Reviews

Uglies, on Netflix, is a clear example of how the era of teen dystopian films has long passed. It feels like director McG threw Divergent, Hunger Games, Maze Runner, and even Twilight into a blender, and the result is a messy mix of clichés, bad CGI, and cringe-worthy moments, creating something even worse than expected.

From the start, my expectations were low, but Uglies managed to surpass that, turning into an even more painful experience than I anticipated. The story, set in a dystopian society where everyone undergoes a physical transformation at 16 to achieve "perfection," is nothing new, just dumber. The main issue is that this concept feels half-baked and never develops into anything coherent. Everything is shallow, with dialogues so cringey they make you roll your eyes. I'm sure even films aimed at adults have better-written lines.

Joey King tries hard to give her character some depth but fails miserably. Her attempt to be a modern-day Katniss Everdeen or Tris Prior falls flat. She seems completely disconnected from the story, with a blank expression that leaves no room for emotional connection. Her performance is a mix of apathy and lack of charisma, turning her character into dead weight for the plot.

The narrative could have been a commentary on society's obsession with beauty standards, but it sinks into a predictable and superficial story. There's no room for meaningful reflection, and what could've been a relevant message turns into an excuse for senseless action scenes and poorly executed twists.

If there's one thing that saves Uglies from being the worst movie ever, it's the fact that it's sometimes so ridiculous it becomes unintentionally funny. There are moments where it entertains simply because it's a total disaster.

Then there's the ending. A final act that's not only absurd but also completely incoherent, leaving you more frustrated than the rest of the film. It feels like the writers didn't even bother to wrap things up properly, opting for a rushed conclusion that leaves you angry for having wasted your time.

In conclusion, Uglies is one of the worst productions I've seen this year, if not in recent memory. It's a film that strives to be bad, and it excels at it. There's no meaningful message, the characters are empty, and the story is just a collection of tired ideas. My best advice? Don't waste your time on this.

"Cuckoo" promised to be an intriguing and different experience within the alternative horror genre, which immediately caught my attention from the trailer. It seemed to offer a peculiar atmosphere, similar to what we've seen this year in titles like "Longlegs" or "Oddity." However, as the film progressed, I felt that it failed to deliver the emotional and narrative impact it appeared to promise.

One of the highlights was seeing Hunter Schafer dive into the horror genre. Her presence is notable, and I sincerely hope she continues exploring roles in horror films, as I believe she has the potential to really shine in this space. The cinematography is, without a doubt, one of the strongest aspects of "Cuckoo." The aesthetic is well-crafted, with shot compositions that capture the strange, unsettling universe of the movie. The sound editing also deserves a mention, creating an engaging atmosphere that pairs well with some of the more intense moments.

However, "Cuckoo" struggles to deliver a strong narrative. The film seems to aspire to follow in the footsteps of "Get Out," attempting to address deeper social themes, but it falls short of creating a coherent or impactful message. While the plot starts off intriguing, it becomes shallow and dull at certain points, and the final explanation feels rushed, leaving me with the impression that something was left unfinished. As mentioned, the pacing doesn't help either. At times, the story drags without a clear direction, making the experience less immersive than it could have been.

That said, I can't say "Cuckoo" is a bad film-it's far from it. There are elements that work, particularly for those who enjoy more alternative horror that deviates from the usual commercial horror approach. For fans of films that challenge conventions, this could be a curious and even rewarding experience. But for those who prefer more straightforward, cohesive narratives, the film might feel frustrating or even boring.

In short, Cuckoo is a film that, despite some visual and technical merits, fails to live up to its full potential. If you're looking for something different in the horror genre, it might be worth giving it a try. But if you prefer more conventional stories, it's probably best to pass on this one.

Never Let Go starts with an intriguing premise: a mother in a post-apocalyptic world fights to protect her children from bloodthirsty creatures by keeping them tied to a rope. If they let go, they're attacked. However, despite this interesting concept, the movie fails to create the tense atmosphere the story demands. Instead of pulling us into a truly dangerous and desperate situation, the film loses focus and struggles to convey the real threat the characters face.

