Film reviews

Black Phone 2 Review

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Black Phone2 intensifies the suspense and horror. Directed by Scott Derrickson, the film meets the high expectations set by its predecessor. The first installment was only the beginning. This time, the phone calls target both Finn and Gwen. Mason Thames and Madeleine McGraw reprise their roles as brother and sister. Ethan Hawke returns as The Grabber. The new storyline adds more detail. I felt more scared than in the first film.

With the film moving forward, Finn’s nightmares carry a lot of weight into this sequel. Especially with the tones of a belittling attitude, and also the much horror he has experienced, he carries on with him. The visions of The Grabber have not left, but this time, Gwen is having her own nightmares. This brings them to realize that a place called Alpine Lake may have answers to the terrors of their dreams.

What electrifies Black Phone 2 is its spiraling momentum, pulling viewers deeper into a maze of recurring nightmares and lurking mysteries. The eerie phone booth at Alpine Lake becomes the epicenter of their fears. When it rings, reality and nightmare blur, unleashing supernatural horrors that thrive at the camp. Here, Finn and Gwen piece together the cryptic patterns from their visions, each nightmare a vital clue in their search for the truth.

The writing delves into the depths of evil lying in wait, layering the sequel with fresh, unexpected scares. The film is a labyrinth of campfire terrors and shadowy histories, each piece fitting into a larger, sinister puzzle. The Black Phone 2 masterfully maintains its surreal continuity, always hinting at new horrors to come. The Grabber’s chilling voice and twisted motives remain unforgettable, and Hawke’s wicked grin steals every scene.

Overall, The Black Phone 2 is vivid. One that still has a promising continuation. I adored all the extra evidence to maintain momentum. I will also say that I felt it had a heartfelt side with the brother and sister dynamic battling horror . Especially with one that is bound to continue. Three out of four stars for Black Phone 2.

Film reviews

Urchin Review

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The easy fall of relapse comes around instantly in Urchin. Written and directed by Harris Dickinson. A rising star from the UK who is now making his way into fame after starring in Babygirl with Nicole Kidman. Urchin though correlates to his type of earlier acting roles. That is because he played a depressed, young lad in Beach Rats in 2017. As one who has portrayed a character with overwhelming struggles, he now creates a story revolving around one. Urchin is a film where trial and error has plateaus in the cinematic sense, but the writing seems to fall flat.

The film takes place in London, and its main character is Mike, and he is played by Frank Dillane. Mike is one who is homeless and has been in trouble with the law multiple times. He finds himself getting into trouble with his on-and-off buddy, Nathan. Dickinson plays Nathan. After messing up countless times, he has been given multiple chances. This time though, he has a chance for reconciliation. He is put into a program where housing is provided, and he is given a job as a dishwasher. It is like a rehabilitation setup with a halfway house portion added. However, Mike finds himself still having conflicts dismissing his patterns of addiction. His irritability exists, as does his self-destructive behavior.

The many moving parts of struggle around the performance of Dillane is vivid and artistic. Especially when he is put in the moments of having to adapt to organizational skills, that is when all bets begin to fall. Because as he continues to struggle with his own thoughts and curiosities about troublesome behavior, it interferes in the routines of his daily life. Dickinson creates a portrait of how chances are abused when they are given to those who cannot overcome issues with relapses. He adds fluorescent and technical colors to add to the anxiety-provoking theme surrounding Urchin. Hard to bear in moments, but humanistic value is seen. Three out of four stars for Urchin.

Film reviews

Good Fortune Review

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Written and directed by Aziz Ansari, this is probably one of the most well-written and cleverly crafted comedies of 2025. Good Fortune is a comedy that is a delight because Ansari knows how to capture reality and fairness from a realistic perspective of how life seems for many individuals. He creates a dynamic of people with interesting lives (including himself), and he adds an angel to make things better. Well…that angel tries. But overall, the concept of the comedy is just genius. I have seen Ansari three times on stage doing stand-up comedy, and I will say his craft as a comedy writer seamlessly crosses over to movies. Good Fortune is a breakout of wonders for sure.

Aziz Ansari plays Arj, and he is a struggling delivery driver in California. He is desperately struggling to make ends meet. Around him, there is an angel named Gabriel, played by Keanu Reevers. Gabriel is an angel assigned to keep people alive by basically making them alert by not texting and driving.  He basically keeps humans alive by preventing them from getting into serious injuries due to obliviousness. Gabriel wants a change as well though. Gabriel’s boss is Martha, played by Sandra Oh. Gabriel wants to make people’s lives better, but his options are limited. Things begin to come around when Arj earns the opportunity to work for a wealthy venture capitalist named Jeff. Jeff is played by Seth Rogen. Once Arj begins to work for Jeff, his life starts to see some light.

There is a twist to this comedy and this is where the entertaining genius lies.  Arj convinces Gabriel to make it possible for him to swap lives with Jeff. This means that Jeff ends up being the one struggling financially, while Arj is rich and wealthy. At the same time, Gabriel is an angel who is trying to navigate the reality of what makes actual humans happy, because he himself is not (technically) a human. A film of moving parts where the rich live for fun, and those who hustle must truly hustle. Ansari creates the dynamics of fairness presented as daring.

The film leads to a path of envy and jealousy becoming the theme. That is seen more by the Angel character of Reeves. Moreover, there is the impression that some have a lavish life and may not deserve it. The creative style of Ansari’s directing is how it creates equality—the portrait that no one is perfect—no matter how rich, poor, or successful. Anyone can have flaws. The “flaws” in Good Fortune have witty misdirection making this one of the best comedies I have ever seen.

The classiness of Good Fortune is in the fact that it makes audiences look at reality. It makes us ask the question, “Are we are truly happy with our lives?”. Would many be happier if they were just rich all the time? Or would some rather just continue to hustle? How many would want to swap their life for another? Despite the good that comes out of rotated lives, the hurdles of change are presented with a reality that has plateaus that are unavoidable. Ansari’s writing has tangents that are spellbinding in that aspect, especially with Reeves as angel navigating making people’s lives better. There is no clear end in sight for Good Fortune. The light of happiness is in the writing, and the funniness is fueled by competitions to get lifestyles back. Four out of four stars for Good Fortune.

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