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Review by Camden Ferrell  Legendary filmmaker James Cameron has decided to graciously not make audiences wait another 13 years before returning back to Pandora for another installment in his wildly successful and ambitious Avatar franchise. Avatar: Fire and Ash is the third film in the series, and it’s one that is attempting to follow two of the most successful movies of all time at the box office. However, it seems Cameron is not concerned with those high expectations, opting instead to explore this world and its characters with the same blend of spectacle and personal stakes that made the first two such big hits. This installment is yet another awe-inducing blockbuster that will blow you away with its visuals and insane action set pieces even if it is a little lighter on the world building when compared to its predecessors. In the wake of the last film, Jake and Neytiri’s tight-knit family must pave a way forward in spite of their grief all while dealing with a new threat. They encounter the Ash People, an aggressive tribe of Na’vi led by the powerful and incendiary Varang. This conflict blooms among the Na’vi’s ongoing conflict with the RDA, a human-led megacorporation. While The Way of Water leveraged a new tribe as an opportunity to world build and revel in its new environments, it seems this newest movie has little interest in using the Ash People to do the same. Instead, the movie mostly concerns itself with the turmoil and aggression between tribes, which highlights some of the movie’s core themes. It’s an unexpected change of pace considering how adept the previous films were at world-building and exploring the unique cultures of Pandora, but it’s a decision that I grew to understand and accept as the film progressed. Like the previous films, the writing tends to be one of the weaker aspects and this is no exception. What the franchise does really well is develop compelling stories with clear cut and resonant themes around family, perseverance, and preservation. The problem is when those ideas are put into practice. It’s a noble and heartfelt story that feels occasionally let down by subpar dialogue and odd narrative choices that either rehash overdone ideas or slow the pace down. The writing is still far from inadequate but when a movie excels on so many levels, it makes the weak links stick out more than usual.  The movie continues to utilize its revolutionary motion capture technology that really gives the actors freedom and the ability to convey such subtle emotions in alien bodies. I found myself particularly compelled by Sam Worthington and Zoe Saldaña as their characters tread new emotional ground amidst a deadly threat. I also think their kids and acquaintances are given more substance, and it was fun to see the actors lean more into these characters (even if Sigourney Weaver still feels like an odd choice to play a teenager).
Obviously, when a viewer buys a ticket to this movie, they’re doing it for the hope of seeing a true cinematic spectacle. I believe viewers are going to be more than pleased with the return on their premium format ticket price. This newest entry absolutely rules with its gargantuan set pieces and battles. It truly transports you to another world, and you genuinely forget that you’re in a theater once this movie kicks into high gear. There might be a little fluff in the middle section of the movie, but it’s a small price to pay for the immense payoff that gets delivered throughout. I don’t think it’s hyperbolic to say that I got literal chills and goosebumps from some of the insane visuals Cameron and his team created. It all comes together in such a chaotic yet controlled symphony, and I found myself wondering how anyone could possibly edit all this footage together so well. Avatar: Fire and Ash delivers exactly what an Avatar movie needs to. It may not be a deep and nuanced analysis of morality, but it’s an emotional story of a tribe of people in the face of imminent threat and danger. Pair this with noble and resonant themes about family and some of the most insane action you might see this century, and you have a certified crowd-pleaser that’s going to keep viewers on the edge of their seats for over three hours. It’s not perfect, but it’s an absolute thrill ride of a film. James Cameron is 71, but I hope he keeps making these movies forever. Avatar: Fire and Ash is in theaters December 19. Rating: 4/5
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Review by Camden Ferrell  Shih-Chang Tsou is most known for co-directing 2004’s Take Out with Sean Baker, the first of several collaborations between the filmmakers. Her first solo directorial effort, Left-Handed Girl, had its premiere at the 2025 Cannes Film Festival. Filmed on an iPhone and featuring a stellar cast of characters, this is a movie that is full of heart, charm, and interesting perspectives on its themes of family and tradition. Shu-Fen is a single mother who moves to Taipei with her two daughters, I-Ann and I-Jing. In this new environment, they attempt to open a night market stall. This movie follows the women as they navigate their new city, adapt to their newfound challenges, and deal with the relationships they have for better or for worse. It’s a simple story about characters entering a new chapter in their lives and the circumstances that arise from it. It’s an intimate story, and it’s one that seems to speak strongly to Tsou’s sensibilities as a filmmaker. Written by Tsou and Baker, it’s a movie that thrives off its small moments. And its these small moments of nuance that allow the film’s bigger moments to pay off so beautifully. I think their writing juggles the differing perspectives of its characters very well. When writing scenes from the perspective of its youngest character, there’s a certain subdued youthful exuberance that is quite infectious. This differs from the more grounded adult-drive scenes. Tsou and Baker balance these moments without losing a sense of consistency that makes the movie feel like a cohesive body of work.  The acting in this movie is a large part of why the movie works as well as it does. While they’re given great material to work with, the cast is able to inject a sense of authenticity that elevates the script and contributes a sense of earnestness into the production. Both Esther K. Chae and Janel Tsai work wonders as the main adult leads, and they play into the family dynamics of the movie convincingly.