The plot twists are another weak point. Some are too predictable, and from early on, I felt like I could guess where the story was heading. Though I'm not entirely sure, because the ending is especially confusing and poorly explained, leaving us without a clear conclusion - as if the writer wasn't sure what message they wanted to convey.

Director Alexandre Aja has proven capable of crafting good films with simpler themes, like the remake of The Hills Have Eyes, High Tension, or Piranha 3D, but whenever he tackles more complex narratives, such as in Horns, he tends to fall short. In his case, "less is more" really applies.

That said, I have to admit the different approach might attract viewers looking for something unusual. However, for me, this film didn't hit the mark. There was a moment of real tension involving the fate of an animal that made me anxious, but aside from that, I felt indifferent in about 80% of the situations.

It's far from terrible due to the original concept that sets it apart from other films in this subgenre, but it lacks the essential ingredients to truly stand out or leave a lasting impression.

I love whodunits, so I was quite curious about Werewolves Within. The initial premise was intriguing: a small town, strange characters, and a murder mystery. With a touch of humor and a claustrophobic setting, it seemed like the movie would bring together what I enjoy most about the genre, but with a comedic and modern twist.

Although I appreciated the light and fun tone of the film, I have to say that Werewolves Within didn't grab me as much as I expected. The narrative is a bit inconsistent, with moments that swing between hilarious and dull. The comedy doesn't always land; I felt that, at times, the humor was preventing the mystery from reaching its full potential. A whodunit relies heavily on tension, and I felt that was lacking here.

The characters are another aspect that, in my opinion, fell short. While they are somewhat quirky and funny, most of them lack the development needed for us to really care about what happens to them. Maybe because of the film's lighter nature, this wasn't a priority, but I believe a stronger connection with the characters could have elevated the mystery and made the twists more impactful.

As for the mystery itself, I must admit the final reveal wasn't as satisfying as I hoped. The movie tries to play with expectations and surprise the viewer, but the twists aren't as effective as they could have been. Part of this is due to the plot dragging at certain points and sometimes forgetting to create a sense of mystery and doubt, which weakens our engagement.

Overall, Werewolves Within offers a fun experience, but it could have been much more memorable if it had balanced its humorous tone with suspense. It's a lighter take on a genre that is usually darker, but it might still appeal to those looking for a less serious take on classic whodunits. For me, it was a bittersweet experience, but it served its purpose as light entertainment.

Sausage Party: Foodtopia is the sequel to the irreverent 2016 adult animation, which introduced us to a bizarre and fun concept where food comes to life, like a twisted version of Toy Story. Now, in series format, it delivers an interesting social critique while keeping the crazy, no-limits, adult humor. However, despite being clever at times, it doesn't always hit the mark.

Most episodes end with smart narrative hooks, but even so, I never felt much excitement to immediately watch the next one. The story sometimes drags, and the jokes follow a repetitive formula, as if the creators had endlessly recycled what worked in the original film. In my opinion, the concept would have worked better as a movie, avoiding the exhaustion caused by repetition.

The social critique is definitely one of the series' strong points. The way it humorously and intelligently addresses topics like the economic system, class struggle, and politics is surprising. Even though it might not appeal to all viewers, I found this approach bold and smart, raising the level of the story.

On the other hand, the humor remains absolutely obscene, with a flood of sexual jokes, graphic violence, gross-out moments, and many other bizarre scenes. I admit I liked some parts, but others went too far and made me uncomfortable, like the scene where a human is forced to eat a dead friend's foot, which seemed sick and unnecessary.

In summary, Sausage Party: Foodtopia would have been more effective as a 90-minute movie. At times, it tries too hard to shock with absurdity, and that ends up hurting the experience. It's a case where less could have been more.

"If they had just dined with the Dutch, none of this would have happened." That's how I start my review of *Speak No Evil* (2024), one of those rare remakes that manages to surprise, even for those like me who haven't seen the original film. I went in blind, not knowing what to expect, and ended up on a roller coaster of anxiety that didn't let go until the very end. The film quickly throws us into a narrative filled with intense dialogue and tense moments that grow by the minute. It's the kind of movie where the conversations make you feel uncomfortable and on edge.

