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Ferrari December 17, 2023 By: Button Hunter Friesen Michael Mann is back. That statement should end with an exclamation point, but, unfortunately, the famed director’s comeback vehicle (pun intended), Ferrari , doesn’t have the juice for anything more than a ho-hum period. Mann has been away from the cinematic landscape for quite some time, his latest venture being the 2015 studio-overhauled thriller Blackhat . Mann made sure not to make the same mistake twice, accumulating nearly $90 million worth of independent financing for his newest feature, a fact symbolized by the film’s dozens of credited producers, executive producers, associate producers, consultant producers, and co-producers. It’s an admirable move both artistically and professionally that also serves as a depressing illustration of where the studio money is being allocated these days. Then again, I’m not exactly sure where the $90 million fully went, as I only saw about half of it on the screen. The majority of that half surely went to the cast headlined by Adam Driver as the titular Enzo Ferrari, Penélope Cruz as his wife and business partner Laura, and Shailene Woodley as his mistress, with whom he shares a young illegitimate child. The 40-year-old Driver dons a rather unconvincing wig and forehead lines to play the nearly 60-year-old Ferrari, who has been besieged by tragedy after the double whammy of suddenly losing his young adult son Aflredo to muscular dystrophy last year and his car empire on the verge of financial collapse. Driver is no stranger to playing downtrodden figures, but he’s still very much a stranger to the Italian accent, which gravitates towards the parodic style in Ridley Scott’s House of Gucci . It’s hard to take an A-lister seriously in a heavy scene when he’s only a few hand gestures away from being a credible cousin to Tony Lip from Green Book . The answer to Ferrari’s money troubles is to win the 1957 Mille Miglia (translated to Thousand Miles ), an incredibly dangerous (at least one fatality occurred for thirty consecutive years, with a total death count near sixty) open-road race that often set the stage for the biggest rivalries in sports racing. Victory would reclaim the prestige the Ferrari brand once had, meaning more sales of luxury cars. Mann works with David Fincher’s now-regular cinematographer Erik Messerschmidt to capture the overall sense of violence this race involves. There’s a speech that Enzo gives to his team just before they go out about how “two objects cannot occupy the same point in space at the same moment in time.” It’s a metaphorical way of saying that his drivers need to fight for every inch on the track, even if it means pushing someone out of the way and potentially sending them to their death. It’s just a real shame that the instances of vehicular carnage are made unintentionally hilarious by abysmal uses of visual effects. There is no clear-cut answer for Enzo’s trouble with Laura and Lina. His affairs with other women were well known by Laura, but the fathering of a child with Lina was kept hidden from her until the boy was twelve. Cruz is fiery and totally convincing next to Driver and Woodley, the latter given a thankless role that mostly involves her folding her arms and waiting for Enzo to come home. And while he’s a distant supporting player compared to this central trio, it would be a sin not to mention the dashing silver fox that is recently crowned People's Sexiest Man Alive Patrick Dempsey. He plays Piero Taruffi, the elder statesman of the Ferrari racing team that also includes Gabriel Leone and Jack O'Connell as the young guns. Ferrari feels both nothing less and nothing more than a mild disappointment, which somehow feels worse than if it landed on either one of the extreme sides of the spectrum. Mann has already confirmed that Heat 2 will be his next film, with Driver rumored to be part of the cast. Maybe Ferrari was just a warm-up exercise, something to get Mann back in the groove of making large-scale adult dramas? It definitely feels that way, although I’m not sure enough was achieved here to make that crime prequel/sequel the on-paper slam dunk it should be. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Ranking the Films of Michael Haneke March 23, 2024 By: Hunter Friesen In contemporary cinema, few directors wield the same level of unyielding intellect and unapologetic exploration of the human condition as Michael Haneke. With a career spanning over four decades, Haneke has carved out a niche for himself as a master of discomfort, challenging audiences to confront the unsettling truths that lurk beneath the surface of seemingly ordinary lives. His stories are parables; critiquing topics such as violence, sex, authority, guilt, and death. Since making his debut in 1989, the Austrian filmmaker has become one of the most decorated filmmakers in modern cinema. He’s premiered nearly all his feature films at the Cannes Film Festival; raking in two Palme d’Ors, the Grand Prix, and the award for Best Director. His penultimate film, Amour , went on to win the Academy Award for Best Foreign Language Feature, with Haneke himself being nominated for his direction and screenplay. While this is a ranking of his filmography, it would be dishonest to consider it a review of his “worst to best” films, as he has no bad films (well, except for one). For transparency, I have not seen his Glaciation trilogy consisting of The Seventh Continent (1989), Benny's Video (1992), and 71 Fragments of a Chronology of Chance (1994). Once I see those, then his filmography will be completed. But let’s not focus on what’s absent, instead let’s dive into this ranking of cinema’s most enigmatic auteur. 8. Time of the Wolf (2003) I can't believe someone this talented wrote and directed this piece of trash. Despite being near the height of his powers, Haneke veered his sights on the lowest hanging fruit there is for a lesson on human cruelty: the apocalypse. In all of his other films, Haneke spins his message into an intricate web that obscures truth, leaving the viewer to look at themselves to fill in the rest. Here, he angrily draws the picture for you while repeatedly shouting "Do you get it now!?" 7. Happy End (2017) Happy End is an amalgamation of Haneke's classic tropes: unrelenting bleakness, slow-paced long takes, unresolved narratives, and, of course, suicide. But the one usually dependable ingredient Haneke forgot to add was a reason why we should take an interest in these people. Apart from Jean-Louis Trintignant's character, every personal narrative fails to rise above the surface. They're all (partially) connected, but need help to play off each other well, and by themselves. 6. The Piano Teacher (2001) While many may argue that its material is purely for shock value, Haneke lets his sadism tell a compelling of desire and repression. Complicated characters such as these, both wonderfully played by Isabelle Huppert and Benoît Magimel, don’t have to be fully explained. Haneke refuses to sensationalize anything, challenging viewers to confront their notions of intimacy and power dynamics. 