Reviews

The annoyingly verbose "Ben" (Owen Wilson) arrives in Brisbane aboard a private jet tasked with delivering a liver that could save the life of the young "Ellie" (Scarlett Crabtree) whose mother "Kate" (Leila George) is gradually climbing the walls. His ride to the hospital is to be provided by "Hank" (Alan Ritchson) who isn't best impressed that his passenger suffers from an excitable form of verbal diarrhoea - but that's just the start of his woes as they both discover that this organ is particularly rare and that the local branch of the Colombian drug-peddling mafia are determined to get their hands on it. What ought to have been a straightforward courier job quickly becomes an action-packed race across the country leaving wreckage, carnage and quite a few bodies in their wake. Naturally, as their battle for survival hots up, the two begin to bond a little - but what chance they can...

Check out my full review @ https://www.bsbinsider.com/sense-and-sensibility-earns-its-own-place-next-to-the-1995-classic/ Rating: B SENSE AND SENSIBILITY is a well-made, well-acted new adaptation of Jane Austen’s novel, and it earns its own place next to it. Daisy Edgar-Jones and Esmé Creed-Miles shine as Elinor and Marianne, and turning the sisters’ love into the main love story is the film’s best decision. The rest of the cast makes these roles their own, Georgia Oakley’s moody, nature-driven filmmaking gives it a distinct identity, and Roger Goula’s intimate score is a great companion throughout. It’s also a more serious, sentimental take that misses the humor and feels its runtime. At times it drifts into soap-opera territory, with a polite rather than charming romance between Elinor and Edward, and late twists that don’t land as hard as they should. I liked it enough. I just never...

I've never really been a fan of the period rom-com, but hats off to Georgia Oakley and Diana Reid for loosening some of the corset strings and presenting us with an actually quite amiable adaptation of Jane Austen's story of love and loss amongst the English upper-middle classes. Daddy "Dashwood" has passed away leaving his extensive property portfolio to his son by his first marriage (Tom Brooke) and so his second family that includes his widow (Caitríona Balfe) and their four daughters are out on their ear. Luckily, a distant cousin hears of their predicament and offers to help, so next thing they are all living in a substantial farmhouse as guests of the effusive and voluptuous "Mrs. Jennings" (Fiona Shaw) and her affable son-in-law "Sir John" (Turlough Convery). Now established in their new home, the story shifts to focus on their complex love lives and that sees "Elinor" (Daisy...

Street Fighter has its moments, but it never quite comes together. There’s some fun in seeing these characters brought to life, and the action provides occasional entertainment, but the story gives you little reason to care between fights. The cheesiness sometimes works in its favor; other times, it just makes everything feel awkward. I wasn’t expecting a deep story, but a stronger sense of momentum and more memorable character interactions would have gone a long way. An uneven diversion with enough appeal for a casual watch, but little that sticks afterward.

Check out my full review @ https://movieswetextedabout.com/street-fighter-movie-review-callina-liang-stands-out-in-a-dumb-fun-adaptation/ Rating: B- STREET FIGHTER delivers exactly what it sells: dumb fun packed with references for fans of the game, made by people fully aware of how silly the whole thing is. The 2D animated sequences are the clear highlight, the fights are intense and energetic, and the neon-retro look and practical sets give it more personality than the recent Mortal Kombat films. Callina Liang stands out from the cast, but Noah Centineo and Andrew Koji also make a compelling pair. It tries to do far too much, burns runtime on Bison’s sequel-baiting, skips half of its own tournament, and misses most of its jokes. Still, it’s a light, entertaining time at the cinema. If indeed there’s a second round, I’ll most likely be there.

As someone who grew up mastering combos and bonding over *Street Fighter* across console generations with my brother, this adaptation delivered everything we hoped for. The filmmakers clearly respect the source material: from the UI fonts and audio cues to signature move choreography and mid-fight banter, the film is packed with authentic Easter eggs that reward longtime fans without getting bogged down in tedious exposition. At its core, the emotional anchor is the relationship between Ryu and Ken. Their dynamic carries genuine heart, blending earned humor with high-stakes resolution. The action sequences deliver crisp choreography and striking, game-accurate stage aesthetics, all backed by an energetic soundtrack. The casting across the board hits the mark. Cody Rhodes brings great presence and charisma to Guile—my only real critique is simply wishing he had more screen time and...