The standout, without a doubt, is James McAvoy's brilliant performance. He delivers an award-worthy portrayal in a horror film, perfectly balancing the madness of his character, which keeps us glued to the screen, anticipating his every unpredictable move. He brings a rare depth to a genre often overlooked by critics.

The narrative takes a slower pace and builds suspense differently from what we usually see in conventional horror films. There are no excessive jump scares or violent deaths every five minutes. However, this approach might be an issue for some viewers who expect a more immediate and visceral kind of horror, possibly turning away those looking for a faster and less dense experience.

For me, the downside, and what frustrated me the most, were the completely absurd decisions made by some characters. They make choices that defy all logic, which only worsen the situation instead of solving anything. This lack of awareness breaks the immersion a bit, as we constantly find ourselves questioning their actions.

Despite these flaws, *Speak No Evil* stands out among current horror releases. It's not perfect, but it's intense, well-crafted, and offers an experience that will stay with me. In my opinion, it's the best horror film released by Blumhouse since *The Invisible Man* (2020). You don't need to know the original to enjoy this remake, and it might even be better that way because the thrill of being caught off guard was truly rewarding.

I've never been much of an anime fan as an adult. It's not that I have anything against the animation style; I've just always preferred live-action. However, I decided to give "Terminator Zero" a chance because I'm a huge fan of the franchise. To my surprise, this animated series quickly captivated me in a way I hadn't felt with a TV show in a long time.

The plot unfolds independently from the "films we know," although there are some subtle connections that fans will recognize. We follow a new set of characters that, over eight episodes full of intrigue and twists, are developed with depth and complexity. I have to admit, I was caught off guard by several plot twists, which only increased my excitement for the next season (let's hope Netflix renews the series).

The secret to "Terminator Zero's" success lies in the creative freedom with which the story was crafted, making it far more surprising and superior to the recent movie narratives and almost making me forget the absurdity that was "Terminator: Dark Fate." Without the need to force a connection to Sarah Connor's legacy, the anime explores new narrative paths that show the vast potential of the "Terminator" universe in the right hands. Here, we follow a family: while some are hunted by a machine from the future or question the origin of their lives, others have to make decisions that could change humanity's future.

The animation is another highlight. Even though I'm not used to this style, I loved the visuals; it reminded me of the cartoons I used to watch as a kid, but with a more adult touch and a level of violence that fits perfectly with the saga's tone. The color palette, character design, and action sequences are impressive. It's like merging 90s animation with a more contemporary aesthetic.

Overall, it was an extremely positive experience and one of the biggest surprises of the year. "Terminator Zero" made me reconsider watching more anime, sparking my curiosity to explore other productions of the genre. And between us, I'm tempted to give "Attack on Titan" a try.

Beetlejuice Beetlejuice takes us back to Tim Burton's quirky universe with a light, fun, and interesting approach. For fans of the original film, it's a nostalgic journey that recaptures the essence of what made this world so captivating. From the moment the iconic opening credits music starts, it's hard not to feel drawn in and excited to return to Burton's unique world. However, for those unfamiliar with the saga, getting into the spirit of the film can be challenging, as its eccentric style may not be for everyone, leaving some viewers unsure how to feel about it.

The script is designed to please fans and play on nostalgia, but it's somewhat predictable, and the twists don't have much impact due to the lack of intensity in the subplots. In fact, there are several interesting storylines, but none are fully developed. The potential is there, but predictability and the absence of surprises in a fairly limited narrative weaken the experience, leaving a feeling that the film could have delivered a more memorable story.

The practical effects are a highlight, standing out artistically compared to other big productions that rely more on CGI. The makeup is impressive, and the characters' looks are a creative and visual treat that captures the bizarre charm of Burton's world. In this aspect, the film is visually stunning.

Although it's fun and visually appealing, the film suffers from a weak main storyline and many unexplored subplots. The lack of a stronger plot makes the film feel lost at times, without a clear direction. Still, it's an experience worth having, especially for the nostalgia that kicks in from the very first seconds of the credits.

