Review by Daniel Lima

Review by Daniel Lima

As long as I can remember, people here in the United States have brushed off any attempt at dialogue about the brutality the Palestinians face as “too complicated” to discuss; these days, numerous polls show a decline in the American public’s sympathy for Israel in the face of blatant crimes against humanity. It is appropriate, then, for a historical epic like Palestine 36 to debut, providing a context for the roots of the conflict and an unwavering assertion of the rights of these people. It is an effort not without its flaws, but even those compliment the noble goal of offering a perspective that has historically been ignored, at least in the West.

The film chronicles the Arab revolt against British colonial government that began in 1936, a time where British authority disadvantaged the ingenious population in favor of Jewish refugees escaping persecution in Europe. Utilizing multiple perspectives, from sympathetic officials to fence-riding Arabs to the rural Palestinians facing attacks from both settlers and the British soldiers protecting them, a broad tapestry of the roots of current occupation and ethnic cleansing is drawn.​

No surprise that Palestine 36 is uncompromising and highly focused in its vision of the uprising, and how it informs what Palestine faces today. Colonialism is positioned as the root of all the violence; even the Zionist settlers are mere beneficiaries of an extractive government that fundamentally does not respect the rights of the people who call the land their home. The middle-class Palestinians that rush to placate that foreign authority are naive opportunists, insulated from the plight of their people by their own privilege, while those that take up arms do so because there is no legal recourse in a system that treats them as voiceless. The clarity of this perspective is undeniably refreshing today, when the Israeli government and its Western allies do their best to demonize those in the West Bank and Gaza, and pretend the barbarism we see today is the latest in an unending cycle of violence with no end, no beginning, and no culprit.

It will undoubtedly chafe some people that this film offers little nuance in its depiction of the era. Though the film gives the character with the ugliest moral outlook all the pro-Zionist dialogue, the decision to fixate on the British role in the conflict avoids contending with thornier questions about the rights of the Zionist settlers, and by extension sidesteps a conversation about the Zionist cause. Even if one is sympathetic to the struggle for Palestinian freedom, it does bear mentioning that the justification for their present-day oppression is often filtered through the lens of Zionism, ignoring the conditions that brought the state of Israel to being (namely, the apparent need for a Jewish state in the face of persecution balanced against the lack of Palestinian self-determination). Similarly, there are few hints of animosity against the Jewish settlers among the Arabs, a massaging of historical truth that allows the resistance to be seen as valiant freedom fighters against the colonial government and nothing more.

​It is true that this tale lacks the moral complexity of the likes of The Battle of Algiers, which managed to avoid any accusation of bothsiderism in an anti-colonial war for independence without sanding away the moral dimensions of that conflict. That being said, the same calls for nuance are heard plenty in real life, for years it has been the de facto establishment-friendly response in the West to any questioning of the Israeli occupation. That this is a mainstream movie, following the template of nationalist epics the world over, but rooting it from the perspective of a nation whose very existence still remains unrecognized by nearly a quarter of the world’s governments, means that even this uncomplicated narrative provides some measure of balance. In any case, falling short of one of the greatest anti-imperialist works in cinema is no great failure.

Review by Steve Barton II

Review by Chadd Clubine

Crime 101 is the kind of surprise that rarely comes along — especially early in the year. While the film openly channels its influences, from Heat to The Departed, writer-director Bart Layton infuses the material with a voice that feels distinctly his own. Even though it’s adapted from a 2020 novella, the film plays with the assurance and precision of something deeply personal. At an ambitious two hours and twenty minutes, Layton demonstrates just how layered and expansive his storytelling can be — crafting a narrative that remains consistently gripping, richly textured, and thrillingly unpredictable throughout. The title itself carries a distinctive double meaning that feels both original and refreshing.
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The film boasts an impressive all-star cast. While a few actors feel underutilized, most are given material that allows them to fully shine. Just when it seems Chris Hemsworth has reached his ceiling, he once again proves otherwise. His restrained performance reveals a striking vulnerability — a man committing unethical acts yet grounded in recognizably human fears. The character’s backstory is sketched with subtlety, but carries rich emotional detail, and his anxiety and desperation to avoid isolation give the audience a compelling entry point into his psyche. Opposite him, Mark Ruffalo steps into a gripping cat-and-mouse pursuit. It may not rank among his very best performances, but it’s a terrific reminder of how quietly formidable he can be. Ruffalo brings a steady intensity and nuance to the role, underscoring just how consistently underrated his work remains.

Barry Keoghan and Halle Berry deliver formidable supporting performances that meaningfully propel the story forward. Keoghan brings a volatile, unhinged energy that amplifies the darker implications of Hemsworth’s actions, serving almost as a distorted reflection of his moral unraveling. His presence adds tension and unpredictability to every scene he inhabits. Berry, meanwhile, gives one of her strongest performances in years. She brings emotional weight and gravitas to the film, grounding its high-stakes drama in something deeply human. Her character forms a crucial connective thread between Hemsworth and Ruffalo, but what truly sets her apart is the layered writing she’s afforded. Given substantial material to work with, Berry crafts a character of depth and complexity — one that allows the film to resonate on a more intimate level with its audience.

