movies

Christopher Nolan's adaptation of Homer's The Odyssey has taken the unusual step of selling some tickets a year early. Is it a way forward for beleaguered studios – or just a stunt?

I hadn't watched in a while, it was the first time for my gf.

It was quite nice, the Mexican Dia de Muertos aesthetic is beautiful and refreshing, the music plays an integral part to the story, and the characters are compelling. Definitely recommend.

I was travelling for the last two weeks, so I missed the Superman release.

We are now two weeks later, and all the IMAX theaters around me have switched all of their showings to Fantastic Four. I was expecting a split between Superman and F4, did WB somehow messed up contractually?

Taken from Watermelon Pictures' Twitter page.

Here's the trailer from last year to refresh your memory.

Summary
The Fantastic Four must defend Earth from the ravaging cosmic threat Galactus and his herald, Silver Surfer, while navigating the complexities of family and newfound powers in a retro‑futuristic 1960s-inspired world.

Director
Matt Shakman

Writer
Josh Friedman, Eric Pearson, Jeff Kaplan, Ian Springer

Cast

• Pedro Pascal
• Vanessa Kirby
• Joseph Quinn
• Ebon Moss-Bachrach
• Ralph Ineson
• Julia Garner
• Paul Walter Hauser
• Natasha Lyonne
• Matthew Wood
• Ada Scott
• Mark Gatiss

Rotten Tomatoes: 88%

Metacritic 64

VOD
In theaters

Author: Heather Roberts | PhD Candidate in Screen Cultures and Curatorial Studies, Queen's University, Ontario

Am excerpt:

When Amazon founder Jeff Bezos and fiancée Lauren Sánchez held their lavish three-day wedding celebration in Venice recently, it wasn’t just a party — it was a spectacle of wealth, reportedly costing between US$47 million and US$56 million.

Critics highlighted the environmental toll of such an event on the fragile, flood-prone city, while protesters took to the streets to condemn the wedding as a tone-deaf symbol of oligarchical wealth at a time when many can’t afford to pay rent, let alone rent an island.

The excessive show of opulence felt like the opening of a horror film, and lately, that’s exactly what horror has been giving us. In films like Ready or Not (2019) and The Menu (2022), the rich aren’t simply out of touch; they’re portrayed as predators, criminals or even monsters.

These “eat-the-rich” films channel widespread anxieties about the current socioeconomic climate and increasing disillusionment with capitalist systems.

In a world where the wealthy and powerful often seem to act with impunity, these films expose upper-class immorality and entitlement, and offer revenge fantasies where those normally crushed by the system fight back or burn it all down.

The article dives into it further

A fascinatingly uneasy debut from Ryan J Sloan has hints of Lynch and Cronenberg with star and co-writer Ariella Mastroianni radiating suppressed anguish and rage

https://variety.com/2025/film/news/benedict-cumberbatch-hollywood-grossly-wasteful-1236466903/

https://variety.com/2025/film/global/venice-roqia-alpha-violet-1236467632/

https://miff.com.au/program/film/the-dysphoria