"Hellboy: The Crooked Man" tries to revive the iconic character's universe but faces serious challenges that prevent it from reaching the heights of Guillermo del Toro's films. The low budget is not enough to capture the grandeur and complexity of Hellboy's world, resulting in a rather limited effort overall. It feels like they tried to reboot Harry Potter with a budget equivalent to an episode of a mediocre CW show. While the production team clearly made their best effort to address the shortcomings, it was a tough task.

Additionally, the supporting cast is another weak point. The performances are weak and often unconvincing, even less realistic and more frightening than roles in "Power Rangers." However, Jack Kesy as Hellboy is one of the few positive aspects. I hope this role opens doors for him, as it is one of the few things that really work in the film.

The makeup and special effects also appear cheap and uninspired, failing to create an immersive experience and making the attempt to build a scary atmosphere fall short, giving it an amateurish feel.

On the other hand, the film's atmosphere, though limited, is a positive aspect, along with the soundtrack featuring eerie melodies that contribute to the dark and mystical tone the film aims for. However, the sound editing, especially the jump scares, is overly excessive.

"Hellboy: The Crooked Man" is a film that tries to capture the essence of a complex universe with limited resources, resulting in a movie that feels more like a fan-made project than a true reinvention of the character. It is an example of how a low budget can severely compromise a film's potential, even with genuine effort from the production team.

Oddity delivers a unique cinematic experience, especially for horror fans who appreciate a slower, somewhat bizarre approach. It may not be a film that attracts large crowds, but for those who enjoy a narrative that builds gradually, drawing us in as the tension mounts, Oddity is a real gem.

The atmosphere is perhaps the most striking aspect. From the first minutes, we find ourselves in a dark, almost suffocating environment where every shadow and sound sends a shiver down our spine, creating a constant sense of unease. This atmosphere is further intensified by the dialogues, which are undoubtedly one of Oddity's highlights. All of this heightens our sense that something dreadful is lurking around the corner.

The suspense is another aspect worth mentioning. The tension builds up gradually, reminding me a lot of Longlegs (2024), another film released this year that shares a very similar atmosphere.

However, not everything is perfect. The biggest issue lies in the ending. After such a careful and meticulous buildup, the conclusion doesn't quite live up to what came before. There's a certain disconnect between the expectations I had as a viewer and the final resolution the film offers. It's not that the ending is terrible, but it simply doesn't match the level of tension and complexity the film had promised. However, I do acknowledge that the ending might appeal to other viewers.

Even so, Oddity is a solid film that stands out among this year's horror productions. It may not be the best of the year, but it's certainly one of the biggest surprises, especially for those who enjoy horror that emphasizes atmospheric build-up. The tension, mystery, and truly chilling moments are enough to recommend it to any genre lover. It may not be perfect, but it's a film worth watching and discussing, especially for those who appreciate a good slow burn.

"Charlie's Angels: Full Throttle" surprised me in a very positive way. I have to admit that the poor ratings on Rotten Tomatoes and IMDb lowered my expectations. However, the movie turned out to be an extremely fun and quirky adventure that won me over right from the opening scene.

The chemistry between Cameron Diaz, Drew Barrymore, and Lucy Liu is fantastic-they once again create a contagious energy that becomes one of the film's biggest highlights.

The action scenes are over-the-top and nonsensical, but that's what makes the movie so memorable. It's this lack of pretension and the willingness to embrace the absurd that transforms "Charlie's Angels: Full Throttle" into a fun guilty pleasure from the 2000s. The film takes us back to a time when action movies were carefree, without trying too hard to take themselves seriously or be something they're not, unlike many current blockbusters.

The movie does have some issues, like CGI that hasn't aged well in some scenes and a plot filled with inconsistencies and forced moments. But these are easy to forgive when you realize that the main goal is to entertain. And in that aspect, "Charlie's Angels: Full Throttle" delivers.

It's an experience that, despite its flaws, continues to captivate and entertain from start to finish. I really enjoyed this sequel and would recommend it to anyone looking for a good dose of nostalgia and unpretentious fun.

