Tag Archives: A24

Film reviews

Highest 2 Lowest Review

Leave a comment

This film directed by Spike Lee with Denzel Washington in the lead is one that makes for a masterclass in filmmaking success. Highest 2 Lowest is what I consider to be one of the best films of 2025. It has a dramatic sense of power and irony that moves in a direction that creating its own force of nature. Lee’s directing is like the setup of a play of power and triumph–one where millionaires and the music industry find themselves in a battle of ransom to the highest peaks. Instead of suspenseful tones of action, it follows more along the lines of politics weaving back and forth with egos fighting to come to an agreement. With Lee, fans know that he is one to paint the portrait with the writing on the wall. It is fresh “writing on the wall” all over in Highest 2 Lowest.

The film centers on a music mogul named David King (Washington). He is all about money and thriving on the power of creativity via words and wisdom. His wife is Pam King (played by Illfenesh Hadera) and his family friend is Paul Christopher (played by Jeffrey Wright). The life of New York is golden and glamorous with King fully living the high life of the music industry. All that changes in a heartbeat when his son Trey (played Aubrey Joseph) is kidnapped. It is a ransom situation that gets political and ethical. A moral dilemma is presented with much authority associated.

The film is mesmerizing because of its set-up. It feels like a Shakespeare production. That is because the many moments of suspense will have Washington pontificating on authority and business while also dealing with finding the means to get around a ransom. Not only that, but also assuring that his life continues to be glamorous and successful with his family. Lee brings in that brotherhood and fatherhood vibe with many lines of wisdom throughout the hard and aching moments of the powerful crime. The New York streets boil down the mood of anxiousness with an artistic form of continuity that is one-of-a-kind in Highest 2 Lowest.

The dynamic between Washington and Wright is also the major component of staying connected in Highest 2 Lowest. There is a background of writing that establishes what a close relationship looks like while dealing with a hard situation. But also, the ransom scenario has its moments where it competes—because money is the key to getting out of the conflict. Ultimately resolution is all in the hands of the business perspective of Highest 2 Lowest and Lee’s directing creates a road that presents this vividly in Highest 2 Lowest.

To retrace my words of why I love this movie, it is because I love how Washington can play a man of success and a man dealing with a complicated situation.  At the same time, he presents a serious side but is also mentally prepared to go down with the irreparable consequences. Music, money, family, hardship—greed and success does not bring good people with it sometimes. The portrait of jealousy lies within, but the voice of fighting to keep going strong via politics is where Highest 2 Lowest shines. Four out of four stars for Highest 2 Lowest.

 

Film reviews

Eddington Review

Leave a comment

Creative and domineering. This film is a masterclass from a director who can tango with true events and attach them to a fictional story. From the mind of Beau is Afraid, Ari Aster brings his audiences Eddington. A story based on a setup of the COVID-19 pandemic mixed with political class and surprises that test limits fuel a wicked grandeur of fun and limitless sensations. Aster  puts all his moments in one bowl which transpires into an array of different flavors. Some moments are funny, others serious, and certain ones blurry, which leaves the door open for unanticipated events.

Before going into detail about the plot and other spellbinding moments, I do want to mention that the film loops in the political issues faced in the world because of COVID-19. It also ties in the Black Lives Matter scenarios and covers the political fiasco of masking and other safety precautions. So, scenes in Eddington are insensitive. However, those scenes add fuel to the fire and help cross-examine anarchy in an interesting way. Thanks to Aster’s mind, there is no blind for joy in Eddington.

Eddington is the desert town where the film is set. The two characters of focus are a sheriff and a mayor. The sheriff is Joe Cross (Joaquin Phoenix) and the mayor is Ted Garcia (Pedro Pascal). Phoenix returns to working with Aster after Beau is Afraid and plays an anti-vaxxer in this role. Pascal as the mayor displays safety concerns which range from masking to social distancing to eliminating anything that might spread the virus. Many patterns and habits that were common during the height of the COVID-19 pandemic are refreshed in the audiences’ minds in Eddington. I found this look back at history fascinating. Even though the pandemic was a hard time for everyone, Aster’s vision gives it a creative side with a suspenseful aspect to look back at. 

