The Reelist

Category: MOVIE REVIEW

  • “Spider-Man: Brand New Day” review

    “Spider-Man: Brand New Day” review

    It’s no secret that the Marvel Cinematic Universe has been struggling for a while. There’s been a few hits here and there since Avengers: Endgame, but overall, the quality has been lacking. A new Spider-Man movie is almost always a safe bet to turn things around. So, the question is, does Spider-Man: Brand New Day provide the spark that Marvel Studios needs to build momentum towards the upcoming Avengers: Doomsday? Luckily for them, it does.

    Spider-Man: Brand New Day, directed by Destin Daniel Cretton, is probably the most personal and introspective Spider-Man movie since Sam Raimi’s Spider-Man 2. Set four years after the events of Spider-Man: No Way Home, Peter is a bit of a lost cause. No one remembers him and he has no social life. The only thing that fulfills him is being Spider-Man and fighting crime in New York City. But there’s limits to that, and eventually all the pressure and responsibility start to affect him physically in unexpected ways. At the same time, a new threat emerges that is unlike anything he has encountered before.

    Tom Holland as Peter Parker

    Where Brand New Day truly shines is how grounded and personal it is. It’s got the usual big set pieces you would expect from a Spider-Man movie, but at its heart it’s a tale about loneliness, isolation, and how it’s okay to ask for help. This gives the film some emotional depth to an extent not seen in a Spider-Man movie since Spider-Man 2. While I don’t think it reaches the height of that film (not many superhero movies do), it feels refreshing to get a more grounded and personal superhero movie that deals with some timely themes. 

    Performances usually aren’t a noteworthy thing to point out when discussing superhero movies, but there’s a rare exception here. Tom Holland gives one of his best performances as a vulnerable Peter Parker/Spider-Man. He really sells a broken Peter Parker trying to find his place in the world. Jon Bernthal also shines as Frank Castle/The Punisher, giving one of his best performances as well as displaying good chemistry with Holland. The rest of the cast, notably Sadie Sink and Zendaya, also do a solid job in their roles. 

    Where I think Brand New Day stumbles a bit is that I think it has too many characters, and some characters are thrown in for the sake of being there. For example, from the trailers, it looked like Scorpion and The Hand were going to play big roles in the movie, but they ended up not being much of a factor. The movie would have been the same without them. Without going into spoilers, there’s also the fact that Sadie Sink’s character steals a bit too much of the focus away from Spider-Man. It sort of feels like Marvel was trying to introduce and set her character up for the future while also telling a Spider-Man story. It works to an extent, but the film still could have been more focused.

    Jon Bernthal as Frank Castle/The Punisher

    Overall, Spider-Man: Brand New Day is a bit of a rarity: a superhero movie with a brain and heart, despite its tendency to feel overstuffed. While it is very much a fun summer popcorn flick, it’s also a thoughtful examination of loneliness and the effects it can have on someone. Combine that with heartfelt performances and thrilling action, and the result is a real treat. Hopefully Marvel Studios can continue this momentum with Avengers: Doomsday at the end of the year.

    Rating: 4/5

    Fediverse Reactions
  • “The Odyssey” review

    “The Odyssey” review

    Any time Christopher Nolan releases a new film, it feels like an event. This is no different with his latest release, The Odyssey. To put it in perspective, tickets for IMAX screenings went on sale last summer, a year before release, and they sold out pretty quickly. With the insane amount of hype leading up, it begs the question, does The Odyssey live up to it? It most certainly does. 

    The Odyssey is an adaptation of Homer’s ancient Greek epic poem, Odyssey, which tells the story of Odysseus, the king of Ithaca, and his ten-year journey home following the end of the Trojan War. Meanwhile, back in Ithaca, Odysseus is presumed dead after being away for twenty years, which leaves his wife, Penelope, and their son, Telemachus, to deal with a group of unruly suitors competing for Penelope’s hand in marriage.