"Charlie's Angels" is a film that clearly doesn't take itself too seriously, and that might be exactly why it managed to captivate and entertain me, despite its numerous flaws.

When I think of an action-comedy from that era, it's easy to assume it will be filled with clichés and predictable scenes. And while this movie does have some of those issues, it still manages to stand out in a surprising way.

The chemistry between the three leads, Cameron Diaz, Drew Barrymore, and Lucy Liu, is undoubtedly the heart of the film. This group dynamic makes all the difference, turning it into more than just a sequence of extravagant action scenes. The actresses' charisma and energy are fantastic, and in many moments, they elevate material that could have easily been forgettable. Their interaction is the strong point of the narrative, creating a bond that I loved. This is an aspect that the 2019 remake failed to replicate, clearly showing that the original's magic lies largely in the connection between its protagonists.

The action scenes, although exaggerated and almost parodic at times, are crafted to keep the audience engaged and seem fully aware of their own ridiculous grandeur.

"Charlie's Angels" doesn't aim to be realistic; instead, it embraces an almost caricature-like aesthetic that becomes a hallmark of its identity. The acrobatic jumps and exaggerated martial arts-style fights are elements that, while not entirely believable, work well within the context of this universe where entertainment is the top priority.

However, I can't ignore the evident flaws in the script. The narrative feels rushed and underdeveloped, with abrupt transitions and several inconsistencies that might make more attentive viewers question the characters' motivations or the logic of certain events.

Even so, it's precisely this lightness and the ability not to take itself too seriously that makes it so captivating. The lack of depth in the script, which would be a significant downside in many other films, is almost forgivable here because it never tries to be more than what it is: an adventure full of action, humor, and appealing visuals.

The film presents an intriguing and promising premise. The story of a person who wins the lottery and then becomes the target of a relentless manhunt immediately grabs your attention. It's easy to see the inspiration from movies like "The Purge," where social violence and chaos are explored. However, while "The Purge" dives deep into brutality and the ethical consequences of a world where crime is temporarily allowed, "Jackpot" takes a different, less dark path, which makes it less impactful.

One of the main criticisms, in my opinion, is the lack of deaths or explicit violence. For a film that promises a wild chase, where tension should be palpable and the audience should feel in the protagonist's shoes, the absence of real danger takes away much of its strength. The decision not to include deaths seems like an attempt to appeal to a broader audience, but in doing so, the film misses the chance to become a truly intense dark comedy thriller. A major strength of a thriller is the constant sense of danger, the feeling that something irreversible is about to happen. In "Jackpot," that feeling never fully materializes, leaving the audience with an experience that, while entertaining, is much less intense than it could have been.

Another point I need to highlight is the use of humor in the film. "Jackpot" tries to balance the suspense of the chase scenes with moments of humor, but this balance isn't always achieved. While there are some jokes that work, none of them provoked a genuine laugh from me. There's a lack of consistency in the humor, which sometimes feels forced or out of place given the seriousness of the situation. This doesn't mean the humor should be eliminated; for example, dark humor could have been an excellent tool to underline the absurdity of the situation. Unfortunately, the film doesn't fully explore this potential, resulting in moments that, while entertaining, aren't particularly memorable.

On the other hand, the chemistry between the lead actors is undoubtedly one of the film's highlights. Awkwafina and John Cena have a dynamic that works well, bringing an authenticity that helps keep the audience engaged, even when the plot becomes predictable. Awkwafina, in particular, manages to balance drama and comedy in a very natural way. John Cena continues to surprise as an actor, showing that he has more to offer than just his physical presence.

"Jackpot" is an entertaining film but could have been much more. With such an interesting premise, a bolder approach was expected, one that wouldn't shy away from exploring its potential with tension and violence. The choice of a lighter tone, without deaths and with humor that doesn't always hit the mark, diminishes the impact the film could have had. Even so, it's an enjoyable experience, mainly thanks to the chemistry between the lead actors.

I watched "Balas e Bolinhos: Só Mais uma Coisa" without seeing the previous films in the series, which might have affected my experience. I tried to watch the first film a few days ago but ended up giving up because of its somewhat dated look. Still, I have to respect how an amateur production turned into one of the biggest phenomena in Portuguese cinema.

