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A safe, sunny stroll through Ohana nostalgia, as Disney dusts off its live-action wand again, and it’s a polished, sweet, and almost entirely risk-free film. Stitch looks great (thankfully no Sonic-style panic here), and Maia Kealoha brings the Lilo spark.

But this is less reinvention, more gentle reintroduction. The new additions feel like someone hit “add NPC” at random, and where’s Gantu? Why is Jumba... like that?

But the heart’s there, the pacing’s decent, and the cinematography's legitimately lovely. It’s comfort food cinema - warm, easy to digest, but don’t expect spice.

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The Killgrin tries to be a deeper kind of horror film, focusing more on grief and emotional trauma than scares. It wants to be thoughtful and symbolic - because clearly what the genre needs is another metaphor for sadness.

Konstantina Mantelos is the best part of the movie, even when the dialogue around her sounds like it came from a dramatic writing workshop. The film moves slowly, and it definitely expects you to pay attention to the emotional beats more than the monster ones.

The Killgrin is an ambitious, if flawed, exploration of trauma through genre. It's not without some merit, but is far from as polished as it could have been. It’s a slow, messy dive into pain that sometimes works and sometimes doesn’t. But if you’re in the right mood, it’s maybe worth a one time watch.

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Mission: Impossible – The Final Reckoning is Tom Cruise’s latest attempt to outrun both time and common sense. And guess what? He’s still faster than both.

The emotional depth here is new for the franchise. Ethan Hunt has feelings now - regret, loss, responsibility. (Insert surprised Pikachu face.) It's like someone told Cruise he could act and do parkour. Wild.

Big props to Hayley Atwell, who looks constantly like she’s two seconds from quitting the IMF internship from hell. Esai Morales broods well. Simon Pegg and Ving Rhames still show up and say smart things while looking increasingly worried. And Pom Klementieff? Absolute chaos. Love her.

It could probably lose some of the runtime, especially with some of the flashback scenes, but I was never bored.

Very solid, and more emotional than I thought it would be.

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Points for ambition with 'The Moogai'.

The social commentary is the most powerful thing about this film, because as a horror film it stumbles a bit, especially with the pacing.

But there’s some genuinely powerful stuff here about generational trauma and the stolen generations, even if it’s wrapped in a film that occasionally feels like two ideas awkwardly holding hands.

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Bring Her Back is a film that demands your soul, your undivided attention, and possibly a weighted blanket and some therapy afterward. It starts off slow but by the time Sally Hawkins starts twitching you’re in psychological quicksand.

The horror? It’s not ghosts or demons. It’s worse: adults who think they’re helping. Watching kids get slowly emotionally strangled by misguided good intentions is far scarier than any cult or creature.

Bring Her Back lingers like a bruise - uncomfortable, maybe ugly, but deeply felt. It’s not a fun watch. It’s a “why did I do this to myself” watch. But if you like your horror soaked in sorrow and awkward family dynamics, this one's for you.

8/10, would not watch again (but only because I need my will to live intact).

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Atrocious on pretty much every level.

Should have eaten my toe nails instead.

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If you’ve ever thought, “I wish horror films would stop entertaining me and instead slowly erode my sanity,” then The Severed Sun is your new best friend.

This isn't your average horror ride. No, this film prefers to stare deeply into your soul and whisper, “You are not okay.” Existential dread and fog machines, but meaningful fog, obviously. This film is all about long, lingering shots that dare you to blink and sound design that turns every creak into a crisis.

The film dabbles in your typical folk horror fare - isolated villagers, cryptic legends, that whole charming "maybe we sacrifice people" aesthetic. But it also adds a dash of modern paranoia and authoritarian dread, because apparently we weren’t stressed enough already.

Does it drag in places? Absolutely. But that’s intentional pacing, thank you very much. If you get bored, that just means you're not deep enough. (I jest!)

And the ending? Deliciously bleak. No closure, no comfort - just a full-body sigh and a thousand-yard stare.

