MOVIE REVIEW: FRANKENSTEIN

 

A brilliant but egotistical scientist brings a monstrous creature to life in a daring experiment that ultimately leads to the undoing of both the creator and his tragic creation.

Director: Guillermo del Toro

Cast: Oscar Isaac, Jacob Elordi, Mia Goth, Felix Kammerer, David Bradley, Lars Mikkelsen, Christian Convery, Charles Dance, Christoph Waltz

Release Date: August 30, 2025

Genre: Drama, Fantasy, Horror, Sci-Fi

Rated R for bloody violence and grisly images.

Runtime: 2h 29m

Review:

Guillermo del Toro's visually lavish adaptation of Frankenstein is meticulously constructed and emotionally moving thanks to stellar performances from its excellent cast.  Del Toro's film grabs you from the open sequence especially once it moves into its flashback sequences which are garishly gothic feast for the eyes.  His sensibilities are perfectly suited for his take on The Modern Prometheus with every sequence and shot carefully crafted which result in some rather mesmerizing moments that will stick with you long after the film has ended.  Plenty of credit has to be given to Dan Laustsen’s stunning cinematography along with Kate Hawley’s eye-catching costume design both of which are certain to garner awards attention when the time comes.  There's plenty to appreciate on a superficial level but Guillermo del Toro's ability to find the emotional weight and resonance to his monsters are on full display here as there's a steady sense of mournful melancholy that permeates the entire film.  It’s a thoughtful and measured approach powered by a soulful performance from Jacob Elordi which is an evocative mix of physicality and subtle humanity.   His 6-foot 5-inch frame is perfectly suited for The Creature but through all the prosthetics he manages to give his character so much emotional depth especially once he takes center stage.  Oscar Isaac gleefully bites into the role of Victor Frankenstein by bringing an unbridled sense of unchecked self-confidence and intellect particularly in the early act as he's manically trying to bring his creation to life.  Christoph Waltz's plays his benefactor funding his experience, but he's given surprisingly little to do during his limited screentime which feels like a missed opportunity.  Felix Kammerer and Mia Goth play his brother and fiancée with Goth delivering strong work.  Goth and Isaac have fun, playful chemistry together as they both find each other intellectually fascinating diversions.  Goth adds layers to a role that could have simply come off as a one note love interest.  It is hard to take your eyes off any of them as they deliver thoroughly engaging and thoughtful performances that make the film's two hour and a half runtime fly by.  Frankenstein is nothing more than a triumph for del Toro and his entire cast as they've created a seminal adaptation of Mary Shelley's work by capturing its heart and soul.  

A

MOVIE REVIEW: SPRINGSTEEN: DELIVER ME FROM NOWHERE

On the cusp of global superstardom, New Jersey rocker Bruce Springsteen struggles to reconcile the pressures of success with the ghosts of his past as he records the album "Nebraska" in the early 1980s.

Director: Scott Cooper

Cast: Jeremy Allen White, Jeremy Strong, Paul Walter Hauser, Stephen Graham, Odessa Young

Release Date: October 24, 2025 

Genre: Biography, Drama, Music

Rated PG-13 for thematic material, some sexuality, strong language, and smoking.

Runtime: 1h 59m

Review:

Springsteen: Deliver Me from Nowhere is a pensive, reflective look at a very specific moment in his career powered by an engrossing, tortured turn from Jeremy Allen White.  Scott Cooper film possesses a melancholic melody to it that underwrites the whole thing.  He tries his best to avoid the usual pitfalls of the musical biopic by delivering something more pensive and introspective as we follow Springsteen right before he truly becomes an icon.  Flipping back and forth between the black and white past and the 80's as Springsteen works through the trauma of his past by working his way through a deeply personal demo.  This approach allows us to watch him struggle with his complicated history with his father as he's on the precipice super stardom.  It’s hard to avoid some of the more clichéd aspects of the genre especially in the flashback sequences but Cooper maintains a thoughtful approach to it all that gives it an air of authenticity that works in the film's favor.  The pacing is methodical throughout as he lets every moment settle before providing a musical jolt of vibrant energy.  Those musical numbers are stripped down which allows Jeremy Allen White to really show off an impressive set of pipes as he sings Springsteen's songs highlighted by a showstopper of a performance of Born in the USA.  White though brings so much more to the role by giving it a soulful, guilt-ridden humanity to his performance that drives the film.  It’s a fascinatingly subtle turn that gives you a window into the amount of turmoil simmering underneath with a revelatory moment in the film's final act finally allowing its release.  Jeremy Strong as Jon Landau, Springsteen's manager, is equally impressive particularly when they both share the screen.  Strong gives his character a tangible sense of steadfast belief and support throughout the film which leaves you wishing you had a friend like him.  They bring so much to the roles that you can't help but feel their deep-rooted, lived-in connection onscreen, something sure to garner both their share of awards consideration when the time comes.  Odessa Young also delivers strong work as the love interest but you are left feeling she could have brought so much more to the role if it had a tad more depth to it.  Gaby Hoffmann, Paul Walter Hauser and Stephen Graham have small but pivotal supporting roles with each doing the most with their limited screentime.  By the time it’s all said and done, Springsteen: Deliver Me from Nowhere manages to stand on its own as a musical biopic thanks to its stars and its thoughtful approach to storytelling.  

B+

MOVIE REVIEW: GOOD FORTUNE

 

A well-meaning but inept angel named Gabriel meddles in the lives of a struggling gig worker and a wealthy venture capitalist.

Director: Aziz Ansari

Cast: Aziz Ansari, Seth Rogen, Keanu Reeves, Keke Palmer, Sandra Oh

Release Date: October 17, 2025 

Genre: Action, Comedy, Fantasy, Romance

Rated R for language and some drug use.

Runtime: 1h 38m

Review:

Aziz Ansari's Good Fortune is deceptively simplistic riff on It's a Wonderful Life which is headier than it lets on, boasting an excellent cast with solid comedic chemistry.  Ansari writes, directs and stars in the film which has an easy going, accessible vibe as we’re introduced to the collection of characters and central conceit.  Ansari sardonic persona fits his character, Arj, perfectly whose somebody that’s reached the end of his rope.  There’s an unsettled sense of desperation constantly simmering under his performance that’s relatable to anyone who’s done everything to get ahead but never made any progress.  Seth Rogen works as a perfect counterbalance to Ansari’s endless anxiety with his goofy, out of touch venture capitalist Jeff.  It would have been easy to make Rogen’s character a typical rich bro, but the script takes a more measured approach that keeps him likable for the better part of the film.  His character is likable enough that the central moment that sets off the main part of the plot feels inorganic and out of character since Jeff is portrayed as a generally well-meaning guy who just happens to be incredibly wealthy.  Even after the "switcheroo" occurs Rogen’s Jeff is mostly levelheaded and patient as he waits for Ansari’s Arj to finally agree to head back to his old life.  Keanu Reeves’s low rent, well intentioned guardian angel, Gabriel, gives him a chance to play a different sort of character than John Wick which has dominated the last decade of his career.  His usual monotone delivery works well here since it gives his character a detached but relatable sensibility.  It would have been easy to use the same delivery across the board but his character goes through the most complete character arch as he comes to understand humanity on a more tactile level.  The trio are funnier more often than not as each of them go through a series of fish out of water moments that allows them ample time to flex their comedic muscles.  Keke Palmer and Sandra Oh round out the main cast but neither is given enough to do in order to take full advantage of their talents.  It’s a missed opportunity, especially in the film’s back half which is more uneven and makes it feel far longer than actual runtime.  Good Fortune is more than capable as a message comedy but you are left with the feeling that it could have been truly special with a more well-rounded script.   

B-

MOVIE REVIEW: BLACK PHONE 2

 

Bad dreams haunt 15-year-old Gwen as she receives calls from the black phone and sees disturbing visions of three boys being stalked at a winter camp. Accompanied by her brother, Finn, they head to the camp to solve the mystery, only to confront the Grabber -- a killer who's grown even more powerful in death.

