Superman (2025) Review​

 

As Lex Luthor plots from the shadows and an audacious new plan threatens Metropolis, Clark Kent must reconcile being a symbol of hope while still discovering who he truly is.

James Gunn’s film is pure comic book spectacle. It doesn’t carry the grounded gravitas of Richard Donner’s 1978 classic or the brooding Man of Steel, but it was never trying to. Instead, this is page-to-screen storytelling at its most vivid — panels come alive with bright colours, physics-defying action, and heightened performances. It wears its comic book roots proudly on its sleeve. The predictable and plodding Superman Returns is also surpassed. Gunn plays against expectations, and teased kidnap plots of loved ones (canines aside) thankfully never come to fruition. It offers nearly everything: heart, action, humour, and plenty of punch.

However, there’s undeniably too much CGI in play here — not just in quantity, but in reliance. Every cityscape, fight, and explosion feels dialled up to 11. The now almost obligatory wholesale destruction of Metropolis is once again trotted out — and frankly, it’s unnecessary. Audiences no longer need to see a city levelled to feel stakes or danger in superhero films. A little restraint and more old-school wire work would’ve gone a long way. Just because you can doesn’t mean you should.

Let’s address the elephant in the room: this is a film Henry Cavill could have effortlessly pulled off a decade ago. Dialogue-wise and physically, Cavill still has the presence and ability, but this isn’t the seasoned, commanding, mature Superman. James Gunn’s Supermandeliberately leans into a version of the character who’s only three years into his public life — less self-assured and still finding his place. In that regard, David Corenswet is a great choice. He brings a palpable earnestness and youthful uncertainty to the role, giving both the character and actor space to mature, grow, and, crucially, have many years ahead wearing the cape. It’s a shame we never saw Clark Kent transform into Superman.

The cast are uniformly fantastic. Corenswet’s Superman aside, Rachel Brosnahan’s Lois Lane and Skyler Gisondo’s Jimmy Olsen bring warmth and personality to their roles, while Nicholas Hoult’s Lex Luthor carries an unnerving, controlled menace — although he doesn’t quite yet top Hackman’s portrayal, Hoult’s less flippant and more hands-on cruel.

Special mention, however, goes to the supporting League characters, who frequently steal the spotlight. Nathan Fillion’s Guy Gardner/Green Lantern is an absolute riot, Isabela Merced’s Hawkgirl impresses with fiery charisma, and Edi Gathegi’s Mr. Terrific — well, he is terrific, offering sharp intellect and dry wit in equal measure.

Adding to the film’s Kryptonian legacy, Bradley Cooper and Angela Sarafyan portray Superman’s biological parents, Jor-El and Lara, in interesting turns, while Pruitt Taylor Vince and Neva Howell bring warmth and tenderness to Jonathan and Martha Kent, Clark’s adoptive human parents. Portuguese model-turned-actress Sara Sampaio is particularly notable and pivotal to the story as Lex’s girlfriend, delivering a performance that’s far more involved and substantial than expected, giving the narrative an extra spark of intrigue.

Although the war parallels are a little on the nose, the screenplay (penned by Gunn himself) delivers the expected comedy and emotion with a few welcome surprises, including a humorous Supergirl cameo by Milly Alcock. John Murphy’s score fits snugly within the action beats, evoking classic superhero motifs while finding its own identity. And while the clone subplot (no spoilers here) is a smart concept, it feels a little underused — a tantalising idea left teasingly on the table.

A few niggles aside — namely the CGI overload and predictable third-act city devastation — Superman delivers a funny, entertaining, and unashamedly comic book-flavoured blockbuster. Gunn’s affection for the source material radiates throughout. It’s fun, pacy, and loaded with larger-than-life characters — including Krypto the dog — you want to spend more time with. Metropolis in ruins and the digital effects overindulgence aside… I wasn’t prepared for such a gleeful, proper page-to-screen superhero outing.

M3GAN 2.0 (2025) Review

 

In the aftermath of the first film, roboticist Gemma (Allison Williams) and teen Cady (Violet McGraw) find themselves drawn back into danger when a rogue AI prototype named AMELIA (Ivanna Sakhno) threatens to upend what’s left of their lives – and the world. Their unlikely saviour? The revived M3gan.

M3gan 2.0 takes a bold pivot from the horror-thriller of the original into sleek sci-fi action. Returning director Gerard Johnstone and writer Akela Cooper avoid the tired copycat sequel route. It’s not quite Gremlins 2 levels of tonal shift, but it confidently plays against expectations right from the opening scene. Visually, the film has greater scope this time, with sharp nods to Metropolis and, in turn, Superman 3. Chris Bacon’s score expertly blends brooding sci-fi cues with pulsing modern flourishes, bolstered by a confident soundtrack selection.