If you’re craving something slow, moody, and willing to haunt you in a non-flashy, emotionally repressive way, The Severed Sun is your film. Just don’t expect to have fun. Fun is for people who didn’t choose this cinematic descent into brooding despair on purpose.

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I rated this 3.5, but it sits between 3.5 and 4 truth be told.

Imagine going on a camping trip with two emotionally stunted dudes who only bring along shame, and unresolved trauma. That’s Vulcanizadora. And yes, I liked it.

Joel Potrykus, the reigning king of “men behaving sadly,” once again gives us a movie where almost nothing happens, and yet, it's a film I will be thinking about for a while.

It’s just him and Joshua Burge wandering through the Michigan woods like two kids who watched Stand by Me and said, “But what if it was more pathetic and no one learned anything?”

But somewhere between the dirt digging, branch swordplay, and monologue about hell being “just feeling nervous and sad forever,” the film hits a raw, weirdly relatable nerve. Like, thanks, Joel, I didn’t need my emotional state diagnosed by a guy eating bugs in the forest, but here we are.

It won't be for everyone though, that's for sure. It’s slow, bleak, and aggressively awkward. But for the brave few who enjoy suffering as a cinematic hobby, it’s kind of brilliant.

I laughed, I cringed, I questioned my life choices. Pretty sure I also reached enlightenment somewhere around the 47-minute mark.

Simon Leasher Film Reviews

Heart Eyes isn’t here to reinvent the genre - it’s here to stab it lovingly through the heart and then make out over the corpse. And, good for it. This movie knows exactly what it is: dumb, gory fun with a wink and a bloody grin.

Olivia Holt plays Ally, the classic “I’m too jaded for love” heroine, who somehow still manages to be likable - think less Hallmark, more Final Girl with emotional baggage.

Mason Gooding’s Jay is your standard-issue charming flirt with a tragic backstory (probably), and together they bicker their way into romance while dodging a killer.

But nobody is watching it for the slow-burn love story. The Heart Eyes Killer, who looks like if a Valentine’s Day card crawled out of a dumpster and learned how to use a chainsaw.

The kills ARE Gloriously ridiculous. Drenched in blood, and executed with just enough flair to make you laugh and wince at the same time.

Yes, the plot is as predictable,and the final twist didn't land for me, but Heart Eyes isn't trying to be smart - it just wants to entertain you while someone gets stabbed through a giant teddy bear. Mission absolutely accomplished.

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This movie is basically a political thriller disguised as a Vatican tour, and it’s way more gripping than you’d expect from a film about choosing the next pope. Forget dusty old religious snoozefests -Conclave serves up tense backroom politics with a dash of holy water.

Ralph Fiennes leads the charge like the king of cardinal angst, juggling ambition and moral weight like a pro. Stanley Tucci and John Lithgow are also on board, clearly having a blast throwing shade and scheming in red robes. Fiennes’ every glance practically screams, “I’m stressed, but I’ve got this.”

Director Edward Berger makes the Vatican look like a claustrophobic chessboard of secrets - those endless hallways, the cardinal processions, all dripping in atmosphere.

The ending is a bit heavy-handed, like a sermon you didn’t ask for, and somewhat undercuts the raw tension built earlier.

Worth it

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Ne Zha 2 is ridiculously pretty. Like, unfairly pretty. The kind of pretty that makes you question whether your own eyeballs are worthy. From magical battles to underwater set pieces, every frame is a flex..

But this isn’t just visual eye candy. Ne Zha 2 also wants you to feel things. The story leans into hefty themes like destiny, identity, and parental pressure (classic childhood trauma, animated edition). It’s basically a self-help seminar with explosions. Ne Zha’s arc from bratty chaos gremlin to introspective savior is great to watch unfold.

If you’ve ever said, “I wish this mystical martial arts duel had more mid-air slow-mo and glowing fireballs,” Ne Zha 2 heard you and cranked that dial past 11.

If you're in the mood for dazzling visuals, high-octane battles, and surprisingly heartfelt storytelling, Ne Zha 2 delivers. Just be prepared to occasionally mutter, “Okay, we get it, he’s special.”

