Review by Camden Ferrell

​Jimmy Warden is a name you might be familiar with as he was the writer of Cocaine Bear, which became a bit of a cultural phenomenon and box office success in 2023 due to its absurd premise. Now, it seems he has earned himself a shot in the director’s chair with his newest movie Borderline, which he also wrote. He doesn’t break any new ground as far as horror stories about celebrity obsession go, but he does infuse his own brand of eccentricity and outlandish humor to mixed effects.
 
Sofia is a pop superstar, and Duerson is a dangerous and delusional stalker who thinks they’re in love. When he breaks out of his mental institution in order to put on the wedding of his dreams, Sofia finds herself in an intense fight for survival with a man who is as unpredictable as he is passionate. Immediately, comparisons to Misery and other works may come to mind, but Warden definitely has a unique tone that he brings to help differentiate the story beneath its surface.
 
Warden’s script is probably what I found weakest about this movie even though I would say it worked more than it didn’t. It feels incredibly conventional in its narrative, and while it has a few curveballs, it doesn’t feel daring or unpredictable enough for a film in this genre. On top of that, it gets very close to diving deeper into its cast of characters, but he always seems to pull back before anything substantial can emerge. It’s a short movie, and I think a few more minutes of character development could have done wonders for the final product.

One thing that I can say about the performances is that they are committed for better or worse. Samara Weaving is a reliable horror protagonist, and this movie is no different. She has natural charisma for this type of role even if it isn’t much different than what she’s done in other films. Ray Nicholson co-leads as Duerson, and he definitely gives maximum effort in his role. It teeters between caricature and genuine insanity in a way that is messy but ultimately quite interesting to see. It’s hard not to watch him and think of his dad, but it’s clear he’s trying to forge a unique and bold niche for himself in this film.
 
The aspect I was most impressed with was Duerson’s direction and the surprisingly gorgeous cinematography of Michael Alden Lloyd. There are multiple scenes, shots, sequences, etc. where these two artists work together to achieve their vision, which is quite captivating. It seems like there was love and care in the way they visually crafted this story, and it helps overcome to movie’s flaws occasionally. I think Warden’s direction in this movie proves that he has something special inside of him and that even if it’s not fully developed yet, he’s someone we should keep an eye on.
 
Borderline may not be the best its genre has to offer, but there are inklings of brilliance shining throughout in various aspects. It may be occasionally inconsistent in tone, and it may also adhere to strongly to narrative convention, but this movie cannot be accused of being passionless. It’s very clear that everyone working on this truly gave it their all, and it’s a bit of a beautiful mess in that regard.
 
Borderline is in theaters and on VOD March 14.
 
Rating: 3/5

Review by Camden Ferrell

Steven Soderbergh is one of the most prolific American directors working today, and it’s no surprise considering how vast and frequent his output is. Black Bag is his second wide theatrical release of 2025 (even though we’re not even a quarter of the way through the year), and it’s yet another notch in his ever-growing belt of filmmaking prowess. This thriller film boasts a steady hand from Soderberg, strong and committed performances, and one of the best scripts of David Koepp’s illustrious career.
 
George works for a high-profile intelligence agency, and he is tasked with finding a leak in the agency. The people in question are colleagues, friends, and even his wife Kathryn. What ensues is an intense and riveting story with twists, turns, betrayal, deception, and romance all twisted together. The plot itself isn’t anything new and borders on relatively basic narrative surrounding a McGuffin-y device that is being sought after by Russian agents. However, where this movie really shines is by diving deep into the interpersonal relationships and emotions that drive the cast of characters throughout the movie.
 
Koepp has made a name for himself writing for some of the most iconic franchises in film history like Indiana Jones, Spider-Man, and Jurassic Park. One might look at his resume and assume his best years are behind him, but his two most recent efforts with Soderbergh prove that he is far from finished and has exciting ideas and characters to share with the world. This movie seamlessly blends espionage thrills with great character studies sprinkled throughout, and it makes the film much more engaging and gripping. In addition to the character development, Koepp has some undeniably witty and insightful dialogue that serves as the engine to this steadily powered train of a movie.