5. Amour (2012) As a great companion piece to The Father , Haneke’s second Palme d’Or-winning film is poignant in its exploration of love at the end of life’s road. Autonomy and dignity are stripped away from Anne as her body deteriorates, with the only role her husband able to play is a witness. But even if the ending isn’t pretty, Haneke and the actors perpetually allude to a life worth living with the person you love. 4. Caché (2005) A pleasant (or should I say unpleasant because this movie is - as always with Haneke - very depressing) rebound for Haneke following the abomination that is Time of the Wolf , Caché (Hidden) is a thriller stripped of the usual cinematic tricks. It becomes the ultimate "What would you do?" scenario. Would you go down the rabbit hole, or leave it alone and hope nothing else happens? Haneke assures us that no choice will leave us with a happy ending. 3. The White Ribbon (2009) Leave it to Haneke to create a mystery film that gives absolutely no answers to any of your burning questions. It's deeply troubling to only be on the reactionary side of events, without explaining why any of this is happening. He observes the simple roots of authoritarianism, which eventually led to the rise of the Nazi party. As people's sense of safety begins to crumble, so does their guard against tyranny. Opportunities are seized by those in power, and we are worse off because of it. And in a cruelly hilarious way, it's probably his most uplifting message to date. 2. Funny Games (1997) “Anyone who leaves the cinema doesn't need the film, and anybody who stays does." To give a movie a glowing rating would indicate that I really liked it. In the case of Funny Games , the opposite is true. I hated this movie. I hated every interaction. I hated every character. I hated every line of dialogue. I hated every little thing that happened. And in all that hatred, I surrendered myself to Haneke's sadistic lesson. He's the anti-Quentin Tarantino, delivering violence in the most unsatisfying and grisly way possible. It's unbearable to watch as Haneke twists the knife even more with his cinematic tricks. 1. Code Unknown (2000) An interconnected mystery film that offers no answers (are you sensing a pattern?), Code Unknown frustratingly fits into Michael Haneke's twisted filmography. Told in a series of vignettes that both are and aren't connected (but all of which are told in unbroken long takes), Haneke presents a puzzle with only half the pieces available. While the chronology is tossed off without remorse, Haneke's contempt for humanity is pinpointed. Racism, domestic abuse, and abandonment are touched on through third parties, with Haneke casting doubt upon his bystanders. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Gran Turismo August 25, 2023 By: Button Hunter Friesen Screenwriters Jason Hall and Zach Baylin make it their main objective to never let you forget that Jann Mardenborough (Archie Madekwe) is an underdog that no one believes in. “This isn’t a game, this is real life,” “You’re just a gamer, what do you know about driving cars?” “This time there isn’t a reset button,” are just a handful of lines that you'll become increasingly tired of hearing. It seems Hall and Baylin never took the lesson on diminishing returns, as all the suspense surrounding Jann’s outcome is completely evaporated by the fifth scene where someone tells him he can’t accomplish his dream. To cut them some slack, this is based on a true story, a fact that the producers REALLY want you to know, going so far as to rename the movie Gran Turismo: Based on a True Story in some markets. Mardenborough is a real person who became obsessed with racing at a young age. But he didn’t have a similar upbringing to the other drivers on the professional circuit, filled with fame and easy access to the best cars money can buy. Jann’s window into the racing world was through the PlayStation game “Gran Turismo” (don’t call it a game in front of Jann because it’s a “racing simulation”). The opening scene (or commercial if you want to be more accurate) introduces us to the immense detail and precision that went into making the game as realistic as possible. Unlike other gaming series like “FIFA” and “Madden,” “Gran Turismo” is generally accepted as the most authentic portrayal of the sport it represents. No one seems to believe that Jann’s world-class gaming abilities can translate into real racing, least of all his former soccer pro dad (Djimon Hounsou). Nissan marketing executive Danny Moore (Orlando Bloom) sees potential in the kid. If Jann can be made into a serious racer, it will make Nissan one of the most popular car companies among the untapped gaming demographic. Put in charge of the training process is Jack Salter (David Harbour), who’s also a non-believer in “sim racers.” Over time his cold heart begins to thaw, with Jann proving himself to be just as good as he says he is. Upon the announcement, one would think that former wunderkind Neill Blomkamp is serving his time in director jail with this assignment. There are no signs of that here, fortunately, with the District 9 and Elysium director crafting some stunning racing sequences, even if there are so many that they end up blurring together. The roaring of the engines fills the theater corner to corner, and cinematographer Jacques Jouffret captures some decent shots. It’s old-fashioned studio craftsmanship applied to a sport that values tradition. Even with all the underdog cliches I mentioned earlier, there’s still a strong emotional connection to Jann and Jack’s partnership. Madekwe and Harbour have great chemistry as they play to the tune of “young upstart and grizzled veteran” we’ve heard many times before. But it’s been done so many times because it works, and it works here. The lows are bitter and the highs are sweet. Gran Turismo is a product of brand synergy, meant to push the overall awareness of a product just as much as it's supposed to tell a cinematic story. It’s part of a worrying trend of corporations taking on the role of their own biggest fan (see Tetris and Flamin’ Hot ). But there’s also stuff like Air and Barbie that can make the most out of propaganda and entertainment. Blomkamp’s film doesn’t reach those heights, but it still does just enough to cross the finish line in a respectable fashion. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Tyler's Favorite Musicals November 21, 2024 By: Tyler Banark When done right, musicals have a beauty to them that can't be beat. This niche interest was a pillar of my upbringing, as I was a theater kid heavily involved in choir before I was a cinephile. Luckily, these two passions often collided. With Wicked and The End singing their way into theater very soon, I figured now would be a great time to sit down and reflect on the movie musicals that have hit the best notes. 