4 stars. Would absolutely let this demon child emotionally devastate me again.

This review may contain spoilers.

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After more than a decade, Final Destination: Bloodlines resurrects the long-dormant franchise with a surprising mix of nostalgia, creative carnage, and - shockingly- heart.

Longtime fans will feel right at home. The absurd, Rube Goldberg-style deaths are back in full force, and will delight.

The iconic premonition scene, this time set in a 1960s sky-high restaurant, delivers a stylish, retro-flavored sequence that feels like Mad Men meets doom. And yes, Tony Todd returns as Bludworth, bringing gravitas to his scenes.

What’s unexpected and welcome is the film’s emotional depth. The choice to center the plot on a family rather than a group of random teens gives the film structure and stakes. There’s actual character development, and the moments between death scenes aren’t just filler.

Bloodlines also dares to touch the franchise’s lore, offering glimpses into Death’s mechanics and Bludworth’s cryptic nature without over-explaining.

It had some annoyances, for me - some dialogue clunks, and not every emotional beat lands, but it’s a massive step up from the franchise’s later entries. Final Destination: Bloodlines proves there’s still life (and death) in the series yet.

Verdict: If you’ve ever feared a logging truck or side-eyed a tanning bed, you’ll feel right at home.

In short: death still finds you - but now it’s got a backstory.

This review may contain spoilers.

Read all my thoughts on Sinners

But if you want the quick and dirty version: Ryan Coogler really said, “What if Moonlight met Blade and had a Michael B. Jordan baby... twice?” And then somehow made it work.

Most actors struggle to make one character believable, but here's Jordan out here embodying two fully fleshed-out men with different body language, energy, even blinking patterns.

And then Coogler, just when you’re settling into a powerful family drama, flips the genre table mid-film, which isn't forced, but earned.

Ludwig Göransson’s score doesn’t just accompany the scenes, it narrates them. It’s not background noise. It’s not filler. It’s the heart, the pulse, the spine, and maybe even the soul of the whole damn film.

And it’s not just about sounding good. It’s about what the music means.

Is it perfect? Not quite. The second half does hit the gas a little too hard. Some moments needed more air. But when the worst thing you can say is “I wanted more of it,” you know you’re in good hands.

And if Michael B. Jordan doesn’t get at least major one award nod, I’m starting a petition, or a vampire uprising, whichever gets more attention.

Simon Leasher Film Reviews

Some of these films had festival releases in 2024, but theatrical releases in 2024, but am still counting them as 2024 films.

• All We Imagine as Light
• Ghostlight
• The Outrun
• Wicked Little Letters
• I'm Still Here
• Handling the Undead
• Good One
• The Sweet East
• Black Dog
• Animalia

...plus 3 more. View the full list on Letterboxd.

Simon Leasher Film Reviews

Some horror films I think are underrated and more people should watch.

• When Evil Lurks
• Terrified
• Fréwaka
• The Severed Sun
• 1408
• Stir of Echoes
• Frailty
• Ginger Snaps
• Noroi: The Curse
• Gonjiam: Haunted Asylum

...plus 28 more. View the full list on Letterboxd.

Simon Leasher Film Reviews

Well, I say everyone should watch, but what I mean is these are my very favorites.

• Oldboy
• The Wailing
• Cure
• Lady Vengeance
• Sympathy for Mr. Vengeance
• Memories of Murder
• I Saw the Devil
• City of God
• Run Lola Run
• La Haine

...plus 14 more. View the full list on Letterboxd.

Simon Leasher Film Reviews

Some underrated horror slasher movies that I like!

• Intruder

  Set entirely in a grocery store during the night shift - and somehow, it’s genius. Inventive kills and Sam Raimi cameos? Yes, please.

• Curtains

  A snowbound, art-house slasher with surreal imagery and one of the creepiest masks ever put to film.

• The Initiation

  A surprisingly smart and twisty campus slasher with dream logic and a killer mall finale.

• Slaughter High

  A prank gone wrong, a twisted reunion, and a killer in a jester mask. Cheesy? Yes. Fun? Absolutely.