The returning cast shine. Allison Williams brings depth, while Violet McGraw evolves with maturity. Amie Donald and Jenna Davis reprise M3gan’s eerie presence, guilt, and wit. Both Donald and Davis’s work is outstanding. The character work remains consistent, though M3gan’s face occasionally reveals the tell-tale signs of digital tweaks – a minor blemish in an otherwise polished production. Brian Jordan Alvarez and Jen Van Epps are on form. Newcomer Ivanna Sakhno makes an imposing, unsettling AMELIA, while the humorous Jemaine Clement and Tim Sharp are notable.

There’s more outlandish robot shenanigans, the body count is higher, and while the new storyline lacks the creepy factor of the first, Johnstone delivers great action setups with plenty of excellent practical special effects, CGI, and sci-fi thrills.

Overall, M3gan 2.0 avoids the easy sequel trap by shifting tone while staying true to the character’s unsettling appeal. It’s stylish, fun and certainly entertaining.

Jurassic World: Rebirth (2025) Review

 

Years after the fall of Jurassic World, a covert operation to recover the blood of dangerous hybrid dinosaurs from a remote island spirals into chaos after the team of mercenaries rescues a stranded group at sea.

The dinosaurs roar once more in Jurassic World: Rebirth, with director Gareth Edwards delivering a tense, white-knuckle thrill ride that channels Steven Spielberg, Michael Crichton, Universal's franchise legacy, and 1950s & '60s dino creature features.

Scarlett Johansson gives a strong, grounded performance, perfectly paired with Mahershala Ali and the likeable Jonathan Bailey. The supporting cast impresses, with Rupert Friend, Ed Skrein, and Manuel Garcia-Rulfo (notably memorable as Ruben) standing out. David Iacono is effective as Dobbs, while Aurélia Miranda and Philippine Velge provide fresh faces with plenty of presence.

Written by David Koepp, returning to the franchise, Rebirth reworks several Crichton novel elements never previously adapted to screen, giving long-time fans something new amidst the familiar terror. After a flashback the film opens with a striking city sequence that cleverly teases the global dinosaur decline before shifting to a tense, atmospheric sea adventure setup. The mountainous island location — complete with ancient temples and dense jungle — gives the film a pulpy, old-school adventure vibe. The closing evokes Jurassic Park’s best moments. It’s just a pity the franchise always feels the need to invent über-dinosaurs; real dinosaurs are already intriguing and terrifying enough. While the CGI isn't always flawless and the hybrid dinosaur count edges a little high, Edwards keeps the tension razor-sharp-throwing into the mix Jaws, Indiana Jones vibes, and classic monster movie DNA, with affectionate nods throughout.

Alexandre Desplat's score, weaving in classic John Williams themes, adds a nostalgic, sometimes eerie undertone, heightening moments of suspense and action.

It's a missed opportunity, however, that The Lost World: Jurassic Park's Isla Sorna wasn't revisited, which would've deepened the connection to the original trilogy. That said, the sprawling new island-complete with an ancient temple-delivers thrills worthy of its predecessors.

Despite minor flaws, Jurassic World: Rebirth stands as Edwards' thrilling, reverent love letter to Spielberg, Crichton, and the cinematic creature features of old.

Ballerina (2025) Review

 

When Eve Macarro's assassin father is killed, she sets out to avenge his murder within the deadly underworld of the John Wick universe.

Set before John Wick 4 Ballerina slots confidently into the John Wick world, delivering a visually striking, atmospherically rich action thriller. It may not break new ground narratively, but it delivers brutal, balletic action and seamless integration into the established mythology.

Ana de Armas impresses both physically and emotionally, handling intense stunt work with conviction. She crafts a character distinct from Wick while honouring the franchise's style.

Franchise regulars return effectively: Anjelica Huston's Director, Ian McShane's Winston, and the late Lance Reddick's Charon (handled with care). Both Norman Reedus and Gabriel Byrne are welcome new additions, their grizzled presences fitting naturally into this world. Keanu Reeves also appears briefly in subtle, non-intrusive cameos as John Wick, a nod that enhances the film's connection without overshadowing the new lead.

The film looks superb. Romain Lacourbas' cinematography bathes scenes in moody blues, ambers, and deep shadows, echoing Parabellum while giving Ballerina its own visual identity. Despite behind-the-scenes changes and additional photography overseen by Chad Stahelski following poor test screenings, Len Wiseman directs with clarity, staging tight, inventive action sequences.

Tyler Bates and Joel J. Richard's score complements the visuals, weaving industrial synth and mournful cues that nod to the series' established soundscape.

Overall, while Ballerina doesn't greatly expand the mythology, it's a satisfying revenge yarn and a well-produced chapter. A sequel led again by de Armas would be very welcome.