    Matt Damon as Odysseus

    Since this is a direct adaptation of an existing work, the foundation of the story is already laid out, so it ultimately comes down to execution. This is where The Odyssey truly shines. The sheer size and scope of a film like this would intimidate almost any director, but Nolan doesn’t back down. Early on, Nolan made the decision to film The Odyssey using IMAX cameras entirely, which was unprecedented and had never been done before. Even though it was a huge financial and technical endeavor, his commitment to IMAX pays off here. The film looks and sounds amazing. And because of Nolan’s devotion to using more practical effects instead of CGI, there is a level of authenticity to the film that makes it even more impressive. The combination of epic scope, visuals, and sound creates a level of immersion that’s rarely seen. It almost felt like I was actually on the journey with Odysseus.

    The movie also takes us on a journey through different genres. It has plenty of action and adventure sequences, romance, and even some horror scenes sprinkled in here and there. The horror scenes are particularly effective and well done, especially the one involving pigs (if you know, you know). If Nolan ever decides to do a horror film, he’s shown that he’s more than capable of pulling it off. 

    There are a couple gripes I have with the film, but they’re closer to nitpicks than anything else. As typical in Christopher Nolan films, the dialogue can be hard to hear at times, even in quieter, less action-oriented scenes. Also, in terms of how the narrative is told, I would have preferred more linear storytelling instead of Nolan’s typical non-linear approach. The film often goes back and forth between different time periods instead of telling it in chronological order. The story isn’t hard to follow, so it’s not a huge deal, but I do think a more linear, streamlined approach would have been better, especially for more general audiences. 

    All in all, The Odyssey is a masterful example of what happens when you combine talent with a director that truly cares about their craft. It stands tall as one of the year’s best and one of Christopher Nolan’s finest achievements. And with a filmography as impressive as his, that’s really saying something.

    Rating: 4.5/5

    Fediverse Reactions
  • “New Fears Eve” review

    “New Fears Eve” review

    In the horror genre, there have been many films that have taken place on different holidays. We’ve seen them take place on Halloween, Thanksgiving, Christmas, and even Valentine’s Day. Writer/director P.J. Starks teams up with co-director Eric Huskisson to take a unique approach with New Fears Eve by setting it around New Years. The result is a brutal, entertaining, yet underwhelming callback to old school 80s slashers. 

    The plot of New Fears Eve is pretty simple. There’s been a string of murders lately by a masked killer known as “The Doctor,” whose appearance resembles the “plague doctor” from centuries ago with the prominent bird-like mask. While that might sound silly, the costume does have an eerie look to it, especially in the more distant shots. Anyway, the film centers on a trio of friends: Leslie, Brian, and Moses, who become targeted by this mysterious killer and must survive the ensuing New Year’s Eve bloodbath. 

    The main highlight of the film is the creative and brutal kills. There are plenty of kills, and the filmmakers somehow find a way to out-do the previous kill every time in terms of sheer shock value. It’s the primary reason why the film manages to stay entertaining throughout its 90-minute runtime. 

    Unfortunately, the positives stop there. Like I mentioned previously, the plot of New Fears Eve is simple, yet too simple. The characters aren’t fleshed out enough (no pun intended), which makes it hard to get attached or even care about them at all. It also doesn’t help that the acting is wooden, with shaky dialogue partly to blame for that. There’s also the fact that, without going into spoilers, the film sidesteps a proper ending to set up a sequel instead. That would have been fine if the ending was better and not so abrupt.

    All in all, New Fears Eve is a pretty mixed bag. The creative nature of the kills is a highlight that will entertain audiences for sure, and the killer’s look is unique and creepy. Unfortunately though, the film feels underdeveloped and ultimately underwhelming. That being said, the film knows what it is and leans into it, so if you’re looking for brutal, entertaining kills, New Fears Eve certainly delivers in that department.

