- Less of a Stranger
It clearly illustrates how, after years spent making noise and living against the grain with a guitar in hand, the true challenge for a rock legend lies in knowing how to step out of the spotlight and finding the courage to retreat backstage. When the amplifier falls silent and the final note fades away, there are no encores to be called; one simply heads for the exit, leaving silence—and the void left behind—to do the talking for a long time to come.Less of a Stranger - Insidious: Out of the Further
The sense of déjà vu is strong, and the script is all too predictable, relying almost entirely on nostalgia rather than anything truly new. Visually, there are some inspired touches, and the tension holds up at times, but the original atmosphere has become somewhat diluted. A decent enough diversion for fans of the saga, but nothing more.Insidious: Out of the Further - The Gentleman Thief
Arriving at the third installment of a saga no one really asked for, director Randall Emmett plays it safe, churning out a textbook "direct-to-streaming" flick that recycles every single heist-movie cliché invented since the dawn of cinema. The plot is a factory for the all-too-familiar: a thief just looking to enjoy his retirement (a visibly weary yet undeniably charismatic John Travolta) is persuaded by his bungling brother to pull off "one last big job" in Miami. Surprise, surprise: the perfect plan turns out to be a trap. Who would have guessed?The Gentleman Thief - No Good Men
It is a deeply political film, as Naru’s personal story unfolds against the backdrop of Kabul’s impending, dramatic transformation. Her work, her relationship with her son, and her personal connections reveal the challenging reality of a woman striving to carve out a space for herself in a patriarchal society. Beneath the irony and romance lies a profound melancholy—that of a fragile freedom experienced at the very moment it is about to be lost.No Good Men - What Marielle Knows
It starts with a killer premise: a young girl who can read minds and exposes her family of self-righteous hypocrites. The cast is amazing and the opening was incredibly promising, but then the director wimps out and turns the whole thing into a lightweight comedy so as not to offend anyone. It’s basically like promising a porno and then showing you an episode of *Don Matteo*.What Marielle Knows - Teenage Sex and Death at Camp Miasma
Jane Schoenbrun’s film is an analog mirage that bleeds poetry. Winner of the Queer Palm at Cannes, it adopts the guise of an old-school ’80s slasher to celebrate queer rebirth and desire. Through the magnetic obsession shared by Hannah Einbinder and Gillian Anderson, the screen transforms into the magnetic tape of a vintage VHS, where past traumas dissolve into a hypnotic, nostalgic psychosexual labyrinth. The “miasma” of the title is not the stench of death, but the thick scent of our obsessions. It is not merely a horror movie, but an act of sophisticated, visceral rebellion—a hypnotic work that rewrites blood as poetry.Teenage Sex and Death at Camp Miasma - Runner
Take Alan Ritchson (the *Reacher* giant), pair him with Owen Wilson, and unleash a criminal cartel led by a cynical Rodrigo Santoro against them. That is exactly what this is: a 98-minute shot of pure adrenaline where the laws of physics are treated as optional. The plot is incredibly simple, but director Scott Waugh (a former stuntman) transforms an urgent medical transport mission into a wild, spectacular high-speed chase. Action fans will go crazy for the breakneck pace and the brawls; even skeptics who might roll their eyes at the clichés will still enjoy the banter and the excellent chemistry between this "odd couple." It won’t win an Oscar for its screenplay, but as a source of popcorn entertainment, it definitely makes the grade.Runner - Unabomber
Without ever condoning the violence, the film turns Kaczynski’s “Manifesto” into a battleground between a terrorist’s mind and the investigators’ intuition—as they manage to corner him simply by analyzing his words. Amidst heavy silences and a pace that keeps viewers glued to the screen, the direction draws us into the darkness of a Montana cabin to tell the true, tragic, and unsettling story of a mathematical genius transformed by isolation into a monster. It is a compelling psychological thriller that speaks directly to the fears of our own time.Unabomber