This movie’s ensemble is a definite highlight in a movie where so much already works. Michael Fassbender leads the film as George, and he brings a very calculated and smooth energy to his character. It’s such a steady and stoic performance that makes his brief moments of catharsis (even in the slightest sense) so much more tangible and impressive. Kathryn is played by Cate Blanchett who could probably have phoned it in and still been exquisite, but she definitely brings her A-game yet again. She plays well off Fassbender and is exactly what balances out their interesting dynamic. The rest of the ensemble is rounded out with players like Tom Burke, Marisa Abela, Regé-Jean Page, and Naomie Harris who are all equally impressive in their respective roles.
 
Soderbergh once again wears different hats as director, editor, and cinematographer, and it never feels like he’s spread thin. It’s a cleverly shot movie (although the aggressive washed-out lighting was hit-or-miss), and it’s such a meticulously blocked film in a way that feels distinct to his sensibilities. It’s not as innovative as his other movies, but he still makes it feel like something you haven’t seen before.
 
Black Bag is a gripping film that breezes past you in an instant. It grabs you from the start and doesn’t loosen its grip until its final moments. It’s a raw glimpse into a group of deeply flawed and human individuals in the midst of a high-stakes situation. It’s also another stark reminder that this writer/director duo are still putting out some of their best work.
 
Black Bag is in theaters March 14.
 
Rating: 4.5/5 

Review by Camden Ferrell

After the long and illustrious history of Looney Tunes, it’s quite surprising that they had previously never had a fully animated film released theatrically until this year. The Day the Earth Blew Up: A Looney Tunes Movie was released last year in order to meet 2024 awards eligibility criteria but is now getting a proper wide release in theaters across the country. This animated movie is a fun story full of enjoyable animation and visual gags even if it doesn’t feel particularly inventive or always worthy of a feature-length runtime.
 
Porky Pig and Daffy Duck are in dire need of money to fix their roof to prevent their property from being condemned. On top of this, they find themselves faced with the threat of an alien invasion. What ensues are wacky hijinks that aim to revitalize these timeless characters while staying true to the charm that made them successes in the first place. As mentioned before, even though it sounds like a fun premise, it doesn’t feel like it’s one that needs to be fleshed out in a full-length movie.
 
This film serves as the feature-film debut of writer/director Peter Browngardt who wrote this alongside Kevin Costello and Alex Kirwan. The script has some great moments of comedy sprinkled steadily throughout the film, but the narrative does feel like it can drag at times. One can celebrate its attempts at meta humor and its attempts at comedy aimed at a newer generation even if it doesn’t always land the way it wants to. The jokes can miss, but when they land, they land greatly.

One thing that I can completely commend is Eric Bauza’s voice performance as both Daffy Duck and Porky Pig. He brings so much life and energy to these characters, and his comedic timing and delivery truly elevate the funny moments in this film. Candi Milo also lends her voice very well as Petunia Pig.
 
When compared to previous Looney Tunes works, I can testify that this newest movie features some of the best animation the franchise has had to date. It feels very traditional while refreshingly innovative in its execution. Even when the script can feel a bit thin at times, the animation never fails to feel cinematic without losing the old-school charm the characters naturally bring.
 
The Day the Earth Blew Up: A Looney Tunes Movie may be far from perfect, but it’s entirely adequate as an animated film based on beloved characters. I think that longtime fans and new viewers alike will find something to enjoy about this movie. Even if it has flaws and shortcomings, at the very least, it’s good for its fair share of laughs. And while I wouldn’t call this a movie that needs to be seen on the big screen, I will always advocate for that experience, and it’s not every day we get to see a true fully animated celebration of these characters in theaters.
 
The Day the Earth Blew Up: A Looney Tunes Movie is in theaters March 14.
 