28 Years Later (2025) Review

 

After a dangerous journey with his father to the mainland, witnessing firsthand how the Rage virus has evolved, Jamie and his mother Anna return to a devastated Britain, seeking help and answers they can't find in the heavily fortified tidal causeway seclusion of Lindisfarne Island - with deadly consequences.

Danny Boyle takes back directing duties for this third instalment, retaining the signature observational grit and raw tension from 28 Days and Weeks Later. The tone is familiar but fresh, and it lives up to its title.

Cinematographer Anthony Dod Mantle frames the post-apocalyptic landscape with haunting visuals - ruined buildings, forests overtaking roads and settlements, beautiful sunsets and sunrises. Boyle includes Hadrian's Wall and the Sycamore Gap tree (which was criminally cut down in 2023), grounding the film in unsettling reality.

Editor Jon Harris crafts a suspenseful rhythm using old film clips - silent half-beats broken by sudden bursts of violence or ominous breath. Music by Young Fathers, along with the sound design, builds atmosphere: from distant growls to echoing footsteps, the world is alive - or infected - beneath the quiet.

28 Years Later echoes thematic threads from Survival of the Dead (the island idea), the "Alpha" concept in Army of the Dead, and Dawn of the Dead (2004)'s pregnancy scene, yet avoids copying. Danny Boyle, with a new story written by Alex Garland, expands the Rage universe while playing against audience expectations.

Young Alfie Williams delivers a quietly powerful performance as Spike - vulnerable, fierce, and believable. Oozing screen presence Aaron Taylor-Johnson Jr. Is impressive as Jamie, even if the script gives him limited screentime. Jodie Comer brings depth to Isla, though her character never quite earns the full sympathy the heroes did in earlier films. Ralph Fiennes' affecting presence is a welcome addition.

Like the stunts the gore and make-up effects are stomach-churning - visceral, wince-inducing, and startlingly real. Surprisingly classified with a 15 certificate in the UK, the film isn't afraid to get its hands dirty. In its left-field ending, it teases a connection back to the original's opening, leaving a chilling sense of continuity and the promise of more violence and death to come.

Overall, 28 Years Later is bloody, and unexpectedly heartfelt. It honours the legacy, surprises expectations, and leaves you haunted. An entertaining, if occasionally uneven, expansion of Boyle's dark, virus-ravaged world.

Predator: Killer of Killers (2025) Review

 

Ursa the Viking (Lindsay LaVanchy), Kenji the ninja (Louis Ozawa), and Torres the WWII pilot (Rick Gonzalez) each face Predator infested arenas in their respective eras, where their journeys collide in a climactic clash on the Predator homeworld.

Prey director Dan Trachtenberg returns (this time co-directing with Joshua Wassung) to animate the Predator mythos, teaming up again with writer Micho Robert Rutare. Produced by John Davis, Trachtenberg, Marc Toberoff and Ben Rosenblatt, with Benjamin Wallfisch scoring, the film delivers an entertaining globe trotting Predator yarn. That would have also made a good live action film with some tweaks. Visually, it's Unreal Engine animation with painterly textures, striking characters, but the low game frame rate is occasionally jarring, lacking some fluidity.

Michael Biehn's gravel toned voice as Vandy is a delightful addition. The connection to Prey (also Predator 2) is welcomed. The engraved "Raphael Adolini 1715" pistol, the cryosleep pods, and Naru's cameo extend the narrative arc. Still, it's a shame that Dutch, Harrigan, Royce or McKenna are nowhere to be seen. Their absence feels like a missed nod to fans of the original live action sagas.

Overall, Danny Yranburg and team succeed in charting new ground: dynamic, gory, tightly paced, and reverent to Prey's spirit. Despite the frame rate, Predator: Killer of Killers is a bold and striking addition to the canon.

The Good, the Bad and the Ugly (1966) Review

 

Three gunslingers compete to find a fortune in buried Confederate gold amidst the violent chaos of the American Civil War.

One of the greatest Westerns ever made. While Spaghetti Western For a Few Dollars More is debatably the better tale, The Good, the Bad and the Ugly is grander in scale and scope (thanks to director of photography Tonino Delli Colli), with the main characters even getting caught up in the New Mexico Campaign of 1862 — complete with war camps, prisoners, and an exploding bridge.

Clint Eastwood returns to the genre as protagonist Blondie (aka The Man with No Name), alongside Lee Van Cleef, who this time plays Angel Eyes (The Bad). Both Eastwood and Van Cleef are outstanding, with Sergio Leone’s 1966 offering benefiting from the addition of Eli Wallach, who delivers a sterling and memorable performance as Tuco Ramirez (The Ugly). The characters, written by Age & Scarpelli, Luciano Vincenzoni, and Leone (with additional material provided by an uncredited Sergio Donati), are well-defined archetypes, constructed perfectly.