While it might seem like a surface level examination, it’s hard to completely separate this work from the prior works of Baker (especially since he wrote and edited it). There is an undeniable sense of genuine scrappiness to the film that evokes his prior films, and it’s the kind of experience that leverages shared human experiences to expertly put you in the character’s shoes. In addition to this, one stylistic distinction is the aforementioned use of iPhones to film this movie. Much like Baker’s Tangerine, this movie’s cinematographers adapt beautifully to the limitations of the iPhone, crafting a visually impressive movie at a fraction of the cost. Left-Handed Girl is heartfelt and adorable more often than not. Tsou creates a warm hug of a movie that still isn’t afraid of tackling some of the more pressing themes about family dynamics and conflicting values. It’s a movie with no shortage of authenticity, and it’s one that beckons us to recall on our own experiences. Left-Handed Girl is in theaters November 14. Rating: 4/5 Review by Camden Ferrell  Edgar Wright has made a name for himself as one of the premier directors of his generation, delivering stylish action that blends well with his unique style of storytelling. With a catalog that includes films like Scott Pilgrim vs. The World and Baby Driver, Wright seems like one of the best choices to tackle Stephen King’s The Running Man. While his newest movie lacks the flair that has made some of his movies modern classics, this dystopian action flick is still a non-stop thrill ride that is intense and makes the most of Glen Powell’s undeniable star power. Ben is a husband and father who has been blacklisted from finding reliable and steady work. Passing his days in squalor, unable to afford the medicine his severely sick baby needs, he is left with no other choice. He finds himself as a contestant on the widely popular show from which the movie gets its title. In this game, he must survive 30 days while being hunted down by ruthless assassins with the entire world incentivized to look for him and report his whereabouts. If he succeeds, he will be able to provide for his family for good. It’s a classic story about desperate men in desperate times, and it’s one that Wright understands shares timely parallels with the turmoil many people face today. Written by Wright and Michael Bacall, the movie’s writing isn’t as sharp or witty as some of their past projects. While it’s not necessarily a movie that needs that treatment, it does make the film feel a little more paint by numbers in its messaging than one might expect. Wright and Bacall also jump between scathing observations on our modern world and overexplained thematic exposition. It’s more or less “Intro to Wealth Inequality and Working-Class Cannibalization 101”, but it seems like their intent was to be about as subtle as a hammer to your skull. It’s an approach that had mixed results for me as a viewer, but it’s one I can appreciate if nothing else.  Led by bona fide blockbuster star Glen Powell, this movie clearly knows how to maximize his potential. He brings such an irate performance to the table that feels like it’s on the verge of exploding at any given moment, and he balances it with an emotional desperation that gives the story its heart. He plays very well off the supporting cast, and he is absolutely killer in many of the action set pieces. While cast members like Josh Brolin, Lee Pace, and Colman Domingo are fun to watch, I found myself particularly fond of Michael Cera as an unpredictable anarchist. It’s pretty much the same character he always plays, but it’s a delight, nonetheless. And while Emilia Jones does the best with what she’s given, her character felt shoehorned and underdeveloped in a way that feels uncharacteristic for Wright.
Most everyone who wants to see this movie is probably curious about the action, and I’m happy to say it’s amazing. Edge-of-your-seat moments are scattered consistently from start to finish, and the movie feels much faster than it actually is. It also feels like a good showcase for some practical effects that is much needed in a CGI-heavy industry. Its action is intense but also doesn’t take itself too seriously all the time, and it’s a unique tone that works well for what the movie is going for. The Running Man may lack the traits that make Wright’s films so beloved, but even on an off day, he delivers an explosive and undeniably enjoyable action flick that will excite audiences everywhere. It’s another notch in the ever-growing belt of Glen Powell, and it’s another win for Stephen King adaptations in theaters this year. The Running Man is in theaters November 14. Rating: 4/5 Review by Camden Ferrell  Richard Linklater is no stranger to the dialogue-heavy comedy drama. One could argue that this is the realm in which he thrives the most. But for the first time since 2001’s Tape, we see Linklater trying to operate primarily in a single location, a narrative restriction that even seasoned directors can have trouble pulling off. Having its premiere at the 2025 Berlin International Film Festival, Blue Moon is one of two films that Linklater has releasing this year. Supported by a tight script from Robert Kaplow and featuring another outstanding performance from Ethan Hawke, this is a movie that makes the most of its single setting and complex characters. Lorenz Hart is a lyricist that was known for some iconic tunes and Broadway songs. We watch as he struggles with alcoholism, depression, and self-deprecation. The vast majority of this movie takes place on the opening night of Oklahoma!, the new hit musical written by his former partner Richard Rodgers. What is a night of jubilation for some quickly becomes a night of waxing lyrical for Hart to anyone who would listen. Kaplow, who is primarily a novelist, writes a sharp script that revels in its crass dialogue. Hart immediately comes off as a man with no filter and no concern other than letting his thoughts flow freely through the open bar. One of the more interesting details in this movie is how Hart engages in conversation with the people in the bar, but it almost ambiguously feels like it could work as a monologue more times than not. It can sometimes tread into an indulgent territory, but it usually corrects itself before going too far off that path.  The highlight of this movie is the powerhouse lead performance that Ethan Hawke delivers as Hart. He yet again proves why he’s one of the great actors of his generation. His portrayal is layered and nuanced to an incredible degree. He balances the vulgar and crass envy with the self-deprecation and anguish that make this character study so captivating. He’s a broken man who we can’t help but sympathize with despite his glaring flaws as a person. From the supporting cast, Andrew Scott makes the most of his limited screentime while Bobby Cannavale and Margaret Qualley are serviceable with the material they are given.
