Matt Damon plays a tough, quiet man who seems out of step with the world around him. He travels to France to help his daughter, who’s caught up in a complicated legal case. This could’ve been a flat, cliché role, but Damon brings nuance, restraint, and realism to the character. The film starts off like a straightforward thriller, almost like a procedural, but soon shifts direction. What begins as an investigation becomes a much more intimate story about human connections and unspoken pain. That change works in some scenes, but in others it feels jarring—the tone wavers and not everything flows naturally. The script brings up strong themes: guilt, cultural differences, the weight of family, the desire for redemption. But it doesn’t always handle them well. Some parts drag, and others are rushed, leaving certain moments without the emotional impact they seem to aim for. Still, there are some really effective scenes, especially when the film slows down to focus on everyday life. It’s in the quiet details—a glance, a short exchange, a hesitant gesture—where the story finds its emotional core. Camille Cottin brings warmth and honesty to her role, and her chemistry with Damon gives the film some of its most heartfelt moments. As it moves forward, the movie steps away from being a thriller and turns into something more reflective. It’s about second chances, about trying to understand people who feel completely foreign. It doesn’t all land, but there’s a sincerity running through it. Maybe it’s not perfect—but it does leave something behind.

Mel Gibson directs a light thriller, very much in the vein of those movies you’d stumble upon while channel-surfing on a Friday night—and end up watching until the end. Flight Risk doesn’t pretend to be more than it is: simple entertainment, and it more or less delivers. The story moves at a decent pace and doesn’t drag, and its short runtime is a plus. But don’t expect memorable scenes or complex characters. What drives the film is straightforward action, cheesy dialogue, and a few over-the-top twists that go down easier if you don’t overthink them. Wahlberg does fine as the reluctant pilot, though he fades into the background at times due to weak effects and forced moments. What works best is the film’s unmistakable '90s vibe—that feeling of "I’ve seen this before, but it’s kind of fun." What doesn’t work is how little it brings to the table. It’s a decent ride while it lasts, but once it lands… you’re already thinking of something else.

I enjoyed watching it, but it doesn’t reach the level of the first one. The Accountant 2 loses much of what made the original stand out: its pace, its tension, and especially its action. Everything here feels slower, more tangled, and although there are still good moments, it lacks that sharp, focused drive of the first film. The story tries to expand the character’s world and dig deeper into his relationships, and in some ways it works. There’s chemistry, some clever callbacks, and you can tell they aimed for something more complex. But at times, it feels overdone: too many subplots, too much explaining, and not enough energy where it matters most. Still, it works as a sequel. Far from a failure. It has fun moments, the characters click, and a few scenes are well crafted. Ben Affleck holds the character nicely, though with less physical presence this time. And his dynamic with Bernthal brings a bit of “buddy movie” energy that actually helps. The main issue is the lack of action. There are a few sequences, but nothing as memorable as the first. That blend of sharp violence and quiet emotion is mostly gone here, and it shows. All in all, it’s an easy watch and an enjoyable follow-up, but far less impactful. It holds your attention, but you probably won’t rush to see it again.

I really liked it. Warfare doesn’t try to impress with speeches or big lines. It just drops you into hell—and leaves you there. This is one of the most realistic war films I’ve seen in a long time, and that’s no accident: one of the co-directors actually lived what the movie portrays, and you can feel it in every frame. The rawness doesn’t just come from blood or gunfire, but from the way it handles silence, tension, and fear. There are no heroes here. No epic moments or lines to quote. Just men trapped in something far bigger than themselves, reacting the only way they can. It’s exhausting—because war is. The pacing is physical, almost suffocating. Everything feels real: the movement, the mistakes, the trembling, the empty moments. And that’s what makes it work. It doesn’t tell a story, it relives a memory—one you can’t shake off. I also like that nothing is spoon-fed. There’s no underlining, no moralizing. Just action, decisions, and consequences. The camera doesn’t judge. It just watches. And that’s what makes it even more disturbing. It’s not a film for everyone. But if you're into real war cinema, without filters or glorification, this is essential. Because in war, there are no heroes. Only victims. And this film makes that clear from the very first minute.

It has a From Dusk Till Dawn vibe, but set in the 1930s. Vampires, gangsters, violence, musical numbers... all mixed into a cocktail that works in some moments and feels flat in others. Honestly, I was expecting more—maybe because of the hype—and in that sense, it let me down a bit. The film starts strong, full of style and confidence. But as it moves forward, that energy begins to fade. Some scenes build up tension but never fully explode. It feels like the movie can’t decide what it really wants to be. Still, it’s watchable. What really won me over is the music. It’s fantastic. Not only does it complement the tone, but at times it literally carries the rhythm and gives depth to scenes that would’ve otherwise fallen flat. Without the soundtrack, this film would’ve lost a lot of its punch. There are some powerful visuals and a committed cast. But overall, it doesn’t quite come together. It's entertaining, sure—but not unforgettable. You enjoy it in the moment, but it doesn’t stay with you. I’ll give it credit for style and ambition. With tighter editing and a clearer tone, it could’ve been something truly special.