10. Willy Wonka and the Chocolate Factory (1971) As the original film adaptation of Roald Dahl's classic book, Willy Wonka and the Chocolate Factory , sees the enigmatic Gene Wilder step into the shoes (and hat) of the titular chocolatier. Although his signature introduction immediately established his remarkability, what sealed the deal was his profound performance of "Pure Imagination." Other numbers, such as "The Candy Man," "Cheer Up Charlie," "I’ve Got a Golden Ticket," and the Oompa Loompa songs stand out. Visually, the film captures the fantastical essence of Roald Dahl’s original story with vibrant set designs, imaginative visuals, and various candy-themed wonders that make the factory come alive. 9. All That Jazz (1979) All That Jazz masterfully mixes autobiographical storytelling, intense choreography, and dark themes into a mesmerizingly raw visual style. Director Bob Fosse's exploration of his own life dives into the highs and lows of a driven artist struggling with obsession, addiction, and mortality. Roy Scheider is charismatic and haunting, precisely capturing the character's relentless ambition and self-destructive tendencies. The thrilling and sophisticated musical numbers embody Fosse’s signature style: sharp, sensual, and complex. 8. The Umbrellas of Cherbourg (1964) With entirely sung dialogue, a radiant color palette, and emotionally resonant storytelling, The Umbrellas of Cherbourg marked a redefinition of the movie musical. Directed by Jacques Demy, the film tells the bittersweet love story of Geneviève and Guy, two young lovers whose romance is tested by separation and circumstance. The perpetual singing creates an operatic feel that intensifies the characters' emotions. The film’s vibrant visuals—featuring bold, pastel-colored sets and costumes—heighten the dreamlike quality of the story, making each frame feel like a painting. And Michel Legrand’s beautiful, sad score, especially the recurring theme "I Will Wait for You," perfectly captures the yearning and heartbreak at the story's core. 7. Hamilton (2020) I know, I know. If animated films didn't qualify for this list, then why did a Broadway recording find a spot? Until we get a proper film version, I believe this Disney+ special was a perfect way to bring Lin-Manuel Miranda’s groundbreaking musical to the masses. It simply can't be ignored, with the original cast (Leslie Odom Jr, Phillipa Soo, Daveed Diggs, Renee Elise Goldsberry, etc.) bringing a charm that translates Miranda'a material to life. As for the music, many of Miranda’s numbers strike a chord, but none do as well as "Wait For It", "Burn," "You’ll Be Back", and "The Room Where It Happens." Once the movie begins, the adrenaline Hamilton brings is non-stop. 6. Sing Street (2016) The best rendition of John Carney's musically-infused oeuvre remains 2016's Sing Street , a coming-of-age drama about a group of prep school boys that start a rebellious band in 1985 Dublin. It’s a soulful movie capitalizing on themes of teen angst, defying expectations, and finding love in the unlikeliest places seen through the leads, played tremendously by Ferdia Walsh-Peelo and Lucy Boynton. Many 80s pop-rock tunes run amuck, with standouts including numbers like "The Riddle of the Model," "Brown Shoes," and the movie’s most famous song: "Drive It Like You Stole It." None of Carney's other works have me wanting to go back and listen to the film’s music. When a movie does that, that’s how you know it’s unique. 5. Hairspray (2007) The 2007 film adaptation of Hairspray is a delightful musical that combines infectious energy, memorable songs, and a heartfelt message about acceptance and social change. The vibrant choreography and bold costumes perfectly capture the era's spirit while underscoring the film’s themes of individuality and equality. The cast, including Nikki Blonsky, John Travolta, Queen Latifah, and Zac Efron, bring a contagious enthusiasm to their roles, balancing humor with the film’s more profound messages (did anyone know this movie got a SAG nod for Best Ensemble?). 4. Tick, Tick... Boom! (2021) Tick, Tick... Boom! is a heartfelt movie musical that captures the raw intensity and vulnerability of an artist on the brink. Andrew Garfield’s career-best performance as Jonathan Larson is electric, bringing depth, passion, and relatability to a character driven by his creative ambition and haunted by the fear of time running out. Lin-Manuel Miranda’s direction, paired with Larson’s poignant music, brings the world of aspiring artists vividly to life, blending humor, warmth, and emotional gravity. The musical numbers are creatively staged, merging realistic and surreal elements to illustrate Jon’s inner turmoil and artistic vision, with "30/90" and "Therapy" being the standouts. 3. West Side Story (1961 & 2021) Both versions of West Side Story care cinematic triumphs in their own right, bringing a unique interpretation to a timeless story. The 1961 film, directed by Robert Wise and Jerome Robbins, set a high standard for musical adaptations with its electrifying choreography, striking visuals, and unforgettable score by Leonard Bernstein and Stephen Sondheim. Natalie Wood and Richard Beymer bring passion to Maria and Tony, while Rita Moreno’s portrayal of Anita earned her an Oscar for her passionate, layered performance. Steven Spielberg's 2021 reimagining of the original stage show infused greater cultural authenticity and modern sensibilities. Newcomer Rachel Zegler brought a fresh vulnerability as Maria, while David Alvarez’s Bernardo and Mike Faist’s Riff stole the show. Tony Kushner’s adapted script offered deeper character development and context, making the stakes feel higher and the tragic romance even more compelling. 2. Singin' in the Rain (1952) Singin’ in the Rain is a quintessential movie musical that remains a timeless masterpiece thanks to its infectious charm, dazzling performances, and brilliant fusion of humor, music, and dance. Co-director and star Gene Kelly delivers an iconic performance as Don Lockwood, combining charisma and extraordinary dance skills, most notably in the legendary title number, where his joyful routine in the rain captures the pure magic of the musical genre. Debbie Reynolds shines as the plucky Kathy Selden, while Donald O’Connor steals scenes with his hilarious physical comedy. The vibrant technicolor cinematography and timeless songs like "Good Morning" and the "Broadway Melody" sequence ensure that every frame is a visual and auditory delight. Beyond its entertainment value, Singin’ in the Rain is also a love letter to the Golden Age of Hollywood, blending satire and celebration in a way that continues to resonate with audiences across generations. 