I didn't regret watching it, a lot better than the older Street Fighter/Mortal Kombat movies. I liked the flow, the characters & actors, the fighting moves, and the use of anime sequences (changing to/from anime helped as well to keep me interested). Two hours were for my taste too long and I would have shortened/compressed it to 1.5, I would have slightly changed the sound & music audio levels and chosen from time to time some even more aggressive songs (e.g. Slipknot?), I'm not a big fan of flashbacks and I would have reduced their amount, but the end result is still not bad. All in all the movie definitely fulfilled my average expectations - I think that people that complain about it expected something that would have taken itself more seriously, but in my opinion doing it this way was the correct move. If you want to watch a light dynamic action movie with quite a lot of...

When I was watching this movie, I kept thinking of Poltergeist. The plot is similar enough to Poltergeist to make the comparison. Only in this one they actually believe the kid straight off the bat, which is refreshing and works quite well. It is a very spooky movie and it does play very well. It's well acted and well produced, and some of the violence feels very earned when you get to the twist at the end. I really did enjoy this movie, and I think that you will too.

We could have had Legosi, or even Bartok, but no - this "Bela" (Arabella Olivia Clark) is just an ordinary little girl growing up in, yep you've already guessed - a family with some secrets to keep. Her "Daddo" (Jay Duplass) does most of her rearing as successful mommy (Jessica Chastain) is out making a good living for them all. It turns out, though, that it isn't just the parents who have secrets, "Bela" has one too - and it inhabits her closet. What becomes clear is that the young lass feels a bit neglected by her real mum and so this interloper is hoping to step into the breach - well, her heart actually, and so replace the real woman. "Bela" isn't the giving-in sort of gal and so after a while, the patience of her new friend starts to wear a little thin - just ask poor old "Uncle Frank" (Arian Moayed) whose later scenes are definitely the high point of this entirely derivative...

give the oscar award for makeup to whoever made amanda seyfried's lips look that disgustingly chapped during the prison reenactment you really can see everything, including the turkey jerky crust

If you enjoy tidy documentaries that answer all questions and provide a definitive resolution—this isn’t the movie for you. *You Can See Everything* is an absorbing film that invites endless interpretation while remaining elusive about what, exactly, it wants to say. There is plenty to chew on here, and the film's greatest strength may also be its most significant weakness: it leaves so much unresolved that separating deliberate ambiguity from a lack of focus becomes a challenge in itself. Quick preface: *You Can See Everything* assumes the audience is already familiar with the story of Elizabeth Holmes and Theranos. The Film Critics recommend HBO’s 2019 documentary [*The Inventor: Out for Blood in Silicon Valley*](https://thefilmcritics.org/movie-review/the-inventor-out-for-blood-in-silicon-valley/) to anyone unfamiliar with the backstory. One thing *You Can See Everything* gets right...

*You Can See Everything* is genuinely tense and deceptively riveting. It takes the audience on a remarkable journey full of outrageous revelations, and yet the biggest secrets are never revealed. https://bit.ly/YCSE

I don't even know what to say. I laughed. I felt disappointed. I laughed again. That Ed Sheeran joke was funny. Those guns were something. The reason to kidnap Julie was funny. I guess that's it. That's the review

This is a masterful execution of some truly funny teasing of the left side of the political spectrum and also of leading some persons on the far right side into some very shocking and thought-provoking situations. The film does a good job of reminding us of just how far some persons are willing to go and it is hard to not think of Nazi Germany. The disappointing thing with the film is that it is quite one-sided in its focus. It would not be difficult to find people also from the far left that could be made to do really shocking things, which could remind us of the Soviet Union for instance. As the film is made now it doesn't break much new ground and that makes it fall a bit flat. Update: Joshua Loudermilk, an aspiring actor, claims he realized it was a Sacha Baron Cohen film shoot and that he played along. That is seemingly corroborated by a Facebook post he made at the time of...

