Movie Reviews

Her Private Hell

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  • Title: Her Private Hell
  • IMDb: link

Walking into a Nicolas Winding Refn film you can always be assured of a visual feast. In that way, Her Private Hell doesn’t fail to impress. Refn brings to life an entrancing future surrounded by mysterious mist hiding dark secrets and a killer clad in leather. And in the middle of it all the elaborately decorated home of Elle (Sophie Thatcher) and the dysfunctional family consisting of her father (Dougray Scott) and stepmother (Havana Rose Liu).

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The Odyssey

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  • Title: The Odyssey
  • IMDb: link

Christopher Nolan delivers his epic interpretation of Homer‘s Odyssey which, behind gods and monsters, is the tale of one man’s journey home from war. Nolan casts Matt Damon as Odysseus who, when the film opens, is already lost to the world. His home has been overrun by suitors (most notably a sleazy Robert Pattinson) for his wife (Anne Hathaway) who have ill-intentions for his throne and his son (Tom Holland).

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The Invite

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  • Title: The Invite
  • IMDb: link

Easily comparable to Who’s Afraid of Virginia Woolf?, both in its subject manner and its origins and staging from a stag play, The Invite is nothing more or less than an evening two couples spend together leading to arguments, arousal, suffering, and, ultimately, something nearing understanding. Although at times uncomfortable, it’s an evening you don’t want to miss.

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Minions & Monsters

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  • Title: Minions & Monsters
  • IMDb: link

The seventh movie of the Despicable Me franchise, and the third to focus squarely on the odd yellow henchmen, takes one tribe of Minions (after a brief history lesson) to Hollywood during the Roaring Twenties. All voiced by writer/director Pierre Coffin, the most important Minions of the film are James (the dreamer and storyteller), Henry (James’ best friend), the hearing impaired Ed, and, to a lesser extent, the dickish leader of the group appropriately named Dick.

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Supergirl

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  • Title: Supergirl (2026)
  • IMDb: link

Milly Alcock returns to reprise her role of Kara Zor-El introduced at the end of Superman. Any conversation of director Craig Gillespie‘s film must start with Alcock whose journey as the lost daughter of Krypton (cursed to remember a planet Kal-El never knew) provides the backbone of the film. Part origin story, part coming-of-age film and growing into who you were meant to become, Supergirl works fairly well when Alcock is on-screen (and less so when she’s not).

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