    Rating: 2/5   

  • “Obsession” review

    “Obsession” review

    Every once in a while, there seems to be a film that comes out of nowhere that takes theaters and audiences by storm. This time it’s Obsession, the new horror movie from Blumhouse that seemingly everyone is seeing and talking about, and for good reason. Led by its strong lead performances, impressive cinematography, and immersive sound design, Obsession is easily one of the best films of the year so far and one of the best horror films of recent times.  

    Directed by a relatively unknown Curry Barker, Obsession follows Bear, a hopeless romantic who is in love with his childhood friend, Nikki. After a night out with her and a few other friends, Bear fumbles a chance to confess his feelings to her. Frustrated with himself, Bear uses a trinket he bought at a store called a One Wish Willow to make a wish that Nikki would love him more than anyone else. It immediately works, but eventually to a horrifying extent. 

    Inde Navarrette as Nikki

    Obsession is not your typical horror film, mainly because it’s ultimately a bleak horror tragedy. There are some jump scares and a general feeling of uneasiness throughout, so it is effective in the scares department. But this is pretty sad stuff, to the point where it borders on being genuinely mean-spirited. Fortunately, Barker’s background in comedy does eventually come through with some comedic moments sprinkled in here and there to lighten the mood and prevent it from becoming oppressively bleak. Despite that, this is still a tragic cautionary tale that will haunt you long after you leave the theater. 

    Obsession wouldn’t work nearly as well without Inde Navarrette’s outstanding performance as Nikki. The amount of range she expresses here is impressive, and it wouldn’t be surprising to hear her name pop up during awards season. Michael Johnston also turns in a solid performance as the protagonist (or antagonist, depending on how you look at it) Bear. The film rests heavily on these two performances, and they do not disappoint, especially Navarrette. 

    Michael Johnston as Bear

    The quality of the lead performances shouldn’t overshadow some of the other things the film accomplishes. One of the standouts here is the excellent cinematography by Taylor Clemons. The way the film uses lighting and shadows to enhance the suspense is textbook horror filmmaking. Sometimes it’s not always about what you see, but what you don’t see. The sound design is an unsung hero as well. In the more tense scenes, the score evokes a feeling of dread and some of the sounds that occur, especially off-screen, only add to that feeling.  

    Another aspect of Obsession that plays in its favor is just how much of it is unexplained and left open to interpretation. There is very little exposition about who the characters are and their backstories. There is dialogue that gives us just enough to have a general idea, but much is still unknown. The same applies for the idea of the One Wish Willow. What exactly is it? How does it grant the wish? How exactly did it affect Nikki? These are questions that are not answered and are left open to interpretation and discussion. What’s left open to our imagination is often just as chilling as what we see and know.

    All in all, Obsession stands tall as one of the best horror movies in recent years, a feat that’s even more impressive when you consider its miniscule $750,000 budget. Two weeks after releasing in theaters, it’s now made over $100 million globally. It’s proof that you don’t need an IP or a big-name director attached to a project for it to do well. What you do need is a cast and crew that cares about their craft, and the rest will take care of itself. The end result of Obsession is a shining example of that. 

    Rating: 4.5/5

  • “Carolina Caroline” review

    “Carolina Caroline” review

    The new romantic crime thriller, Carolina Caroline, directed by Adam Rehmeier and starring Samara Weaving and Kyle Gallner, is the first screening I decided to attend at Philadelphia Film Society’s 2026 Springfest. Set sometime in the past and in the backdrop of the American southeast, this new-age “Bonnie and Clyde” style film has an old-school charm that’s hard to resist. While it’s ultimately predictable and familiar, it is still an enjoyable experience, anchored by two solid lead performances by Samara Weaving and Kyle Gallner. 