Not knowing the characters and their background left me feeling a bit "lost" during the film. I couldn't form a strong emotional connection with them, though I noticed that many people around me were excited about their return. It reminded me of the special appearances in "Deadpool & Wolverine," which were real treats for fans. This is a good sign, as it shows that "Balas e Bolinhos 4" appeals directly to its loyal audience. However, I felt the script could have been more cohesive. The narrative structure didn't grab me as much as other comedies do, which made the experience a bit less engaging. The story needed more strength.

Regarding humor, I usually enjoy comedies with darker and more sarcastic tones, like Sacha Baron Cohen's films, or traditional comedies like "American Pie," "This is The End," and "No Hard Feelings." In "Balas e Bolinhos: Só Mais uma Coisa," I laughed a lot in some scenes, while others left me indifferent, which is common in comedies-not every joke lands.

Technically, the film impressed me positively. The progress since the first installment is clear, with a production that moves far from the original amateurism. Luís Ismael shows significant cinematic maturity, and his team is highly skilled, deserving recognition and praise. This makes me think of him as the "Portuguese Steven Spielberg." However, I'd love to see him work on a more serious project, maybe a tense thriller like "The Silence of the Lambs," "Seven," or "Gone Girl." I'm sure he could excel in a different genre.

Overall, "Balas e Bolinhos: Só Mais uma Coisa" is far from a bad film. It's clearly made for fans of the series, and in that sense, it fulfills its purpose. If you're a follower of this saga, don't miss the chance to see this new chapter in theaters. If, like me, you're unfamiliar with the earlier films, it's worth a try-you might end up pleasantly surprised. But I recommend watching the previous films to better appreciate the context and characters.

"Coraline" is one of the most impressive animated films I've ever seen. From the moment it begins, it's impossible not to be captivated by its stunning beauty. The stop-motion technique gives the film a unique, almost handcrafted quality, as if each frame is art in its purest form. Every character movement, every detail of the scenery, feels carefully created to invite us into a dark yet fascinating world.

Director Henry Selick has created a universe that perfectly blends fantasy and reality. Coraline's world is dark and mysterious, but it also has an odd sense of comfort. It's a place where, despite the darkness, there's a certain tranquility, like being in a dream where anything is possible, yet dangers still lurk. It's curious how this film gives me a "pleasant" sense of solitude, as if I'm alone in that universe, accompanied only by the characters that inhabit this incredible story. It feels as though no one else is there, and somehow, that solitude is both lonely and comforting.

The characters are undoubtedly one of the film's greatest strengths. Each one is unique and peculiar. Coraline's parents, for example, are a bold critique of modern family dynamics and the pressures of work. They are always busy, distant, unable to give their daughter the attention she craves, which leads her to seek attention elsewhere and meet new people. It's a very realistic portrayal of how work can drive a wedge between us and those we love most, and how children can feel lonely and neglected, even when their parents are physically present but mentally absent.

But it's the "Other Mother" who truly stands out. She represents the temptation of what seems perfect. Unlike Coraline's real parents, who are flawed, she offers a world of pleasure and satisfaction, but at a terrible cost. It makes us think about how far we're willing to go to get what we want, and whether we're willing to sacrifice our authenticity for a life that, at first glance, seems perfect.

Overall, "Coraline" is undoubtedly one of the best animated films of all time. It's dark, emotional, fun, engaging, and even a bit scary. I wouldn't recommend it to very young viewers, as some elements verge on horror, but for those who can handle it, it's an enticing experience. This is a film that deserves to be immortalized in cinema, not just for its visual beauty, but for the depth of its story and characters. Every frame and line of this story is art in its purest form.

I decided to rewatch "V/H/S/2" to introduce this series to my brother. The film takes a dark approach, almost resembling a snuff movie, but always rewards us with creative twists that pay homage to various elements of horror cinema.

The film presents four short films directed by notable names in the genre, such as Simon Barrett, Adam Wingard, Eduardo Sánchez, and Gregg Hale (the creators of "Blair Witch Project"), Gareth Evans, and Timo Tjahjanto.