Rating: 3/5

Review by Camden Ferrell

Netflix’s Daredevil series aired its final episode in the Fall of 2018, and in 2025, Matt Murdock is back in a continuation of the hit series. While the previous series was always part of the official MCU canon, Daredevil: Born Again feels like the character’s unofficial welcome to this larger universe. Viewers who are concerned about a dip in quality after the long break and new streaming home, can relax peacefully. This follow-up series carries on the legacy of its predecessor quite effectively, delivering strong writing, great performances, and some pretty gripping action at times.
 
This show follows Matt Murdock, one of comic industry’s most beloved lawyers turned superhero, and it picks up nicely from where we left off. Elsewhere, Kingpin (who has been having other MCU shenanigans as well) is pursuing his own political endeavors. Like always, these two men are on a collision course with each other while they deal with their own personal turmoil and new challenges, characters, and threats that come in their way.
 
One thing to commend off the bat is that the show feels very new-viewer friendly. Whether it’s your first time watching the show, or if you just might have forgotten what happened before, this show is mostly forgiving. There are a handful of callbacks and some of the backstories are more fleshed out with prior knowledge, but the writers do a great job of making sure this new series stands on its own if need be. On the topic of writing, I’d argue that you would have a hard time believing this show had a 6-year break since its most recent season because the style of dialogue and storytelling feel very consistent. This should ease viewers who are worried this show would be a disaster.

Once again, this show is led by the talented and entertaining Charlie Cox. More and more, this feels like a role he was made for, and he continues to flex his acting and action chops as the Man Without Fear. Alongside him, Vincent D’Onofrio delivers another reliably menacing and nuanced portrayal of Wilson Fisk. While it’s not among their best performances as these characters, it’s still gripping to see them back in action together.
 
While the show is known for its legal elements (and this new series has plenty of that), people also tune in for its stylish action. This season delivers its fair share of heart-pumping action, full of blood and bone-breaking. I will say that the middle episodes aren’t nearly as gripping as the bookend episodes which deliver the most captivating action of the season, but this is a shortcoming that is made up for by good quality storytelling throughout. For those worried this show would go soft on Disney+, I think Episode 1 will put those concerns to rest quite quickly.
 
Daredevil: Born Again delivers a solid first season that acknowledges its past while paving a sturdy future for itself. There are a handful of characters and cameos that people will be excited to see no matter how inconsequential it might seem in the grand scheme of things. It feels like the Netflix series never ended, and it has me excited for what’s in store next season.
 
Daredevil: Born Again Season 1 begins streaming its first two episodes on Disney+ March 4 with episodes premiering subsequent Tuesdays. All episodes have been reviewed.

​Rating: 4/5

Review by Camden Ferrell

​Movies shot with an iPhone are nothing new, being used in previous years by established directors like Steven Soderbergh and Sean Baker. Now, Neil Burger is the newest director to try his hand at the relatively recent art of smartphone filmmaking. His new movie, Inheritance, is a fun exercise with an unconventional camera although it does suffer at times from a thin story that isn’t particularly compelling.
 
After the death of her mother, Maya reconnects with her estranged father. Together, they take a trip to Egypt where she soon realizes her father was once a spy. She is quickly thrown into an international conspiracy where she must travel across the world to figure out who her father truly is. This is an interesting premise for an espionage thriller, especially one shot with an iPhone since the run-and-gun style of shooting could align with the type of story being told.
 
Written by Burger and Olen Steinhauer, the movie is at its best when it focuses on the conversations and interactions of its main characters. While the dialogue isn’t particularly impressive, these slower moments are compelling to watch when compared to the more high-octane sequences throughout the movie. The movie’s biggest flaw is that the moments of tension and chaos feel thin and insignificant. It’s executed well, but the writing leaves a lot to be desired as far as substance is concerned.

The acting in this movie is strong even if it’s nothing particularly memorable. Phoebe Dynevor leads this movie as Maya, and she does a great job at adapting to the guerilla style, permitless shooting that Burger carried out. She feels very natural embodying this character and all of her idiosyncrasies, and she’s a reliable force throughout. Rhys Ifans also stars alongside her as her father Sam, and even though his performance is fairly minimal, he is very serviceable in the moments that matter most.
 