Joe, the sheriff who is very set in his ways, decides to take on the task of trying to run for mayor. Eddington is a world of political war in a small town. Aster utilizes the tension of real-life COVID events which makes this dark comedy irresistible and exhilarating. A lot of the film falls back on the performance of Phoenix—his personality is the success factor. Pascal’s performance is revolutionary as well. They are both the kings of their political views, and it makes Eddington shine with hysterical vengeance.

My respect for Aster has grown to new heights. Eddington reminded me of my nightmares and turned them into poetic portraits. COVID-19 made my mind boil and seeing it portrayed in a fictional setting felt like a form of revenge. “TAKE THAT COVID!” Aster takes realistic political scenarios and makes his audience feel the heat of the hard times while reminding them to be present in Eddington.

Eddington has characterizations that seem like they’re in comic-book form. Two other characters that add to the film’s intensity are Louise Cross (Emma Stone) and Vernon (Austin Butler). Louise is the wife of Joe, and she is back and forth in bipolar mode and unaware of her husband’s practices. Vernon is a podcaster trying to build a following based on his wild, yet ridiculous beliefs. The setup of Eddington is slightly satirical, but it leads to the best outcomes even when events fall apart. This film is a sensational adventure that has politics interweaving over obstacles. It is a rollercoaster that is lethally stunning. Eddington is one of the best films of 2025. Aster’s world of COVID is accurately portrayed and is bound to boggle minds and invigorate his audiences. Four out of four stars for Eddington.

 

Film reviews

Sorry, Baby Review

Leave a comment

This is a portrait that I was mesmerized by. It is a film that leads to curiosity as it explores human nature. Sorry, Baby leaves a trail of questions. Why do things happen? Why do people do what they do? Ultimately, how does the person who has been impacted keep a calm demeanor? Eva Victor is the writer, the director and the lead in Sorry, Baby. She gives everything to this performance. Her mental awareness and her ability to portray disconnect are impressive. Sorry, Baby shines in displaying matters of stress and relief. It is built upon a foundation of the steps it takes to go forward. The result is a landscape of trial and error that paints a clear picture of what it means to go with a gut-feeling.

Victor plays Agnes. She is working through the steps of completing her thesis to become an advisor. She shares a house with her close friend Lydia (Naomi Ackie), who is pregnant. Agnes and Lydia bond over their shared appreciation for hard work. For Agnes, however, her life takes a turn due to her thesisadvisor Preston (Louis Canceimi). Agnes is thriving the best she can her and then her world rotates once she meets Preston. While the audience does not see the tragic events, she has a harsh encounter with Preston involving assault.

Once the assault happens, the mood of Sorry, Baby understandably changes. Victor’s writing reflects the introverted mode caused by embarrassment and shame. Going forward, it begins to create a positive form of movement because Agnes keeps her head high and works through her emotions. She focuses on her thesis and leans on her friends, including Lydia. Then she finds herself at ease hanging around with her neighbor Gavin (Lucas Hedges). Sorry, Baby displays Oscar-worthy characterizations that soar with encouragement from the creative mind of someone who shows how growth from a harsh reality is possible.

The real-world scenario of Sorry, Baby leaves audiences with an influential reminder. Specifically, there is often something helpful to be learned from even a horrible encounter. At the same time though, it also shows how difficult it can be to talk about it. Victor’s writing showcases the sensitive layer of vulnerability that has the audiences hoping for better outcomes for Agnes. Her skills at writing, directing, and acting have led to a masterpiece.

With the harsh encounters creating anxiety in the film, the way Agnes deals with the post-event is thought-provoking. Does it scare her? Yes. Does it impact her? Yes. Does she open up about it? Not entirely. Her introverted personality and lighthearted attitude display that it is not about ruining one’s life, but about how one can move forward positively. Lydia’s pregnancy is one of the distractions for Agnes, and so is a cat she adopts. Slowly, the sweeter aspects of life fill the landscape in Sorry, Baby and light the way for an inspirational path.

There is turmoil, there is sadness, and Sorry, Baby turns despair into hope. Victor’s performance in all three roles (writer, director, actor) is one for the ages. The disconnect from reality is just the beginning and the steps to redemption are one-of-a-kind. Four out of four stars for Sorry, Baby.