Director: Scott Derrickson

Cast: Ethan Hawke, Mason Thames, Madeleine McGraw, Jeremy Davies, Demián Bichir

Release Date: October 17, 2025 

Genre: Horror

Rated R for strong violent content, gore, teen drug use, and language.

Runtime: 1h 54m

Review:

Black Phone 2 is a solid, if overlong, follow up to the 2021 original with this entry taking more of a Nightmare on Elm Street approach, sprinkled with atmospheric elements from of The Shining for good measure.  Scott Derrickson returns behind the camera and brings back the throwback aesthetic of the original while adding some impressive visual flourishing along the way such as overly grainy dream sequences.  He has a noticeable amount of restraint which is especially noteworthy for a sequel as he allows the audience to spend time Finney and his sister Gwen four years after the traumatic events.  Mason Thames and Madeleine McGraw return from the original film to play the siblings which gives them natural chemistry together.  Thames’ Finney is left hardened by his experience with The Grabber and is more than willing to fight anyone while he represses his trauma.  Thames delivers a measured performance balancing his steely eyed protectiveness of his sister while keeping a ting of vulnerability hover underneath.  He’s given a moment in the film’s back half that really lets him unleash everything which makes for a solid showcase of Thames’ talent.  Madeleine McGraw has a much larger role here and she does well with the bigger spotlight even though her character is saddled with using nearly every bit of 80’s slang you can think of.  Her character is much more central to the overall plot as her psychic has increased since the last film and has put her in the crosshairs of unsettled ghost and the spirit of the vengeful Grabber, played again by Ethan Hawke.  Hawke’s character doesn’t really become part of the story until about midway through the film but once he does you get the sense, he’s relishing the chance to chew up scenery.  It’s a fun performance but it’s hard to overlook the obvious comparisons to Freddy Krueger throughout.  Thankfully, this leans closer to earlier Kruger than the overly wisecracking version of those latter films in that franchise.  Hawke’s bloodied demon looks like a festering open wound as he’s torturing Gwen with a more expressive mask doing a lot of work.  Demián Bichir, Miguel Mora and Arianna Rivas round out the cast with Bichir in particular delivering strong work leaving you wondering why the film didn’t write him a beefier role.  The script does leave something to be desired in general as it’s peppered with clunky, exposition heavy dialogue which the cast does to work with.  A handful of those moments feel like they could have been trimmed a bit in the editing room to keep them slowing down the film as much as they do.  Black Phone 2 might not be a top tier horror sequel, especially in a year that has had stellar entries throughout, but it is effective enough that you don’t question why they bothered with a sequel in the first place.

B-

MOVIE REVIEW: ROOFMAN

 

After escaping from prison, former soldier and professional thief Jeffrey Manchester finds a hideout inside a Toys "R" Us, surviving undetected for months while planning his next move. However, when Jeffrey falls for a divorced mom, his double life starts to unravel, setting off a compelling and suspenseful game of cat and mouse as his past closes in.

Director: Derek Cianfrance

Cast: Channing Tatum, Kirsten Dunst, Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Melonie Diaz, Uzo Aduba, Lily Collias, Jimmy O. Yang,  Peter Dinklage

Release Date: October 10, 2025 

Genre: Biography, Crime, Drama, History, Music, Romance

Rated R for language, nudity and brief sexuality.

Runtime: 2h 6m

Review:

Roofman takes a stranger than fiction true story and turns it into an engaging crime/romantic comedy that leans heavily on Channing Tatum's charisma and chemistry with an understated but layered turn from Kirsten Dunst.  Derek Cianfrance's film is disarmingly charming from the start as we get a quick rundown of the Jeffrey Manchester's Roofman crimes that land him in jail initially.  Tatum's voice oversets him up as a loveable rogue who's more of a victim of circumstance than an outright criminal.  It works for the most part as you need to like Jeffrey's inventive outlaw in order for the film to work as well as it does.  There are echoes of 2001's Blow and 2002's Catch Me If You Can as the audience is swept up in the character's increasingly precarious house of cards that's destined to fall at any moment.  There's a pervasive sense of optimism as the character that Tatum's Manchester encounters are mostly trusting and inviting at nearly every turn.  Kirsten Dunst injects a constant sense of trepidation to her single mother even as her character falls in love with Tatum's Manchester.  There's a subtly to her performance that's impressive across the board as she communicates a hefty amount of emotional information with a look that gives you the sense that's she's just waiting for the other shoe to drop.  Her character has an impressive level of depth that’s sorely lacking from some of the other supporting players who are much more broadly written, wasting the talents of the film's excellent supporting cast made up of Ben Mendelsohn, LaKeith Stanfield, Juno Temple, Uzo Aduba and Peter Dinklage.  Thankfully, Dunst and Tatum share an authentic chemistry together which serves as the film's beating heart, making the film's closing act more somber, almost tragic as the roof begins to fall in around them.  While the film doesn't absolve its central character of all the blame, he does get a decent level of cinematic sheen that glosses over the amount of emotional damage he left in his wake.  Roofman may be a bit too forgiving of its central subject but it does offer Channing Tatum a chance to really showcase his acting chops in a way we haven't seen before.  

B+

MOVIE REVIEW: CHAIN REACTIONS

 

Five artists, Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, and Karyn Kusama, explore how "The Texas Chain Saw Massacre" shaped their art and psyche.

Director: Alexandre O. Philippe

Cast: Patton Oswalt, Takashi Miike, Alexandra Heller-Nicholas, Stephen King, Karyn Kusama

Release Date: September 19, 2025 US/October 27, 2025 UK  

Genre: Documentary, Horror

Rated PG-13 for violence/action.

Runtime: 1h 43m

Review:

Alexandre O. Philippe's well-constructed documentary about The Texas Chain Saw Massacre is a fascinating exploration about the far-reaching impact the seminal slasher.  Philippe uses archival, behind the scenes footage from the 1974 film as bridges between each segment which in of itself is a fascinating taste of what it was like being on the ground while the legendary film was being filmed.  The five artists interviewed have some overlap here and there but they're distinct enough to make each segment engaging while avoiding the kind of repetition you'd expect from multiple people discussing one film.  Patton Oswalt kicks off the film as he discusses his heartfelt love and appreciation of the film and artistry at play in its low budget facade.  He brings a heady approach at breaking down sequences and correlations with other classic horror films.  Oswalt is clearly a cinephile and he add an expected level of thoughtful analysis that starts off the documentary on strong footing.  Japanese director Takashi Miike takes center stage in the second segment and relates a rather fascinating recollection about how a sold out showing of Charlie Chaplin's City Lights changed the course of his professional career and life in general.  He also brings a sense of how this American film hit the Japanese culture and its effect on his style throughout his career.   Australian film critic and author, Alexandra Heller-Nicholas, likewise brings her recollection of viewing Chain Saw in Australia via worn out, faded VHS copies which gave it a very specific look and feel which made it reminiscent of Australian films of the time.  In her recollection, she presents the film as a coming-of-age moment much like other grindhouse film of the time.  She describes how her connection to Chain Saw and Peter Weir's Picnic at Hanging Rock formed her cinematic outlook and worldview feels relatable on multiple levels.  Stephen King is given the penultimate portion of the documentary and his stream of conscience way of speaking goes in multiple directions throughout his time.  There's less of a focus on Chain Saw since King goes off on various tangents about other films and cinematic violence in general.  Director Karyn Kusama closes out the documentary as she brings another fresh point of view as she breaks down the cultural relevance of the tropes and thematic ideals that the film puts on display.  There's a measured and thoughtful approach to her dissection of the generational and cultural collisions at the center of the film.  She posits the film as a timeless, mythical chronicle of violence and misfortune for every character in the film and ourselves by reflection.  Once it’s all said and done, Chain Reactions manages to bring a series of fresh points of view to a film that's been appreciated and analyzed to death by this point which is a testament to Alexandre O. Philippe talent as a documentarian. 

A