    For anyone that’s seen Bonnie and Clyde, or anything similar to it, the plot of Carolina Caroline will sound quite familiar. A young woman named Caroline, who lives with her dad, meets an outlaw named Oliver. Swept off her feet by his good looks and charm, Caroline decides to join Oliver, leaving a trail of crime while simultaneously looking for her estranged mother throughout the southeast United States. 

    While there are a few wrinkles thrown in here and there to slightly differentiate it, this type of story has been done before. This familiarity can be comforting, but it’s also what makes the film predictable. We’ve all seen how these romantic crime thrillers go and, without saying too much, it follows the same trajectory more or less. Of course, that does not make it bad by any means. There’s a good amount of entertainment, it’s just that I feel like I’ve seen it before.

    Despite all of that, there is still much to like here. Many of the production aspects of the film are solid, particularly the cinematography and production design. While not explicitly stated, it takes place sometime in the past, and things such as the production design and costumes help convey that pretty clearly. It gives it sort of this “classic” look and feel that others in the genre try to pull off, but don’t do it nearly as well. 

    Carolina Caroline is not a film that attempts to break new ground in the romantic crime thriller genre. It doesn’t try to do too much and plays it pretty safe, which results in a predictable story that you’ve probably seen before. Nevertheless, this is still an entertaining, well-made and acted film that does more right than wrong. This is essentially a modern age Bonnie and Clyde, and it pays homage to it quite well in that sense. 

    Rating: 3.5/5

  • “The Drama” review

    “The Drama” review

    The Drama is quite the drama, all right. It’s been a while since a movie has been so heavily marketed a certain way, only to go in a completely different direction by the middle of the movie. The unconventional nature of this rom-com ends up being both a strength and a weakness, resulting in a flawed, yet entertaining film that will leave you thinking about it for quite some time. 

    The Drama, directed and written by Kristoffer Borgli, stars Zendaya and Robert Pattinson as couple Emma and Charlie. Emma and Charlie meet at a café, and two years later they are engaged. During the week of the wedding, they go out with their maid of honor, Rachel, and best man, Mike, for drinks. While talking, Emma makes a shocking revelation that makes Charlie question whether he really knows her and if he wants to marry her. 

    Zendaya and Robert Pattinson as Emma and Charlie

    As with practically every rom-com, the film rests heavily on the chemistry between the two leads, and both Zendaya and Pattinson deliver here. Their chemistry feels natural and unforced, and it results in the viewer being able to buy into Emma and Charlie’s relationship. It makes Emma’s sudden revelation more impactful too. This twist is sort of the film’s superpower because it is a catalyst in the plot while also being what makes the film unique to a certain extent. It’s definitely a good thing in that sense. 

    Where the movie suffers a bit is in regard to the timing of the twist. It’s revealed around the half-hour mark, which I think was too soon. What ends up happening is two things. First, it minimizes the impact of Emma’s revelation a bit. While it is still impactful to an extent, it would’ve been even more so if the film took more time building up to it. The second thing that ends up happening is that, because the reveal happens so early, Charlie spends so much time dwelling on it that the film ends up becoming very repetitive. It’s almost like the filmmakers didn’t know what else to do with the remaining runtime, so they re-hash the same thing over and over again and it eventually gets tiresome. Perhaps a better script could have avoided this, but unfortunately that’s not the case here. 

    Despite being repetitive, The Drama does remain interesting and entertaining. There is a good amount of comedy sprinkled in, and the film is pretty thoughtful overall. Many might find themselves in Charlie’s situation (though not quite to that extent), asking if they truly know their partner, or having doubts leading up to a wedding. In the extremeness of The Drama, there is some relatability and thoughtfulness in regard to dealing with the potential anxiety of marriage and commitment to someone you may not think you truly know.   

    Overall, The Drama is a decent but flawed rom-com. It does some things right, namely the chemistry between the leads, but its repetitive nature will lead to some viewers feeling exhausted after a while. That being said, the film is still good and entertaining enough to be an enjoyable time at the theaters. 

    Rating: 3.5/5