While there are many problems with this film, I can’t help but be in awe of Burger’s ability to use the iPhone to such a gratifying extent. I personally am biased as I always appreciate when filmmakers use “cheap” cameras to make their movies, and this kept me glued to the screen from start to finish. Sure, it doesn’t look as polished as professional film cameras, but I can’t help but fall in love with how scrappy this final product is. Especially after hearing about how Burger shot this entire movie without any kind of permission (this includes genuinely executed retail theft), it’s quite an inspiration to see all this kind of work.
 
Inheritance suffers due to a thin plot that on its own isn’t particularly engaging. However, Neil Burger’s use of an iPhone and guerilla filmmaking still make this a worthwhile experiment. Those who have previous inclinations against smartphone cinematography might not be swayed by this film, but for those who appreciate an imperfect yet passionate use of affordable gear, this will surely satisfy.
 
Inheritance is in theaters January 24.
 
Rating: 3.5/5

Review by Camden Ferrell

​The Munich massacre was a terrorist threat that occurred during the 1972 Olympics in Germany, their first time hosting since the fall of the Nazi Party, and it was an event that shocked the world. September 5 is a new movie from director Tim Fehlbaum that aims to relay the events of that day from the perspective of the broadcasting team in charge of reporting on this event. Having its premiere at the 2024 Venice Film Festival, this is a historical drama that is gripping more times than not despite feeling overly conventional in its execution.
 
The crew for ABC Sports went to work that day expecting another day of Olympics activities and festivities. However, nothing could prepare them for the terrorist attack and subsequent hostage situation that occurred in the same city, a situation they had the obligation of reporting on. It’s such a memorable global event, especially from a media perspective, so it’s an interesting prospect to get a glimpse into how these events were handled by this broadcasting team.
 
Despite being written by Fehlbaum, Moritz Binder, and Alex David, a team that has a relatively limited body of work in feature film writing, this script is tightly paced and serves as a great driving force behind the narrative. The dialogue was well-written, the narrative beats were steady and earned, and it gave the actors plenty of material to work with in their own unique ways. It was accessible enough for younger audiences who might not be aware of these events, but it also prevented itself from becoming overly expositional. 

While the writing is solid throughout, one must also acknowledge the wonderful efforts of the cast who brought it to life. Led by Peter Sarsgaard and John Magaro, they’re able to take the material and make it engaging to watch on screen. They seem to understand the stakes and convey that to the audience in tangible ways.  Leonie Benesch was also a delight to see in a supporting role especially after first being exposed to her in last year’s The Teachers’ Lounge.
 
Even though I have a lot of positive things to say about this movie, I do admit it feels super safe in its execution throughout. It doesn’t take any ballsy narrative swings or any kind of artistic risks. It plays out just as one would expect which makes this feel like an exceptional cable TV movie more than a possible awards contender this year.
 
September 5 will be a gripping watch regardless of the level of knowledge about the Munich massacres. Even knowing how it all ends, audiences will still feel engrossed by the engaging script and extremely talented actors. It gives you exactly what you expect, nothing more, nothing less. Whether or not that’s a good thing is up to you.
 
September 5 is in theaters January 17.
 
Rating: 4/5

Review by Camden Ferrell

Wallace & Gromit: Vengeance Most Fowl marks the return of the iconic animated duo in their second feature film ever. Almost 20 years after their last feature, these two lovable characters are back with director Nick Park at the helm once again, this time joined by co-director Merlin Crossingham. Even if this movie can’t live up to the heights of its previous entries, this is still a fun and classic adventure that audiences everywhere are going to love.
 
As with most of their adventures, this movie follows Wallace as he creates an intelligent robotic garden gnome with capabilities to assist with a myriad of household tasks. However, things go awry when an old villain finds a way to use this technology for their own nefarious purposes. The narrative structure is classic for this duo, and it sees them fulfilling their respective niches as characters and makes for a simple and fun adventure.
 