1. La La Land (2016) La La Land is the greatest movie musical because it redefines the genre with a perfect blend of nostalgia, innovation, and emotional depth. Writer/director Damien Chazelle masterfully weaves a contemporary narrative with golden-age Hollywood aesthetics, creating a cinematic experience that feels both timeless and fresh. Justin Hurwitz’s Oscar-winning score and the heartfelt lyrics by Benj Pasek and Justin Paul infuse every scene with a sense of wonder and yearning. Emma Stone and Ryan Gosling deliver career-defining performances, bringing authenticity and charm to their roles while navigating the bittersweet tension between love and ambition. But above all else, what sets La La Land apart is its willingness to embrace the imperfect and bittersweet nature of dreams and relationships. The bold, bittersweet ending—a “what if” montage of the life Mia and Sebastian might have had—cements the film’s status as a poignant exploration of sacrifice and the pursuit of art. La La Land resonates universally by celebrating the joy and pain of following one’s dreams, ensuring its place as a standout in the musical genre and a cinematic achievement for the ages. You can follow Tyler and hear more of his thoughts on Twitter , Instagram , and Letterboxd . More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Top 10 Films of 2022 January 3, 2023 By: Hunter Friesen The world of cinema didn’t paint a lot of pretty pictures in 2022. Studios continue to merge, consolidating power in the hands of the few, resulting in some poor decisions that favored the dollars over artists. Save for Everything Everywhere All at Once , small to mid-budget movies floundered at the box office, continuing the dark trend of only blockbusters surviving at the cinemas. But the beginning of a new year should not be a time to reminisce about all the bad stuff that happened over the past twelve months. It should be a time when we look at all the positives and figure out a way for them to continue in the future. So, in an effort to give credit where it’s due, I’ve listed out my favorite films of 2022. Some of these films I expected to be on this list, while others came out of left field. It goes to show that you can experience something truly incredible if you dig a little deeper. Honorable Mentions The Batman Everything Everywhere All at Once Blonde Aftersun The Menu 10. After Yang After Yang is full of grace and compassion, with a touch of melancholy to make it a truly reflective experience of the human soul. It merges American sci-fi with the softer side of independent cinema, which makes it a perfect project to be under the A24 umbrella. With only two films to his name, writer/director Kogonada is already entering the conversation as one of the best humanistic directors of the modern era. Full Review 9. The Banshees of Inisherin Equally hilarious as it is disturbing, The Banshees of Inisherin finds Martin McDonagh, as well as his troupe of actors, in top form. There’s nothing quite like it, and it serves as another reminder that we should all be a little kinder to one another. Full Review 8. Broker Hirokazu Kore-eda has always been more interested in the human drama coming from each character, how they intersect, and what decisions they ultimately make rather than inserting any kind of thriller-like elements to entice the story to a more mainstream audience. The result is another solid, if not outstanding, effort from the Japanese filmmaker, backed by a flawless ensemble led by the subtly nuanced and exceptional Song Kang-ho. Full Review 7. Glass Onion: A Knives Out Mystery A sequel to 2019’s Knives Out , the great igniter to the revitalization of the whodunit genre, was always going to be a tricky obstacle to overcome. In stepped Netflix, who gave writer/director Rian Johnson the necessary blank check to indulge in his wildest fantasies. And because of that, he has crafted a whodunnit that is grander, funnier, stranger, and perhaps better than the original. As the first of two planned sequels, I can only imagine what Johnson is going to serve up next. Full Review 6. TÁR As our guide through a world of classical music and power dynamics, Cate Blanchett reaches another echelon in a career whose peaks have only been marked. If TÁR is meant to mark the second coming of Todd Field’s career, then we should all be in for a lengthy treat for the mind, body, and soul. But if this was only a brief blip and we’re subjected to another sixteen-year absence, then I at least know what my most anticipated film of 2038 will be. Full Review 5. Decision to Leave Park Chan-wook’s Decision to Leave is often a paradox in itself. It’s classical, yet modern. Cold, yet sexy. Unsatisfying, yet enthralling. Luckily, it finds the near-perfect balance between all of those things, creating a wondrous genre exercise that must be seen to be wholly believed. Full Review 4. Nitram Justin Kurzel's Nitram was one of the best films of the 2021 Cannes Film Festival (where I first saw it) as it explores a real-life tragedy with both grace and severity. While it may be an experience that wrecks people's bodies due to its humanistic intensity, there is hope that there will be a greater understanding of this dark chapter in human history upon leaving the theater. Full Review 3. The Fabelmans The Fabelmans is a collection of Spielberg's greatest hits, all delivered to their greatest effect. There’s laughter, tears, and wonder in this story that is much more than the sum of its parts. If Spielberg climbs the Dolby Theatre steps to collect his third Best Director Oscar, then it will be one of the few long overdue wins that came at the right time for the right project. Full Review 2. All Quiet on the Western Front In the film’s harrowing opening sequence, we follow a coat worn by a German soldier. The man dies in battle, and the coat is plucked off his corpse. It’s then shipped back to a factory to be washed of the blood, mended, and given to a new recruit. It’s moments like this, of which there are many, where director Edward Berger masterfully illustrates the futile self-fulfilling cycle of death that war creates. All Quiet on the Western Front is not just the best film of the year, it’s one of the best of its genre. Full Review 1. Babylon With dashes of Singin’ in the Rain, Boogie Nights, The Wolf of Wall Street, Uncut Gems , and Mulholland Drive , Damien Chazelle’s Babylon is a true auteurist epic in every sense of the word. It’s a 188-minute deconstruction of Old Hollywood mythology, complete with cocaine, fast cars, projectile vomit, glitzy actors, underground sex dungeons, and buckets of style. There isn’t anything like it this year, or any year for that matter. Full Review More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

