emotions of the characters, that I felt like I knew these people. Her characters never feel stock and are wholly flawed people that feel like they stepped out of real life. 

The thing that didn't work for me was the chemistry of the actors. I never felt the connection that Lucy and Johnathan needed to make this story feel authentic. Sure the energy wasn't there for Lucy and Harry either but that was supposed to be the point. Materialists delves into the transactional nature of relationships, and not in a judgement way. Yet even then I never truly bought that Harry and Lucy would make this transaction. Materialists is also making a point about the naturalness of falling in love but little felt natural between Evans and Johnson. 

So in my head Materialists worked wonders. It have been thinking about it over and over since I saw it, mulling over ideas about how we structure not only our "romantic" connections but also our relationships to those connections. But if I am being honest, my heart never bought in. Perhaps this could have been more effective if the film didn't try to find a happily-ever-after for Lucy, at least not one that involved her finding "love." Perhaps then I wouldn't have been so underwhelmed by seeing her and Jonathan reunite. A film that maybe ended with her choosing something else might have knocked it out of the park for me. Maybe. 

Materialists 

Starring: Dakota Johnson, Chris Evans, Pedro Pascal

Writer/Director: Celine Song

 

Pride vs. Prejudice: The Delwin Vriend Story (2025)

There is a simplicity to the way Hagen presents this history of one of Canada's most seminal human rights cases that brings out the humanity of those involved in the historic, yet surprisingly recent, event. It is the focus on the human elements that makes Pride vs. Prejudice so impactful. 

The recentness of the case does allow many people directly involved to be interviewed. While the film does deal with the legal and charter aspects of this history its main focus is those who were there, the advocates, the activists, and many affected. 

The film also accomplishes the task of showing us just how different things could have been and how quickly we forget and move on. It also focuses on just how relevant the issues remain and how vigilance is necessary. Yet it is also a very hopeful and optimistic film about regular people doing extraordinary things.  

Pride vs. Prejudice: The Delwin Vriend Story

Writer/Director: Darrin Hagen