The Good, the Bad and the Ugly features one of the greatest crescendo-building endings ever, and the film is complete with Leone’s perfectionist directorial trademarks. Ennio Morricone’s iconic theme completes the package, with a score that complements the three players double-crossing each other throughout to the closing Mexican standoff.

You can feel the heat and taste the dust in this highly influential, recommended Western.

For a Few Dollars More (1965) Review

 

Two bounty hunters — the enigmatic Man With No Name (Clint Eastwood) and the vengeful Colonel Mortimer (Lee Van Cleef) — cross paths while tracking the sadistic outlaw El Indio (Gian Maria Volonté). Initially at odds, they forge a wary alliance as the hunt spirals into a violent reckoning.

Of the three films in Leone’s Dollars Trilogy, For a Few Dollars More arguably boasts the strongest emotional narrative of his Spaghetti Westerns. Where Fistful was primal and The Good, the Bad and the Ugly sprawling, this entry finds perfect pacing and character interplay. Eastwood returns in fine form, but it’s Lee Van Cleef’s steely, vengeful Mortimer who provides the film’s moral spine and one of the genre’s finest performances.

Volonté, this time as the deranged Indio, chews every sun-bleached frame, while Mario Brega and other Leone regulars return in new guises — a clever touch that lends the trilogy a strange, shifting mythic quality. Morricone’s score is again magnificent, with the recurring musical watch motif providing one of cinema’s most memorable audio cues.

Leone’s command of pace, widescreen compositions, and operatic violence is unmatched here, with costumes and set design evoking a lawless, surreal frontier. It’s a film that lingers long after the final standoff.

Overall, it remains the finest story of the three Spaghetti Western classics — expertly acted, perfectly paced, and driven by Morricone’s unforgettable music

A Fistful of Dollars (1964) Review

 

A lone, nameless gunman arrives in a dusty border town torn apart by two warring families. Playing both sides against each other for his own gain, the drifter becomes a catalyst for violence, betrayal, and bloodshed.

While not the first spaghetti western, A Fistful of Dollars (1964) is widely regarded as the film that redefined the genre, shattering the influence of traditional American westerns. Sergio Leone's landmark offering took cues from Akira Kurosawa's Yojimbo and, to a lesser extent, Dashiell Hammett's Red Harvest, stripping away heroic archetypes in favour of morally grey antiheroes, ruthless violence, and dusty cynicism. Its DNA is so durable it would later inspire the likes of Walter Hill's Last Man Standing (1996), a direct reworking of the same core plot.

Over sixty years since its release, Leone's direction remains razor-sharp, conjuring a bleak, dangerous frontier where survival comes at the barrel of a gun. With some impressive makeup effects, Ennio Morricone's iconic score - sparse, eerie, and punctuated by whistling and gunfire - set a new standard for western soundtracks, becoming as essential to the film's character as its visuals.

Clint Eastwood, shedding the clean-cut image of his Rawhide days, delivers a career-defining performance as The Man with No Name. Taciturn, cunning, and lethal, Eastwood's portrayal laid the foundation for a new kind of western protagonist. Gian Maria Volonté offers suitably volatile menace as Ramón Rojo, while Marianne Koch brings quiet strength as Marisol, a woman caught in the crossfire.

The film builds steadily toward a memorable, tension-soaked finale - a showdown as stylish as it is brutal, solidifying Leone's gift for staging violence as operatic spectacle.

Fistful of Dollars changed the western forever, dragging it into rougher, dustier, and more morally ambiguous terrain. A genre milestone that still holds power.

Timebomb (1991) Review

 

After watchmaker Eddy Kay recuses a woman and her baby and is recognised on the News by a shady agent ad then an attempt is made on his life triggers haunted violent visions and latent combat skills and he is caught in a deadly conspiracy.

Timebomb feels oddly dated for a 1991 release. Directed by Avi Nesher, known for inventive genre projects, it echoes the tone of an '80s action-thriller. The plodding plot brings to mind elements from The Bourne Identity, The Manchurian Candidate, Total Recall.

Michael Biehn leads with his usual magnetic intensity as Eddy Kay. Best known for genre-defining roles in The Terminator, Aliens, and The Abyss, Biehn help lifts the film well beyond its modest production values. Supporting cast include Patsy Kensit (Lethal Weapon 2), Richard Jordan (Logan's Run, The Hunt for Red October), and martial artist Billy Blanks (The Last Boy Scout). Behind the camera, cinematographer Anthony B. Richmond (Don't Look Now, Candyman) and composer Patrick Leonard (At Close Range, The Secret of My Success) provide notable craftsmanship. The synth-heavy score fits the film's retro-futuristic mood, with the closing theme The Changing Man sounding like a lost demo Marillion track.

Despite the assembled talent, Timebomb never quite escapes its low-budget '80s B-movie vibe. Still, for fans of paranoid, retro action thrillers, it's a curious odd footnote - made watchable largely thanks to Biehn's committed performance.