• Blood Rage

  Thanksgiving horror at its bloodiest. Twin brothers, cranberry sauce, and a delightfully over-the-top tone.

• Eyes of a Stranger

  A gritty, suspense driven slasher with standout performances and a young Jennifer Jason Leigh.

• Night School

  A Boston slasher with decapitations and a surprising amount of noir vibes. Underrated and stylish.

• Pieces

  Absolutely bonkers Spanish-American gore-fest. Makes no sense and doesn’t care. A must-watch for sheer WTF value.

• Fatal Games

  Javelins. Lycra. Murder. It’s basically Slumber Party Massacre in a gym -with slightly more sweat and slightly less logic.

• The House on Sorority Row

  Elegant direction, eerie tone, and a tragic backstory make this one stand out from the college-kill crowd.

Simon Leasher Film Reviews

10 Overlooked Thrillers From The 90's Part 1.

Now part 1 suggests I will do more, but don't bank on it.

I probably will, though.

• The Last Seduction

  Why You’ve Never Seen It: Because you were busy pretending Basic Instinct was high art.

  What It Is: Linda Fiorentino weaponizes her smirk as a femme fatale so cold she makes Catherine Tramell look like a camp counselor. Noir for people who hate sunshine.

• Red Rock West

  Why You Skipped It: Because Nic Cage didn’t scream enough in this one.

  What It Is: Neo-noir set in dusty nowhere towns, featuring mistaken identity, Dennis Hopper being psychotic (again), and a morality tale buried under cowboy hats. Noir with a hangover.

• Palmetto

  Why It’s Overlooked: Because it tried to be sultry but ended up on Cinemax at 1 a.m.

  What It Is: Woody Harrelson gets seduced, framed, and thoroughly outmatched by Elisabeth Shue and a Southern Gothic vibe that feels like Body Heat but forgot the thermostat.

• One False Move

  Why No One Talks About It: Because Billy Bob Thornton was just “that creepy guy” back then.

  What It Is: A gritty, slow-burn crime drama disguised as a B-movie, with actual tension and human stakes. Think Blood Simple meets Small Town Cop Blues.

• The Spanish Prisoner

  Why It Was Ignored: Because it’s a David Mamet film where nobody yells “f*** you” for ten minutes straight.

  What It Is: A corporate espionage con game with dialogue like jazz and plot twists designed to confuse your dad. Steve Martin plays it straight - and creepy. Yes, that Steve Martin.

• The Rapture

  Why You Missed It: Because it's a religious thriller that didn’t feature any exorcisms or pentagrams.

  What It Is: Mimi Rogers loses faith, finds it, and then really loses it. Not a thriller in the “chase and shoot” sense - more in the “your soul might rot eternally” kind of way.

• Mortal Thoughts

  Why It Slipped Through: Because Bruce Willis with a mullet and a goatee is a lot to take in.

  What It Is: Demi Moore narrates a Rashomon-style murder mystery that somehow feels like The Big Chill with more homicide. Bonus points for sleazy Jersey energy.

• Breakdown

  Why You Forgot It: Because it's not Duel, Joy Ride, or The Vanishing, but kinda wishes it were all three.

  What It Is: Kurt Russell’s wife disappears at a gas station, and he drives around being sweaty and heroic. Highway paranoia has never looked so competent.

• Kalifornia

  Why It’s Forgotten: Because Natural Born Killers came along and snorted its lunch money.

  What It Is: Brad Pitt plays a backwoods psychopath, David Duchovny plays a pretentious writer (stretch), and Juliette Lewis is trapped in a car with both. Road trip meets murder spree.

• Romeo Is Bleeding

  Why It’s Lost in Time: Because it wanted to be Shakespeare-meets-neo-noir, but ended up being Gary Oldman yelling at a corpse in a car.

  What It Is: Corrupt cop. Femme fatale (Lena Olin, unhinged). Violence that thinks it's poetry. All soaked in blood and late-night sleaze. A noir dream if the dream had insomnia and guilt issues.