I was never into the "Ali G" character before but I have to say that I think Sacha Baron Cohen has pulled off something quite clever with this latest outing. This time, his odious character has discovered an offer on his fax machine from HBO to recommisison his long-cancelled television series. That's lucky because now he is reduced to pawning his faux jewellery and that isn't just a big lunch growing in the tummy of girfriend "Me-Julie" (Morgana Robinson). Anyway, now with the promise of a multi-million dollar deal they set off to the USA to make their fortune. What he doesn't quite clock, though, is that this offer isn't exactly recent but now in the USA he decides that there is still room for him to make his fortune - and off along that bling-brick road we duly set. I think it is really quite rare amidst the prevailing environment of political correctness for someone to take risks...

Pixar has always made some of the best sequels in history, and the *Toy Story* franchise is no exception. This fifth entry-all about "toys vs tech"-is easily the franchise's best in my opinion, and the most relatable. I really liked how the movie handled the conflict with a level of nuance, where the toys' fear of technology stems from being there for various kids for years (including their current one, Bonnie) and not wanting technology to take away that attention from them. The "villain", Lilypad, is also portrayed as a somewhat menacing character, but in reality is just doing her job, and the toys' point of view is why she is portrayed as a villain, with the movie's ending where the toys and her come to an understanding and work together being the perfect resolution. I also really loved Woody's role in this movie, where he used his past experience with Andy to try and help Buzz and...

Toy story was one of my favorite childhood movies growing up. As the years have gone by i have watched each one and still get the nostalgia from the first. This is no different .Absolutely amazing movie as it stuck with the roots of toy story but also brought in aspects of how the technology of toys has changed. Highly recommend a watch! Great movie for family movie night or just a solo watch.

Even though there is a pretty clear and potent message here, this isn't my favourite from the franchise - in fact, in many ways it reminded me of what I felt was the much more engaging "Ron's Gone Wrong" (2021). "Bonnie" is a lonely little girl who still plays with her toys. This earns her the ridicule of her more tech-savvy classmates at school and so, despondent, her parents buy her a "Lilypad". This promises to be her route to inclusion and popularity and soon she is even being invited to a sleepover. She takes "Jessie" and "Blaze" with her and next day returns crestfallen, realising that her love for them is the source of her misery. "Lilypad" decides that action must be taken so starts to manipulate her messages so that the toys are confined to a box in the garage. That's when they send for "Woody". He and his friends must now find a way to free their boxed up companions and help...

The movie series that would've had a perfect ending with Toy Story 3 manages to, once more, not screw up with another sequel. So, yeah, I think Pixar once again managed to make a good movie and a good Toy Story with this one. Not the best or a totally awesome one. A safe one. But I'm still quite happy with it. Short summary (spoiler free): A good movie that, to me, feels more like an "Inside Out", where it heavily relies on the toys trying to steer Bonny's life and also has a much bigger focus on the human characters. Jessie is a strong protagonist, but most of the other toys are actually not really important, especially the original "Andy's Toys" group. Very nice and emotional depiction of the emotions of a child trying to make friends and the, sometimes hard, part the parents have in it, but less "toy adventure" than the previous movies. I still recommend it, but it feels a bit...

Getting on for three decades after their first outing, the "Owen" women are still struggling too keep the loves of their lives alive. Now, though, the effects of the family curse have spread to the next generation and to "Kylie" (Joey King) who has fallen love with school sweetheart "Gideon" (Xolo Maridueña). Her mother (Sandra Bullock) had long since sworn her sister (Nicole Kidman) to secrecy about their broom-wielding provenence, so "Kylie" and sister "Antonia" (Maisie Williams) know nothing of the potential threat - until, that is, poor old "Gideon" comes a cropper. Now with him in intensive care, and armed with a mysterious book left by grandma "Jet" (Dianne Weist), "Kylie" heads to a quaintly depicted and almost Edwardian Britain where the "Hogwarts Express" appears to still be still in service, where she hopes to find a way to smash this evil once and for all and so save her beau...