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36 Most Anticipated Films of 2023 December 23, 2022 By: Hunter Friesen 2022 marked another year of recovery for the film industry after the immense struggles of the COVID-19 pandemic in 2020 and 2021. And with a new year approaching, we should adopt a forward-thinking mindset that looks ahead to new possibilities. With its mixture of exciting new projects from both new and established talent, 2023 has the power to be even better than 2022. To get you all excited as I am, this article will detail several of my most anticipated films expected to be released sometime in the next calendar year. Films will be listed in alphabetical order, with known release dates and distribution strategies (i.e. streaming or not) provided. A Haunting in Venice (September 15) Kenneth Branagh once again dons the famous mustache of detective Hercule Poirot, who must solve a murder that involves Tina Fey, Michelle Yeoh, Jamie Dornan, and Kelly Reilly. Air Jordan Ben Affleck directs Matt Damon for the first time in this true story about how Sonny Vaccar was able to sign Michael Jordan to his Nike shoe deal. Asteroid City (June 16) Wes Anderson returns with Asteroid City , said to be set during an astronomy convention, with Tom Hanks, Scarlett Johansson, Bryan Cranston, and Jeff Goldblum being a few names within the starry cast. Barbie (July 21) Writer/director Greta Gerwig offers a presumably original story on the life of the plastic doll. Margot Robbie will play Barbie, with Ryan Gosling as Ken. Blitz (Apple TV+) Small Axe writer/director Steve McQueen shifts from Amazon to Apple for his World War II story about several Londoners during the Nazi blitzkrieg bombings. Saoirse Ronan and Stephen Graham star. Challengers (August 11) Luca Guadagnino directs Zendaya, Josh O’Connor, and Mike Faist as three tennis players who reignite old rivalries on and off the court when they compete in a world-class tournament. Chevalier (April 07) Kelvin Harrison Jr. plays Joseph Bologne, Chevalier de Saint-Georges, the illegitimate son of an African slave and a French plantation owner, who rises to heights in French society as a composer before an ill-fated love affair. Civil War Alex Garland continues his A24 relationship after Ex Machina and Men . Kirsten Dunst stars in his original epic action movie that is set in the United States in the not-so-distant future. Creed III (March 03) Michael B. Jordan pulls double duty as director and star in the conclusion of this trilogy. Jonathan Majors plays Damian Anderson, a long-lost friend of Adonis, who now seeks revenge for the sins of the past. Disappointment Blvd. Hereditary and Midsommar writer/director Ari Aster’s “nightmare comedy” on the life of a successful entrepreneur, starring Joaquin Phoenix in the lead role. Dune: Part Two (November 03) Denis Villeneuve concludes the mythic journey of Paul Atreides as he unites with Chani and the Fremen while on a warpath of revenge against the conspirators who destroyed his family. Ferrari Adam Driver continues to play Italians after House of Gucci , this time starring as the famed Enzo Ferrari. Michael Mann ( Heat, The Insider ) writes and directs, with Penélope Cruz, Shailene Woodley, and Jack O’Connell filling out the supporting cast. Flint Strong Black Panther and Mudbound cinematographer Rachel Morrison steps into the director chair for the true story of Olympic boxer Claressa Shields. Barry Jenkins supplies the screenplay, with Ryan Destiny and Brian Tyree Henry topping the cast list. Guardians of the Galaxy Vol. 3 (May 05) Writer/director James Gunn finishes his trilogy about the most lovable misfits in the galaxy. Indiana Jones and the Dial of Destiny (June 30) Even at 80 years old, Harrison Ford continues to crank out the adventures of the titular archaeologist. Time travel is rumored to be a part of this James Mangold-directed film, with Mads Mikkelsen, Antonio Banders, and Phoebe Wall-Bridge along for the ride. John Wick: Chapter 4 (March 24) Keanu Reeves returns as the titular ass-kicker, who must continue his fight out of the violent world he finds himself in. Killers of the Flower Moon (Apple TV+) Martin Scorsese’s true-crime western surrounding the mysterious murders of the Osage tribe in the 1920s. Jesse Plemons, Leonardo DiCaprio, and Robert De Niro star. Maestro (Netflix) Bradley Cooper writes, directs, and stars in this retelling of the life of Leonard Bernstein, often considered the greatest American conductor ever. Carey Mulligan will play his wife Felicia. May/December Julianne Moore and director Todd Haynes reunite for the fourth time, bringing in Natalie Portman as an actress who arrives to do research for an upcoming role on Moore’s character’s life. Mission: Impossible - Dead Reckoning Part One (July 14) Tom Cruise (supposedly) closes his Mission: Impossible series with this first in a two-part story. Rogue Nation and Fallout writer/director Christopher McQuarrie is back at the helm, promising more unbelievable stunts. Napoleon (Apple TV+) Director Ridley Scott and writer David Scarpa reunite after All the Money in the World for this personal look at the immense life of Napoleon Bonaparte. Joaquin Phoenix stars as the French emperor, with Vanessa Kirby as his empress, Josephine. Next Goal Wins (April 21) Jojo Rabbit and Thor: Ragnarok writer/director Taika Waititi tells the true story of the American Samoa soccer team, who suffered the worst loss in World Cup history, losing to Australia 31-0 in 2001. Oppenheimer (July 21) Christopher Nolan’s biopic of the father of the atomic bomb. Nolan veteran Cillian Murphy plays the titular figure. Poor Things / AND Weirdo writer/director Yorgos Lanthimos tells the story of Bella Baxter, a Victorian woman who is brought back to life by an eccentric scientist. Emma Stone stars as Ms. Baxter, with Willem Dafoe as the brilliant madman. Both Stone and Dafoe will feature in AND , a rumored anthology that will tell three separate stories; each letter representing a different tale. Priscilla Sofia Coppola responds to Ban Luhrman’s Elvis biopic with her own take on the life of Priscilla Presley. Relative newcomer Cailee Spaeny stars as the titular figure, with Euphoria star Jacob Elordi as the King of Rock and Roll. Spaceman (Netflix) Adam Sandler looks to maintain his dramatic streak by starring as the first Czech astronaut. Carey Mulligan and Paul Dano also star. Spider-Man: Across the Spider-Verse (June 02) The multiverses collide again, and Spider-Man and Gwen Stacey must come together again to stop an even bigger threat than before. The Bikeriders Austin Butler, Tom Hardy, Norman Reedus, Michael Shannon, and Jodie Comer lead writer/director Jeff Nichols’ story of a Midwestern motorcycle club. The Brutalist Vox Lux writer/director Brady Corbet recruits an all-star cast composed of Joel Edgerton, Vanessa Kirby, Marion Cotillard, Sebastian Stan, and Mark Rylance for his mysterious story of an architect immigrating to New York in 1947. The Color Purple (December 20) Fantasia Barrino takes over the role of Celie from Whoopi Goldberg in this musical adaptation of Alice Walker’s epic novel. The Holdovers Alexander Payne looks to make a comeback after the disappointment of Downsizing . He reunites with Sideways star Paul Giamatti for this small-scale story of several students and teachers who are stuck at school over the holidays. The Iron Claw Zac Efron, Harris Dickinson, and Jeremy Allen White star as the Von Erich brothers in Sean Durkin’s retelling of the family dynasty, and their impact on the world of wrestling. The Killer (Netflix) David Fincher ( The Social Network, Gone Girl ) directs Michael Fassbender as an assassin who slowly begins to lose his mind. The Way of the Wind Revered auteur Terrence Malick retells several episodes in the life of Jesus Christ. The Zone of Interest Under the Skin writer/director Jonathan Glazer returns to feature filmmaking with an adaptation of Martin Amis’ novel about a Nazi officer who becomes enamored with the wife of a concentration camp commander. Wonka (December 15) Paul King, director of the Paddington films, provides a musical origin story of the famed candy maker (Timothée Chalamet). More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

