The second James Bond adventure arrives with far more confidence than Dr. No and begins to shape the “Bond formula” that would later become iconic: more action, a memorable villain, exotic locations, and Sean Connery fully embracing the role with style and charisma. The story blends classic espionage with Cold War intrigue. There are no world domination schemes yet, but a smaller — and equally deadly — target: a Russian decoding device that SPECTRE plans to use to trap 007. In the middle of it all, Tatiana Romanova serves as bait, and Bond is dragged into a dangerous game that, while sometimes predictable, holds the tension effectively. The action sequences are the film’s highlights: the fight aboard the Orient Express against Red Grant remains one of the saga’s most intense, and the helicopter climax proves the franchise already knew how to deliver spectacle without losing elegance. Connery shines more confidently than ever, Daniela Bianchi brings glamour, and Pedro Armendáriz leaves a heartfelt final performance. Supporting characters like the chilling Rosa Klebb round out a strong cast that enhances the classic thriller atmosphere. Some passages may feel dated today or slower than modern audiences are used to, but the film breathes style, wit, and adventure. It’s not just a good Bond movie — it’s proof of how the saga began turning into a global phenomenon.

The new M3GAN installment arrives with the intention of reinventing the franchise, shifting its focus toward a rebellious supersoldier that brings a fresh twist to the original premise. The downside is that, in doing so, the film sacrifices much of the horror that made the first one so enjoyable, leaning more into action-thriller territory with splashes of comedy. There’s no denying the movie is entertaining, but it’s also uneven. Some scenes work great, especially when M3GAN takes the spotlight with her signature mix of irony, sass, and violence that made her an instant icon. Yet other moments drag, stretching situations that don’t add much. What stands out is that, even while being louder and more outrageous, it feels more calculated. The surprising freshness of the original fades, replaced by a script that juggles too many ideas without fully developing them. The result is a fun cocktail, but one that’s less memorable than it could have been. Still, M3GAN keeps her charm. The doll remains funny, unsettling, and magnetic whenever she’s on screen. And while this sequel isn’t as sharp as the first, it delivers what it promises: light entertainment built on technological excess and dark humor.

What’s interesting about Melanie: The Girl with All the Gifts is how it manages to breathe new life into a genre that seemed exhausted. From the start, the story feels familiar —infection, survival, divided groups— but it approaches it from a different angle, one that leans more on reflection than on cheap scares. Melanie’s relationship with the adults sets the tone early on. This isn’t the typical “humans versus zombies” setup, but something more unsettling and complex: what happens when the so-called “enemy” is a child who can think, feel, and empathize? That ambiguity makes every scene more disturbing than expected. At times, the movie recalls Lord of the Flies, especially when the characters are forced to survive in a world without rules, testing their morals as much as their strength. The tension doesn’t just come from the infected, but from the difficult choices the survivors must face. Colm McCarthy directs with restraint, keeping things grounded and solid. Glenn Close and Gemma Arterton deliver strong performances, but it’s Sennia Nanua who leaves the deepest impression: her acting balances innocence and menace in a way that feels both surprising and powerful. Beyond suspense and action, what lingers most is the underlying question: do we keep fighting for the world we know, or do we accept that the future may belong to someone else? That doubt runs through the entire story, giving the film a philosophical weight that sets it apart from others in the genre. Without reinventing the formula completely, The Girl with All the Gifts stands out as an intense, original, and memorable work. It’s the kind of film that sticks with you, because in the end it speaks less about zombies and more about us.

Watching Dr. No today feels like looking back at the beginning of one of the longest-running and most successful film franchises in history. What’s striking is how, even in this very first entry, the foundation of James Bond was already in place: action, intrigue, glamour, irony, and an extravagant villain. Sean Connery bursts onto the screen with overwhelming charisma, setting a standard that remains a reference point more than sixty years later. The plot, while simple and perhaps naïve by today’s standards, works perfectly to introduce the character. Its pace is sharp, and it balances intrigue and action well, even when some moments veer into self-parody. Yes, some effects and situations feel dated, but they retain a unique charm that keeps the film engaging. Ursula Andress emerging from the sea in her white bikini remains one of cinema’s most iconic images, transcending the Bond franchise itself. That mix of sensuality, exoticism, and adventure perfectly captures the spirit of what this first installment offered audiences. The film may feel old-fashioned now, but it’s still entertaining and shows how a myth was built. It’s not the most spectacular of the series, but it has freshness, style, and the energy of a pioneering work that laid the foundations for everything that came after.

The idea of two friends trapped at the top of a 600-meter tower sounds, from the start, a bit far-fetched. It’s not something most of us would ever do in real life, and maybe that’s why it’s hard to connect with the premise at first. However, the film manages to grip thanks to the constant tension and the sheer vertigo it conveys from the first climb to the final shot. It’s the kind of movie you experience more for the physical reaction than for realism. The script isn’t exactly subtle. The dialogue is sometimes weak, and the characters’ motivations feel somewhat forced, as if they were excuses to drag them up the tower. Even so, when the camera leans over the void and height becomes the true protagonist, everything else fades into the background. That’s where Fall delivers: it makes your palms sweat even if you’re safe on your couch. Despite its limited premise, the direction makes the most out of it. The aerial shots, the sound of the wind, and the sense of isolation work perfectly. Even when the story throws in some far-fetched twists, the tension never fully disappears. It’s survival cinema in its most basic form, but still effective. The biggest issue is that after the first hour, the movie starts repeating itself. It stretches the suspense too long and risks losing impact. At those moments, you realize that trimming twenty minutes would have made it sharper. Still, it remains entertaining and manages to hold attention. In the end, Fall isn’t a masterpiece of the genre, but it doesn’t need to be. It’s a simple, direct experience that plays with fear of heights and pushes it to the extreme. For those looking for quick thrills and a dose of well-dosed tension, it does the job. It might not stick for long, but while it lasts, it delivers exactly what it promises: making you stare into the void with a knot in your stomach.