This is the first installment not to be written by Park even though he is credited for the story. Mark Burton’s script stands as one of the best of his career in animation, and it retains a lot of the signature Wallace & Gromit charm that makes their endeavors so endearing. It has great comedy, great action, and great heart which is nothing short of what’s expected of this franchise.

Despite voicing Wallace for the last decade and change, this is the first major installment to feature Ben Whitehead as the titular inventor. He does an amazing job carrying on the legacy of Peter Sallis who helped shape the character with his talented voice work.
 
One would be remiss if they didn’t commend the dying art of stop-motion animation on display, and as always, this franchise does a phenomenal job with its animation. It’s full of undeniable personality that elevates this film to be a brilliant piece of animated storytelling that will hopefully last for years to come. While there’s so much to love about this movie, I will concede that the one thing that feels odd about this entry is that it feels the slightest bit like a product of its time. One of the core features I love about this franchise is how timeless its stories feel, but I’m not sure if it’s the state of technology we currently live in, but I have hard time believing this will be as timeless as its predecessors. However, this is a minor gripe in a movie that does so much right.
 
Wallace & Gromit: Vengeance Most Fowl is a glorious feature-length return for two animated icons. It may not be mind-blowing or world-ending, it delivers reliable enjoyment and jubilee as expected. It’s a heartfelt and hilarious journey that reminds us of how valuable the medium of stop-motion animation is, and one can only hope we get more of these characters sooner rather than later.
 
Wallace & Gromit: Vengeance Most Fowl is streaming on Netflix January 3.
 
Rating: 4/5

Review by Camden Ferrell

Ever since his first feature, The Witch, came out in 2015, writer and director Robert Eggers has carved himself a definitive place in contemporary cinema. His fourth feature, Nosferatu, is his attempt to adapt and reimagine a cinematic classic. Even if it isn’t as strong as his previous works, this movie boasts performances and impressive craft that confirm that Eggers is a modern auteur through and through.
 
Thomas is a man working in real estate when he finds himself tasked with working for enigmatic Count Orlok. Little does he know that his new client is a vampire obsessed with Ellen, Thomas’s wife who is suffering intense and concerning episodes of horror. This is a story that many are familiar with, but Eggers adds more narrative and character depth that makes this quite engaging.
 
In my opinion, Eggers excels more as a director than a writer, and this is no exception. His script is well-written as always, but I find that there are moments where his style usually compensates for a script that might not be the most well-paced. His dialogue is strong as usual, but he continues to suffer from an extremely subtle and forgivable tendency to bloat his script.

It’s no surprise that he continues to get good performances from his actors, but the acting exceeded expectations. Hoult plays Thomas very well, serving as a frightened yet relatable audience surrogate. Bill Skarsgård delivers a transformative performance as Count Orlok that is extremely compelling without being too campy. However, the real star of the show is Lily-Rose Depp as Ellen. She surpassed all expectations with a haunted and extremely physically demanding performance that steals almost every scene she is in. It’s one of the best performances you’ll see this year, and it is a showcase for the potential she has as an actress.
 
It wouldn’t be a Robert Eggers movie without gorgeous visuals, and this movie delivers. He collaborates with cinematographer Jarin Blaschke yet again to capture this Gothic world with stunning brilliance. Grim but never dull, the visuals elevate the movie to overcome its few shortcomings.
 
Fans of horror and vampires will absolutely love Nosferatu. General audiences might also find much to love about this movie as well. It’s creepy, well-acted, beautiful shot, and incredibly eerie. While it’s my least favorite of Eggers’ movies, it’s hard to deny it’s extremely well-made even if slightly bloated.
 
Nosferatu is in theaters December 25.
 
Rating: 4/5

Review by Camden Ferrell

​Pedro Almodóvar has cemented himself in film history with his illustrious catalogue of movies over the last few decades. However, this year marks his first foyer into English-language cinema. The Room Next Door, based on What Are You Going Through by Sigird Nunez, marks his first film in English and had its premiere at the 2024 Venice International Film Festival. While it doesn’t hold a candle to his better works, this movie still benefits from his dreamlike dialogue and great leading performances.
 