The Electric State March 12, 2025 By: Button Hunter Friesen Have you ever wondered why Netflix keeps hiking up the price of its streaming service? Beyond the simple answer that they can do whatever they want now that they’re the top dog in streaming (What are you gonna do? Go over to Peacock?), all that extra cash is needed to fund their quarterly ventures into blockbuster filmmaking. Q1 2025’s splashy title for the next investor meeting is The Electric State , which reportedly comes at a cost of $320 million, putting it within shouting distance of some of the most expensive movies ever made. This comes as no surprise considering directors Anthony and Joe Russo are at the helm. They’ve displayed their expertise in creating entertainment out of the GDPs of small island nations numerous times before with their Captain America and Avengers films. Seeing all those box office dollars flowing like Niagara Falls, Netflix quickly snatched up the brothers, but not before they took forgettable detours to rival streamers Apple TV+ and Amazon with Cherry and Citadel , respectively. The Gray Man didn’t start the franchise that Netflix desperately needed, even with Captain America himself Chris Evans as a headliner. And now with Zack Snyder’s Rebel Moon films and Red Notice failing to do the same, the steamer is back to the Russos in another attempt to become one of the big boy studios. But just as one could tell once video games and other tie-ins were announced before the film had even been seen by the public, the desperation for this film to be in the first of a franchise permeates through each unremarkable frame, cloying emotional moment, and generic punchline. The Russos may be great at getting stuff over the finish line, but this is another reminder that they’re pretty inept when it comes to starting from scratch. Loosely adapting from the 2018 illustrated novel by Swedish artist Simon Stålenhag of the same name, the Russos and their ever-dependable screenwriting team of Christopher Markus and Stephen McFeely center the story around Michelle (Millie Bobby Brown), a teenage girl all alone after her family was killed in a car crash. While she was in the hospital recovering, humanity waged a war against the worker robots that Walt Disney created back in the 1950s to lighten our load. These bots wanted personal freedom, something we weren’t willing to accommodate. Humans won the war thanks to the obviously evil techno billionaire Ethan Skate (Stanley Tucci), and all robots were deemed illegal and cast off to the Exclusionary Zone in the deserts of the southwest. As it turns out, Michelle’s brother is alive, his unconscious brain being used as the battery that powers the entire neural network that Skate’s corporation uses to control the masses. Yes, this plot is pretty much as dumb on celluloid as on paper. To break him out of his prison, Michelle will have to break the downtrodden veteran robots out of their prison, led by an animatronic Mr. Peanut. It’s obvious that the war chest Netflix threw at this production didn’t go the screenplay, a dime-a-dozen story of a messianic teenager who leads the unlikely forces of good against an evil domineering superpower. Even the relationship between Michelle and her brother is delivered in shorthand flashback scenes where the siblings only speak in big emotions as Alan Silvestri’s score reaches for the heavens. Silvestri is famous for being Robert Zemeckis’ go-to composer, a director who could have brought something interesting to this material if it were published back in his heyday. The effects/animatronics are very impressive, with robots of all shapes and sizes given a unique design and personality, providing several opportunities for famous actors to appear as voiceovers. Ke Huy Quan as a makeshift Windows PC and Jenny Slate as Penny Pal the Mailwoman are notable highlights. Unsurprisingly, Chris Pratt has great chemistry with his CGI robot sidekick Herman, exceptionally and sneakily voiced by Anthony Mackie. There’s also blink-and-you-miss-it roles for Jason Alexander, Holly Hunter, Hank Azaria, and Colman Domingo. Watching all of this never come to fruition was not an enjoyable experience, but it wasn’t a total waste of time, either. This is a prototypical four-quadrant film aimed to attract the maximum amount of eyeballs from around the world. While I don’t think anyone will be offended by what it offers, I also doubt anyone will be wholly pleased. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Mean Girls January 11, 2024 By: Button Hunter Friesen “This isn’t your mother’s Mean Girls ” is one of the taglines Paramount Pictures has used to promote their newest version of the Tina Fey-penned high school comedy. It’s a mantra that’s used beyond just the trailers and posters, as the film opens with a TikTok video. But then a character quips that “we’re Cloverfield -ing!,” alluding to a franchise that any TikToker would struggle to identify. That clash of old and new within the first thirty seconds carries over throughout the next two hours, almost as a constant question of why this 2024 version exists and who it was primarily made for. The former question isn’t a hard one to answer. 2024’s Mean Girls was developed for that sweet, sweet cash; specifically in the form of brand recognition of Paramount+, which was where this film was supposed to debut before the strategy was changed in September of last year. It was the right decision to make, as the popping musical numbers and one-liners play infinitely better in the theater than they would/will at home. You also have to factor in the fact that Paramount+ is known for CBS procedurals, Yellowstone , and Top Gun: Maverick , none of whom overlap in terms of this property's audience. The latter question is a bit harder to pin down. I guess you could claim this Mean Girls as a sort of soft remake, a version that provides easy nostalgia to Millenials and an introduction to this overall narrative to Gen-Z. But it’s not like the 2004 version is some ancient relic that needed to be translated for modern audiences. It’s a timeless member of its subgenre, with several quotes living on forever within pop culture. It doesn’t really matter how good a cover version is, as no one would (or, at the very least, “should”) choose to listen to that instead of the undeniable original. But for what this Mean Girls lacks in originality, it makes up for in energy. An interesting long take from a TikTok video, to Africa, and then to high school sets up the basic plot of Cady Heron (Angourie Rice) moving from Kenya to North Shore High. She’s an outsider almost immediately, just a little too much of