The movie begins with "Phase I Clinical Trials," which might be the weakest of the anthology. The premise involves a man who, after receiving an ocular implant, starts seeing spirits. However, the execution falls short. The concept is intriguing, but the short is hampered by a lack of tension, as well as makeup and cinematography that fail to create the necessary atmosphere for effective horror.

Moving on to "A Ride in the Park," we see a more creative and fresh take on the zombie subgenre. The idea of seeing the world through the eyes of a zombie is an interesting twist, especially in the context of found footage. This short stands out for its originality, offering a new perspective by showing things from the villain's point of view. Unlike the generic "In A Violent Nature," which used the same formula, this entry brought something new, keeping the viewer engaged and intrigued. It's an example of how a simple idea can be turned into something good when done right.

"Safe Haven" is, without a doubt, the highlight of "V/H/S/2." This short film, focused on a bizarre and terrifying cult, perfectly captures the essence of psychological and supernatural horror. The tension is palpable, and the narrative takes the viewer on an emotional rollercoaster, culminating in a shocking ending. The cinematography, atmosphere, and performances are exceptional, creating a very bizarre mood. This segment deserves to be expanded into a full-length feature.

The final short, "Slumber Party Alien Abduction," closes the anthology with an interesting take on alien invasion. While not the most impactful, it still manages to entertain and surprise. I recommend watching it with the volume up to enhance the sensory experience.

In summary, "V/H/S/2" is an anthology that, even though it doesn't fully capture the surprise of my first viewing, still offers moments of pure horror and creativity. It's an experience that, despite its imperfections, is worth revisiting-especially for those looking for something different in the horror genre.

I don't think "X" (2022) is a masterpiece. In fact, it's an average horror film that entertains but is quite unmemorable. "Pearl" (2022), on the other hand, was a technical and visual delight, with Mia Goth delivering an amazing performance. I loved it, but I don't plan to watch it again. I was looking forward to "Maxxxine" (2024) to see where Ti West would take the story next. Despite the mixed/negative reviews in the US, this third chapter of the trilogy surprised me, but I didn't find it fantastic.

The film impresses in the first 20 minutes with its 80s atmosphere, editing, cinematography, performances, makeup, and countless other positive aspects that made me think, "This could be one of the best films of the year." However, as the main plot unfolds, that initial strength fades. "Maxxxine" seems to get lost in underdeveloped plots and subplots. The multitude of characters that appear throughout the film end up weakening each one's impact. Except for the protagonist, the other characters are quite superficial, serving only for brief interactions before meeting their tragic fates at the hands of a not-so-mysterious killer. I don't think the film ever aimed for a "whodunit" atmosphere that makes the audience guess the killer's identity, but rather leaned towards a "giallo" vibe. This chapter would have benefited from being more contained in its ambition, focusing more on character development and maintaining the initial pace and atmosphere of the first 20 minutes.

Mia Goth, as Maxine, delivers a strong performance. Her character, still scarred by the massacre in the first film, tries to break into Hollywood. However, just because this character is played by a great actress doesn't mean she's automatically interesting or likable to the audience. In fact, I can say I hate Maxine and her terrible personality; she's selfish, lacks empathy, and is calculating. At one point, after the murders occur, the police ask for her help to prevent further killings. Maxine refuses, showing that she believes the victims should fend for themselves. It's hard to like her, but it's interesting to have a final girl who defies the usual "good girl" characteristics of other horror movie victims.

The film has its merits, no denying that. The meta-commentary on Hollywood and the homage to the 80s are notable aspects that enrich the narrative. However, "Maxxxine" seems to be a victim of its own ambition. If it had been more restrained, focusing on character development and maintaining the initial rhythm and atmosphere, it could have had a more significant impact. It's far from a cinematic disaster. It has potential, and several elements are worth appreciating, but it ends up getting lost in its execution. It managed to entertain me for its 100-minute duration, but it didn't leave me with a strong desire to watch it again.