Like Tape, there are moments where it felt like it started to meander in parts, but this movie does a better job at recovering. Linklater knows how to leverage small-scale movies into big emotions, and this is no exception. It may not be life-changing like his Before trilogy, but it’s still a fine film from the veteran director. Blue Moon may not be everyone’s cup of tea, but there’s a lot to enjoy from a character-driven standpoint. Hawke transforms into a complex role that is what keeps the movie afloat. It may not go down as one of Linklater’s finest, but after more than 20 movies, he still has his unique touch. Blue Moon is in theaters October 17. Rating: 4/5 Review by Camden Ferrell  Paul Thomas Anderson has nothing left to prove as a filmmaker. Over the course of his previous nine features, he has firmly established himself as one of the most talented voices the history of film has ever seen. What do you do when you find yourself with a resume that rivals some of the all-time great directors? You try to outdo yourself, not because you have to but because you can. One Battle After Another feels like PTA’s observation of modern society mixed with a rallying cry and a screwball sensibility that is an ode to car-chase style Hollywood spectacle. Featuring an energetically devoted turn from Leonardo DiCaprio and showcasing some of the most mind-blowingly crafted sequences of the year, this is a timely film that reminds us of why movies are made in the first place. We begin in the middle of a mission for the French 75, a revolutionary group who uses tangible action to aggressively fight for a more just society. In what feels like a fond reminiscence of the power of political violence in an increasingly unjust world, we are quickly shown how a dream is killed. 16 years later, an adversary of the French 75 resurfacing spells trouble for Bob and his teenage daughter Willa. Inspired by Thomas Pynchon’s Vineland, this movie reimagines it in a modern context, one that feels hauntingly familiar to the volatile state of our union. It aims to capture the absurdity and fear that has become the new normal while also illustrating the ways in which tangible change can come to fruition. And beneath the social commentary that cuts like a knife, he still manages to tell a cohesive and moving story about love, family, and the reason we fight the good fight. From the start, it’s quick to see that this movie is one that views its lack of subtlety as a feature not a flaw. The beautiful things PTA has explored in nuance and silence throughout his career are thrown out the window. Instead, he treats us to the most extreme parts of his filmography. His writing is sharp, angry, hopeful, and often absurdly hilarious. He holds no punches in his attempt to view society whether it’s through an indictment or a more innocuous observation. This sets the stage for all the other things in his movie to come together so beautifully. The touching father-daughter dynamic only works because of his ability to so fearlessly establish the world in which we currently live. The screwball antics of the film’s characters only work for that exact same reason. It encapsulates everything a movie should be. It has explicit purpose, earned emotion, and unfettered ambition.  This movie is led by the always reliable DiCaprio who gives one of the most memorable performances in his career. He leans fearlessly into the extreme nature of his character, and he elevates the tension and offbeat comedy as a result. Chase Infiniti makes her feature film debut as Willa, and it’s an impressive debut in which she displays her ability to hold her own as an actress across such seasoned veterans. One of the biggest surprises is how entertaining Sean Penn is as Colonel Lockjaw, the film’s antagonist. It’s a ruthless role with some of the best moments of comedy in the movie. It’s an interesting blend of fear and hilarity that could really only work in a movie like this one.
One of the most impressive feats of this movie is how it delivers sequence after sequence that show such an unrivaled discipline in film. One night time sequence in particular might just be some of the best filmmaking I’ve seen this century. PTA reunites with cinematographer Michael Bauman who does such visually stunning things in darkness for that one particular sequence. He also brilliantly captures the citywide chaos in which this film thrives the most. This is propelled by a steady, hypnotic and frequently discordant score from frequent collaborator Johnny Greenwood. While I’m specifically highlighting one sequence, these artists are firing on all cylinders from start to finish to bring PTA’s vision to life. One Battle After Another is yet another masterpiece to PTA’s name. It is the best movie of the year so far, and it’s one that revels in its spectacle, action, and controlled mayhem. It’s a furious and weirdly comical call to action that will surely go down as an emblematic film of our current era. One Battle After Another is in theaters September 26. Rating: 5/5 |