everything to properly fit in with any of the cliques. Two of the other “weirdos” - Janis (Auli’i Cravalho) and Damian (Jaquel Spivey) - agree to take Cady under their wing. But “queen bee” Regina George (Reneé Rapp) has other ideas, inviting Cady to sit with “The Plastics,” comprised of Regina, Gretchen (Bebe Woods), and Karen (Avantika). Cady is now caught in the crosshairs of a good old-fashioned high school feud, playing both sides as she tries to find her place in all of this. While it would be daunting to replace such likable performers as Lindsey Lohan, Rachel McAdams, and Amanda Seyfried, the cast assembled here does enough to prevent this from being a total downgrade. Rice brings an overall level of likeability, which sometimes makes her “bad girl” heel-turn later on unconvincing. Reprising her role from Broadway, Rapp is the lioness that everyone gets out of the way for in the hallway. Most of our star names come from the adult cast members: Tina Fey, Tim Meadows, Jon Hamm, and Ashley Park. Apart from a few lines from Fey and Meadows, there’s not much there to warrant discussion. First-time directors Samantha Jayne and Arturo Perez Jr. provide several splashy moments of zippy musical interludes. The camera bobs and weaves around the hallways, with the aspect ratio and lighting matching a high-end poppy music video anytime someone breaks out into song. You’d be hard-pressed to remember the lyrics to the majority of the songs, but at least you’re eyes will be dazzled. 2024’s Mean Girls is a different flavor from 2004’s Mean Girls , although it’s about as drastic a change as shifting from Vanilla Bean to French Vanilla. It’s harmless, fun, and will probably be forgotten within due time… kind of like a piece of plastic. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

The Irishman December 9, 2019 By: Button Hunter Friesen Sprawling fifty years and dozens of features, director Martin Scorsese has crafted one of the finest filmographies in cinematic history. Over the decades, there appear to be two sides to the revered auteur’s style of filmmaking. One side is filled with fast-paced and violent storytelling in films such as Goodfellas, Casino , and The Wolf of Wall Street . On the other side is a more slow and quiet study of the human condition that can be found in The Last Temptation of Christ , Kundun , and Silence . Now after years of being disjointed, these distinct styles have finally melded together in the director’s newest Netflix film, The Irishman . Telling the true-ish story (it’s still hotly debated whether any of it is true) of mob hitman Frank “The Irishman” Sheeran, the film places its main character at the forefront of American history in the mid-twentieth century. Over the years, Sheeran became increasingly attached to mob life, eventually leading him to the infamous teamster Jimmy Hoffa, whose fate is still unknown to this day. But as Frank rises the ranks within the mob, we watch as he slowly descends into a life of violence where the riches are short-lived and damaging effects are ever-lasting. The first thing you’ll probably notice when looking up the film is its massive 209-minute runtime, which makes it the longest mainstream movie released in over a quarter-century. That amount of length may be daunting on paper, but Scorsese makes every minute of it glide by with ease. His usual style of kinetic editing and pacing are masterfully employed and keep the film entirely thrilling throughout. By the time the film has finished, you feel as though you have lived a life with these characters rather than just watched it. Another production facet that the film carries is a revolutionary new technology that digitally de-ages its main cast so they’re able to play their characters over multiple decades. Admittedly, the gimmick doesn’t work perfectly as the 76-year-old Robert De Niro never convincingly looks like his thirty-year-old self. But even with its missteps, the technology is never a bother and seamlessly works its magic in the scenes where the characters are closer to the actor's age. Adapted by Steven Zaillian from the book “I Heard You Paint Houses”, The Irishman is a dense (maybe too dense) and depressing crime epic. Scorsese’s trademarked main character narration is here in its entirety as Sheeran tells his life story while in a nursing home near the end of his life. Even though Scorsese implements his usual gangster style within the script, its use here is for an altogether different purpose than in previous films. Instead of showing the often joyous life of criminals with smugness, the script fully exposes us to the doom and gloom that a life of crime brings to someone. Frank is the main character in our story, but within his story, he’s always off to the side as he gets caught up in the everlasting destruction around him. By the time the third act reaches and the characters are reflecting on their past, their sad nature is fully exposed. All the acts these characters committed were paid for in death and despair, with the reward being even more of the same. Teaming up with Scorsese for their ninth collaboration, Robert De Niro does his best work in decades in the titular role. His performance as Frank is closed-off and internal, further highlighting that Sheeran had little control over his life. The further the story progresses, the more haunting De Niro becomes as he can more clearly see where the road will take him. On the complete opposite side of the spectrum, Al Pacino plays the infamous union boss Jimmy Hoffa. We’ve always known that Pacino has fervor in his acting repertoire. His only problem over the years was how to effectively channel it to the right performance. Fortunately, there seems to be a method to Pacino’s madness here as his boisterous fire perfectly counters De Niro’s coldness. Playing against type is another frequent Scorsese collaborator in Joe Pesci as mob boss Russell Buffalino. Even if it may be his quietest role to date, Pesci instills fear through his menacing delivery and stares. Rounding the ensemble cast is Harvey Keitel, Bobby Cannavale, Ray Romano, Jesse Plemons, and Anna Paquin; all of which do great work in their supporting roles. Proving that the two sides of Martin Scorsese work better together than separately, The Irishman is a crime classic on par with the greats before. Its extensive tale of remorse and sorrow is worth every minute you put into it. If you only see a handful of movies a year, make sure this Netflix epic is one of them. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Passages August 4, 2023 By: Button Hunter Friesen Passages opens with Tomas (Franz Rogowski), a German filmmaker living in Paris, working on the set of his next film. It’s immediately apparent that he’s a control freak… and an asshole. He’s critical of everything that’s going on, from the position of his actor’s arms as he walks down the stairs to the amount of wine in an extra’s glass. He probably thinks of himself as Stanley Kubrick, except there isn’t enough brilliance to make up for the callousness. That attitude on the set doesn’t take a break once he goes home to his husband Martin (Ben Whishaw). The couple go to the film’s wrap party at a dance club. Being the more introverted one, Martin goes home early, leaving Tomas to his own devices. He crosses paths with Agathe (Adèle Exarchopoulos) on the dance floor, and the two eventually go home together to have sex. Rebuking the natural secrecy of an affair in an effort to quench his desire for control, Tomas tells Martin all about it the next morning. Tomas wants the best of both worlds: to be in a steady marriage with Martin and to have an exciting new fling with a woman. These three characters are now intertwined, yet it’s obvious only one of them is pulling the strings. Similar to his 2014 film Love is Strange , writer/director Ira Sachs (co-writing with his regular partner Mauricio Zacharias) delves into the thorniness of longstanding relationships, and how there isn’t a clear-cut way to get through it. Tomas thinks he can get what he wants, yet it seems he actually doesn’t know what he wants in the first place. He says “I love you” and engages in sex when it works for him, and never seems to have the ability or desire to understand the other party in that transaction. One of the main problems of the film is that it spends too much time spinning its wheels around this toxic trio. It eventually gets tiring to watch Tomas act selfishly and be begrudgingly forgiven by Martin or Agathe. Sure, that cycle may be a portal to connect with the victims, but it’s also not something wholly original. It’s not a coincidence that the best scene of the film is near the end where Martin and Agathe finally break the circle and sit down to talk directly. Whishaw and Exarchopoulos are both calm and collected throughout much of the film. They each are trying to convince themselves that this new reality can work, but it’s clear no one is coming out better than they used to be. And even in his cruelty, Rogowski is captivating, showing just enough promise to illustrate why he would be accepted into someone else’s life. Filled with as much as explicit sex (although striking it with an NC-17 rating was a displeasing illustration of how the MPAA views homosexuality) as it has insight into complicated relationships, Passages is another worthwhile effort from the dependable Ira Sachs. It’s a ménage à trois for the modern age, mixing confrontation and carnality to perceptive results. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen

Spider-Man: Across the Spider-Verse May 31, 2023 By: Button Hunter Friesen We all know Hollywood has had an aversion to using numbers within their titles due to the implication that you must have watched the previous entries to comprehend the upcoming one. Instead of just Resident Evil 2, Resident Evil 3 , etc. we got Resident Evil: Apocalypse, Resident Evil: Afterlife , etc. Sure, using subtitles may have lessened the audience’s weariness for a sequel, but it also makes it impossible to sort franchises in the correct chronological order. And as a further act of the snake eating its tail, we now have the beginning halves of multi-part stories not containing the title of “Part One,” à la Dune , Fast X, and now Spider-Man: Across the Spider-Verse . Yes, for all of you who weren’t already in the loop, this sequel to the 2018 surprise critical and commercial success is only the first half of a two-part story, with the concluding chapter to come in only nine months. And in keeping with that Harry Potter/The Hunger Games/Avengers-inspired trend, we leave off here with a cliffhanger, which of course I won’t spoil. With a 140-minute runtime (making it one of the longest wide-release animated movies of all time) and IMAX engagement, Sony is truly treating this like an event picture. In terms of production qualities, the movie more than lives up to its ambitions. Similar to Denis Villeneuve and Greig Fraser’s work within Dune , Across the Spider-Verse contains mountains upon mountains of beautiful sequences that require the largest screen possible to appreciate. It can become a little too chaotic at times, such as the backgrounds shifting entire color palettes just between shot/reverse shot moments, but it’s all in service of something more creative than almost any other animated movie. Between Loki, Ant-Man and The Wasp: Quantumania , and Doctor Strange in the Multiverse of Madness , comic-book fans (or MCU fans to be more precise) are well accustomed to the concept of the multiverse. Thankfully, Spider-Verse leaps over that slowly tiring concept and delivers on its true potential of having access to a limitless version of Spider-Men. Directors Joaquim Dos Santos, Kemp Powers, and Justin K. Thompson revealed that the film contains nearly 250 characters, which happens to include a car and a dinosaur version of Spider-Man. I guess that doesn’t sound that far-fetched considering John Mulaney’s Spider-Ham stole the show in Into the Spider-Verse . Miles’ introduction into the multiverse comes from a new villain on the scene named The Spot, whose Rorschach-esque body allows him to shoot teleportation spots. His quest to become Spider-Man’s nemesis leads him to open up portals into other dimensions, all happening to contain their version of Spider-Man. But shifting between dimensions isn’t exactly a natural process, nor a safe one, as bridging them together leads to catastrophic consequences. Miguel O’Hara leads the unofficial Spider-Man version of the Justice League that seeks to retain order, sometimes achieved “by any means necessary.” Between Tobey Maguire, Andrew Garfield, Tom Holland, and Shameik Moore, we’ve had our fair share of stories about the web-slinging superhero. For all its visual inventiveness, Across the Spider-Verse struggles to break the mold (or should I say web?) when it comes to delivering a unique story. We’ve still got the radioactive spider, the inability to share his secret identity, and the struggles of balancing responsibilities. At this point, it’s a little tiring, especially in a movie like this that kicks all the resolutions down the road. Still, those weary concepts are given a lot of mileage out of the extremely talented voice cast. Jason Schwartzman, Oscar Isaac, Issa Rae, and Daniel Kaluuya round out the newest additions that join the returning core. Through the expressive animation, they’re all allowed to plentifully run the gamut of emotions. Providing background to their one-liners and dramatic moments is a bevy of hits on the soundtrack by the likes of Metro Boomin and Future. The world may not need more Spider-Man stories, but Across the Spider-Verse makes enough of a case for its existence thanks to its breathless animation and fun ideas. With 140 minutes spent on developing just the beginning of this story, I’m intrigued to see all that the finale has to offer. More Reviews How to Make a Killing February 18, 2026 By: Hunter Friesen Crime 101 February 11, 2026 By: Hunter Friesen The Love That Remains February 20, 2026 By: Hunter Friesen Dreams February 25, 2026 By: Hunter Friesen Hunter Friesen