"Longlegs" has been promoted as one of the scariest horror films in recent times, and the smart marketing campaign helped create high expectations. However, this strategy also led to some exaggerated perceptions, leaving some viewers disappointed with the final product. "Longlegs" is closer to a dark thriller than a conventional horror film, which might frustrate those expecting a typical genre approach.

The narrative is engaging, especially in how the investigation and hunt for the killer are carried out. The dark, profane, and satanic atmosphere significantly contributes to the film's overall mood. Technically, the film is brilliant, with fantastic cinematography and sound editing that create a dense, tension-filled environment. However, it's Nicolas Cage's performance that truly stands out. The veteran actor brings to life one of the most memorable serial killers in recent times, with both psychological depth and a bizarre, striking appearance. Cage delivers an intense and disturbing performance, making him one of the film's biggest highlights.

Maika Monroe, although not having the strongest role of her career, provides a solid performance that complements the narrative well. I wish her character could have been more developed, especially regarding the psychic powers she possesses, an aspect that could have been explored more deeply.

The film's pace might be considered slow by some, but I found it captivating. The sense of immersion was so intense that I lost track of time. Each scene seemed carefully constructed to keep the viewer engaged and intrigued. The presence of the devil as a backdrop in some scenes adds a morbid touch, compelling us to pay attention to every detail, making the atmosphere even more surreal.

"Longlegs" is not a masterpiece, but it stands out for being unconventional. The originality and boldness are, to me, fantastic aspects. Whether we like it or not, cinema needs more films that dare to step out of the comfort zone and offer something new and unexpected. Far from perfect, it is a unique cinematic experience that deserves to be appreciated by those open to new perspectives within the genre.

I had been wanting to watch this movie for a long time, and it finally arrived on the Filmtwist catalog. My expectations were high, and I have to say I liked the narrative, but I was expecting a different approach. I thought the story would present a beautiful friendship between the protagonist and the monster, helping him cope with his mother's impending death due to cancer, with a real physical interaction between them. I did not expect the monster to be a product of young Conor's imagination.

The film is very emotional, and the final minutes are moving, providing a valuable lesson on how to deal with loss. It is full of lessons and metaphors that enrich the viewer's experience. The stories told by the monster carry important messages, helping Conor understand and accept his feelings and the difficult reality he faces.

I felt a bit disappointed with the development of the secondary characters. Characters like Conor's grandmother, his father, or the school bully could have offered deeper and more engaging subplots but ended up not having the prominence I expected.

Visually, the film is a spectacle. The special effects used to bring the monster to life are impressive, and the animation of the stories he tells is beautiful. This is one of the aspects that make it clear that J. A. Bayona's direction is competent.

Overall, "A Monster Calls" is a good movie. I can't say I loved it, and it didn't move me as much as I expected. It's a work I recommend, especially for those who appreciate touching and reflective stories, even if it is not completely satisfying in every aspect.

I love horror movies, so I couldn't miss the chance to watch "Baghead". The film presents an intriguing concept, similar to "Talk to Me", where instead of the protagonists contacting the dead through a mysterious hand-shaped artifact, we have a young woman who inherits a pub and discovers a supernatural creature in the cellar that can take the form of deceased people.

It is a promising and original premise that opens up space for different narrative layers. However, "Baghead" chooses a more generic and conventional path, lacking depth or room for reflection. It could have become a reference in the horror genre, but it ends up being just mediocre, fulfilling the purpose of entertainment without ever standing out in a significant way, either positively or negatively.

As for the horror elements, the film relies on traditional jump scares. The cinematography manages to create a slight atmosphere in various moments, and the Baghead figure is truly frightening when its face is hidden. Unfortunately, the film makes the mistake of exposing the creature too much, making it less scary when we see its face, marred by low-quality CGI effects. I don't understand why horror movie producers continue to bet on this technology that, in most cases, ruins the visual and atmospheric impact of the scenes where it is used.

"Baghead" is, therefore, a bittersweet experience, leaving me with a more bitter taste. It has a promising atmosphere and a concept with immense potential, but it falters by following a superficial and generic vision. In the hands of another director, it could have been a masterpiece.