Viewers may draw comparisons to The Departed, Den of Thieves, Heat, or even The Fast and the Furious​, but the film still carves out a strong sense of originality within the genre. Its ambitious runtime occasionally suggests that the story might have benefited from a miniseries format, allowing some of the smaller plotlines and underseen characters more room to breathe. Even so, the film remains cohesive and satisfying in its current form.

Between its well-earned twists, sharp characterization, and meticulously staged action set pieces, director Bart Layton demonstrates remarkable control. Every camera placement and editing cut feels deliberate, as if carefully mapped out long before production began, resulting in a film that is both technically assured and dramatically gripping. The pulsing, synth-driven score heightens the film’s tension at every turn, amplifying its sense of urgency and atmosphere. It adds a visceral edge that practically demands a theatrical viewing, where its full sonic impact can truly be felt.

While the film’s twists are undeniably effective, a few plot holes require a noticeable suspension of disbelief. Law enforcement presence, in particular, feels inconsistent — officers conveniently pass by a fender bender, yet seem absent when a high-speed car chase unfolds in plain sight. These moments slightly undercut the grounded tone the film otherwise strives to maintain.

Halle Berry’s character, despite a strong performance, has a connection to Chris Hemsworth and Mark Ruffalo that doesn’t feel fully realized, leaving her allegiances momentarily unclear. Additionally, several characters benefit from strokes of luck that strain credibility — a key distinction from Heat, whose meticulous realism is what ultimately makes it so enduring. Though the conclusion remains satisfying on its own terms, viewers drawn in by the film’s deliberate slow-burn pacing may find the finale underwhelming in scale than expected, lacking the operatic payoff the buildup seems to promise.

Nonetheless, Crime 101 stands as the year’s most surprising — and best — film so far. Bart Layton assembles one of the strongest ensembles in recent memory, with Chris Hemsworth and Halle Berry delivering some of their finest work to date. The film’s sleek visual style and deliberate pacing highlight Layton’s meticulous attention to detail, reinforcing just how carefully constructed the entire production is. While its extended runtime suggests that a miniseries format might have allowed certain storylines more room to breathe, the film still lands with force — powered by sharp twists, expertly staged action set pieces, and a propulsive score that lingers long after the credits roll.

Review by Chadd Clubine

Goat follows a familiar path—its story is straightforward, and you can see exactly where it’s headed from early on. While no single film stands out as a direct comparison, it clearly fits within a well-worn formula. That said, its charm and visual flair give it a fresh energy, making it another distinctive and worthwhile addition to Sony’s growing animation slate.

If you’ve seen the trailer, the film doesn’t offer many additional surprises. With Sony setting such a high bar through projects like the Spider-Verse films and KPop Demon Hunters, expectations for both animation and storytelling have understandably grown. Here, however, the animation outshines the narrative. Visually, it echoes the studio’s recent stylistic successes, delivering vibrant, kinetic artistry. The world these characters inhabit feels fresh and inventive—even if the story itself ultimately plays it safe.

From the goat’s humble beginnings to his rise in the sport he loves, the narrative follows a familiar underdog trajectory. It’s clearly aimed at younger audiences, who will likely find its upbeat message inspiring and easy to embrace. The film gestures toward more mature themes—such as his struggle to pay rent—but these challenges are resolved almost as quickly as they arise. As a result, his setbacks never feel substantial enough to deepen the stakes or make his journey fully resonate on a more meaningful level.

Beyond its themes, a crucial ingredient in any animated film is humor. Here, the comedy strikes a solid balance, offering plenty for both kids and adults to enjoy. Some of the sillier moments will likely resonate more with younger viewers, but there’s enough sharp, offbeat wit sprinkled throughout to keep adults engaged as well. 

The voice performances further elevate the material, capturing the right emotional beats, while delivering the humor with energy and charm. Caleb McLaughlin brings natural charisma to the lead role, anchoring the film with warmth and enthusiasm. Among the supporting cast, a few voices stand out immediately, while others blend in enough that you might only fully appreciate them on a rewatch. It’s also refreshing to see Gabrielle Union voice the goat’s counterpart in a way that avoids making the sport feel gender inclusive. By presenting these roles as open and equal, the film subtly distinguishes itself, adding a layer of inclusivity that helps it stand apart.

To better connect with younger audiences, the film embraces a distinctly modern sensibility—from its hip-hop-infused soundtrack to the characters’ contemporary hairstyles and fashion. While this approach makes it feel culturally in tune with today’s kids, it also roots the film firmly in the present moment, occasionally leaning too heavily on current trends. Still, its goal is clear: to energize and inspire a new generation, much in the same way Space Jam once did for its own era.

Goat is clearly crafted to inspire, from its uplifting themes to its vibrant animation. The world it builds is imaginative enough to warrant further exploration, potentially even in future sequels. Despite the early buzz, the story ultimately feels somewhat underwhelming, leaning on familiar clichés to stir emotions that other films have handled with greater depth and originality. It’s an enjoyable ride for what it is, but it doesn’t quite reach the creative or emotional heights of Sony’s recent animated standouts.