Once close colleagues, Ingrid and Martha’s lives went in different directions. Many years later, they meet again as one of them deals with a unique end-of-life situation. From a plot standpoint, this is relatively simple for Almodóvar, which gives the dialogue and performances a chance to take center stage and truly flourish.
 
The biggest variable with this movie is how Almodóvar’s writing would translate into English, and the results are more positive than not. While some moments feel disjointed and unnatural, it largely works. The dialogue is sharp and has a subtly ethereal and poetic quality that is evocative of his previous films. The only weakness is that there are moments throughout where the script feels like its stretched particularly thin which can often make the movie drag more than I’d like.

The clear standout of this film is its leading performances. Julianne Moore and Tilda Swinton lead the film as Ingrid and Martha, respectively. They have solid chemistry throughout and handle the complex subject matter with ease like the seasoned actors we’ve known them to be. Even when the script has its shortcomings, they make up for it more times than not.
 
It wouldn’t be an Almodóvar movie without some unique visual flair, and this movie is no exception, even if it’s less accomplished than most of his movies on a visual level, there is still some great production design and cinematography to give it his signature feel. Pair this with a great score and some truly emotional and poignant moments, and you get enjoyable, albeit minor work from the auteur.
 
At the end of Almodóvar’s career, this movie will be noted for being his first English movie and not much else. While it has a lot of great qualities, it fails to live up to his best works. It’s good supplementary material to his career despite it being not particularly memorable or brilliant. It’ll satisfy his fans even if it’s a minor work by his standards.
 
The Room Next Door is in theaters December 20.
 
Rating: 3.5/5

Review by Camden Ferrell

​Despite being in his late 70’s, legendary writer and director Paul Schrader is still pumping out movies on a consistent basis. Oh, Canada is his most recent effort based on the novel Forgone by Russell Banks. It had its premiere at the Cannes Film Festival earlier this year. While it touches on poignant and fascinating themes, the movie’s undercooked narrative prevents this from making the most of its thought-provoking premise.
 
Leo Fife is a legendary documentary filmmaker at the end of his life. As he grapples with his imminent demise, he agrees to have his final testament filmed by other documentary filmmakers. We see Leo’s life as a young adult as he recounts his story of draft-dodging during the Vietnam War and the life he previously had. Leo, despite being an unreliable narrator, attempts to break down his mythological life. I think this premise tackles legacy in a fascinating way, and it’s a lens that feels almost meta due to the unintentional role Schrader has carved for himself in American culture.
 
Schrader clearly knows what he’s trying to say with this movie, but the script has a hard time translating this into a tight and cohesive story. The themes linger throughout every scene, but the narrative fails to enhance it. Beats feel out of place and disjointed, and this ultimately undermines the beautiful and enigmatic ideas that are present. Despite this, there are still a handful of brilliant narrative moments that show promise if only it was a characteristic that was present throughout the movie.

This movie is led by Richard Gere and Jacob Elordi who play Fife at different points in his life. Both men are subdued but occasionally captivating in their portrayal of such a complex character. They certainly don’t blow you away, but they do have some tender moments that are hard to deny. The ensemble is rounded out with actors like Uma Thurman and Michael Imperioli who are both serviceable if not memorable.
 
This movie ultimately tackles the line that blurs myth and truth and the ways in which idols are flawed. It tackles how a deeply complicated man can almost by accident become an artistic legend despite his numerous flaws. It explores the legacy of such an artist, especially in the face of a terminal illness. It houses tender truths that could have been explored in a movie twice as long, and while it gets points for its profound themes, its narrative shortcomings prevent this from becoming great.
 
Oh, Canada is a promising entry in Schrader’s 21st century repertoire. It suffers from a messy narrative but excels thanks to its fantastic ideas and profound beliefs about art, legacy, and the inherent flaws of being human. It may not go down as his most memorable late period film, but it’s one that will be remembered for its undeniable potential.
 
Oh, Canada is in theaters December 6.
 
Rating: 3.5/5