I came in with the “horror film of the year” buzz and, honestly, left disappointed. There are a couple of set pieces that freeze your blood and the craft is strong —disgustingly effective makeup, some unsettling daylight shots— but when it needs to sustain fear, it leans on shock and gore. That’s not the same. Rugna nails unease and harshness, yes, but he often confuses discomfort with horror: it churns your stomach more than it scares you. The opening teases a rural folklore and a universe of “embichados” that could’ve been fascinating. Yet the rules never feel clear, the script lurches forward, and characters stack up head-slapping choices that pull you out. When the film explains its mythology, it loses steam; when it accelerates, it piles on splatter to cover the lack of tension. There are bold, bright ideas, but they don’t quite cohere. On the minus side: uneven rhythm, talky exposition that punctures atmosphere, and a finale that doesn’t land the blow. On the plus: a few devastating moments, a lean, no-nonsense staging, and a ruthless tone some will love. I left thinking it’s more brutal than truly terrifying.

Gerard Butler returns to what he does best: an action thriller where logic takes a back seat. The Pilot doesn’t aim for realism, nor does it need to. It’s full of impossible scenes and over-the-top moments, but it delivers on its promise: keeping you engaged for nearly two hours with a brisk pace and plenty of intense sequences. The real strength lies in Butler, once again proving why he still works so well as an old-school action hero. Alongside him, Mike Colter brings the solidity needed to keep things interesting, even when the script leans on clichés we’ve seen countless times. Their chemistry elevates material that, in other hands, might have felt much flatter. Jean-François Richet directs with fast, straightforward action and no unnecessary frills. Some situations may resolve a bit too easily, but the narrative pulse is strong enough to never lose the viewer. At times, it recalls those 1980s video-club action flicks, where spectacle mattered more than credibility. This isn’t about deep twists or innovation. The Pilot is “fast food” cinema: quick, straightforward, easy to forget, but effective at what it offers. Explosions, fights, and suspense, with plenty of room for uncomplicated fun. Ultimately, it may not leave a lasting mark or change perceptions of the genre, but it delivers what it sets out to: escapism and action, Butler-style. And in that sense, it works perfectly.

The first film wasn’t a masterpiece, but it had a certain charm and a John Cena who stole every scene. In this sequel, the formula is repeated with the same jokes, the same gags, and the addition of Steve Buscemi. On paper, it sounded like a great idea, but in practice it adds very little that feels fresh. The chemistry between the leads is still there, especially in the scenes shared by Cena and Lil Rel Howery, but the story feels much more forced. Where the first movie had a lighter rhythm, here everything drags with repetitive situations that make the humor lose its punch far too quickly. The script leans on the same tricks without finding a new way to surprise. It’s like hearing a joke that made you laugh once but falls flat when repeated. The attempt to push things further only backfires: what should be outrageous often ends up exhausting. Still, there are a few moments that manage to get some laughs, and the cast’s energy keeps it from being a complete mess. The problem is that the original’s charm has faded, and what’s left is an unnecessary sequel that never justifies its existence. Vacation Friends 2 entertains here and there, but it quickly becomes tedious and proves once again what happens with this kind of comedy: when you repeat the same formula without adding anything new, the result is weaker than the original.

Comedies like Fleeting Friends don’t aim to reinvent the wheel, but sometimes they achieve the simple goal of making you laugh for a while. This one does, even if not always with the same punch. The film leans on absurd situations and over-the-top characters, which deliver some funny moments, though it also falls into some very familiar clichés. The highlight, without question, is John Cena, who seems to have a natural gift for comedy. His presence lights up every scene and manages to rescue even the weaker jokes. The rest of the cast is solid, but he’s the one who keeps things entertaining when the humor starts to lose steam. The plot does get repetitive at times, with jokes that lose their bite from being overused. The script doesn’t take many risks and often relies on easy exaggerations or sentimentality, which limits the film’s impact. Still, there’s a freshness in the group’s chemistry and in the carefree tone that drives the story. It’s not a memorable comedy or one that will become a cult favorite, but it’s not a disaster either: just a light option to switch off and have some fun. In short, Fleeting Friends offers occasional laughs and a John Cena who once again proves he can shine in any role. It won’t make history, but it doesn’t pretend to be more than it is: passing entertainment.

At first it looks like a light romantic comedy, but soon the tone shifts into something far more unsettling. Fresh, Mimi Cave’s debut, balances the everyday with the macabre, and while the subject can feel disturbing, it keeps you hooked with a mix of tension, dark humor, and a very personal style. Daisy Edgar-Jones is the film’s greatest strength, delivering both vulnerability and strength in equal measure. Opposite her, Sebastian Stan shines as a seductive yet disturbing villain, capable of fascinating and repelling at the same time. The twisted relationship between them drives much of the story and makes it impossible to look away. Cave’s direction stands out for how she uses staging and sound to create unease. She doesn’t rely on cheap scares; instead, she builds an increasingly tense atmosphere. The violence is there, but what hits hardest is the sense of watching a distorted portrait of modern relationships. It’s true the film loses some impact toward the end and falls into a bit of repetition, but it never stops being engaging. It has pace, characters that work, and a script bold enough to push further than expected for a debut. Fresh won’t be for everyone, but it’s daring and different. Mimi Cave shows she knows how to hold the audience’s attention and that she has plenty of potential in the genre.