Tag Archives: Film reviews

Film reviews

Shelter Review

Leave a comment

I appreciate the many action flicks with Jason Statham in the lead, especially because he possesses an attitude of no empathy and unleashes all kinds of chaos. With his new film Shelter though, it was by far one of the dryest of thrillers. My mind was bored. I felt like I was watching paint dry in increments. It is not horrible, but the pacing is off. Shelter carries the fundamentals of an espionage flick with secrets, however, putting together the parts to execute a cohesive film keeps failing. There is a form of confusion that runs through Shelter. Where is the meaning behind all of the danger? There is little detail about why and how the events unfold.

The film’s main character is Michael Mason, played by Jason Statham. He lives in a lighthouse with peace and solitude. This all changes when a girl falls into his life and becomes his responsibility. Her name is Jessie, played by Bodhi Rae Breathnach. She ends up with Michael because he saves her from drowning. He tries to maintain a low-profile in her presence, because his history is one where there are many people after him.  This is where the pacing is in shambles.

Shelter maintains a strong suit of suspense. Especially in the dynamics of the performances from Statham and Breathnach. It was steady in moments, but overall, the film jumps to conclusions quickly. To elaborate, they go from a lighthouse setting to those who are part of operations of a spy organization hunt them—the solitude of Statham’s performance does not fit. The film opens with a man pursuing vengeance and works to make itself feel like some form of a James Bond movie. In the end though, it is just Statham playing his usual self.

Shelter jumps from authorities being tackled over to traps beingset in place, and continues on a rollercoaster of disaster action. Again, not horrible, but the pacing of trying to be mesmerizing or spectacular is not there whatsoever. The shambles of poor writing are above and beyond with Shelter. I was not sold. With that, my rating falls at two out of four stars.

 

Film reviews

Pillion Review

Leave a comment

With quite a bit of buzz from the Cannes Film Festival and the BFI London Film Festival, Pillion is a film where love and connection are hidden, but it also contains a deeper meaning below the surface. I was visiting London, United Kingdom in late December of 2025. I knew of the title Pillion and knew that it has a release date to be wide in February of 2026. However, after my many adventures on the tube trains, and seeing the ads all over the tunnels, I had the opportunity to see this during my travels. The term “pillion” refers to the passenger sitting behind a motorcyclist. Harry Melling is “the passenger” and Alexander Skarsgard is “the motorcyclist.” Pillion is a journey of two men trying to find what their hearts wants, but their expectations are the complete opposite—a power of love narrative combating to find what love truly is.

The film takes place in Bromley and other regions around London and the United Kingdom. Harry Melling plays Colin—he is introverted, shy, good-hearted, and hopes to meet someone that gives him the loving attention he longs for. His parents are very supporting of his sexuality. They are Peggy (Lesley Sharp) and Pete (Douglas Hodge). Peggy has some health issues, and she prays that her Colin finds a man that fulfills his happiness. That may come along for Colin, as one night he meets a man in a bar who rides a motorcycle. Alexander Skarsgard plays Ray—he is high strung, mellow, and starts to bring Colin in his life. Once Colin and Ray begin to spend time together though, Ray begins to show different behaviors outside of what Colin expects.

The film is one that keeps its audiences thinking. Especially because of how it is focused on a relationship between two men. The fact that Colin wants to love someone and feels Ray might love him back creates a mixed message.  Ray has Colin pick up groceries for him, do chores for him, and makes him sleep in the opposite bed—Colin may just be Ray’s submissive. Is that what Colin wants? He is blinded by being with Ray making him feel that he has a community and a purpose. 

The LGBT side of Pillion creates a portrait of timing. There may be some good times for Colin and Ray, but is Colin truly happy with Ray? Does Ray have feelings for Colin? When Peggy begins to see her son is taken advantage of, she starts to question his happiness. Pillion is a film where love requires more than just loving someone for who they are, it also creates a claritythat sees that common ground is important as well. For Colin, the physical side of feeling warmth is seen as he is the passenger riding on Ray’s motorcycle. Beyond that, any form of connection is how Ray is feeling. There is no clear context to why Ray acts like this, but also at the same time, it does not mean he is a bad person. The display of his sense of shame or guilt is written in a context that creates melancholy that craves release.

The film is written as a dramedy where the chemistry is foundbetween the lines. Melling and Skarsgard are two forces that tango with surreal emotions. In a tale where romance of the same gender struggles to see eye-to-eye, the guide to life does not lie. Pillion brings fuel to the fire with the emotions of Colin as he continuously wishes that Ray would treat him differently. Ray can, but does he want to? The film continues to build a landscape of questions throughout this unique dynamic that it creates among these two men. Is it love or is it just a servant-type relationship? Overall, though the tension steams on and off the motorcycle. Three-and-a-half out of four stars for Pillion.

 

 

Film reviews

Mercy Review

Leave a comment

This is a suspense flick where technology and AI surround the premises throughout the entire hour and forty minutes. While the story remains on track, the predictability is high. This is Mercy directed by Timur Bekmambetov. In this movie, laws and lies are put to the technological test. Probability, stats, and tracking are the keys to saving one’s life, while at the same time, these same tools are being employed to clear one’s name. 

The film’s main character is Chris Raven (Chriss Pratt). He wakes up locked into a chair, and the person he is speaking to is an electronic judge, Judge Maddox (Rebecca Ferguson). Chris is accused of murdering his wife. The system is called “Mercy.” This means that he is given ninety minutes to prove his innocence. Because Chris is locked in a chair, he must deal with the complications of contacting those to help him find the missing pieces to prove his innocence while continually handling the frustration and stressors caused by Judge Maddox. Since she is an AI character, she resets a lot. When time is of the essence, technological glitches only add to the risk that Chris will look guilty of this crime.

The film highlights innovation through technological innovations which aid in connecting the dots and performing tracking simulations. The visuals are a rollercoaster of amusing graphics, especially when Chris contacts his assistant Jacqueline (Kali Reis). She is the officer who goes through the streets to find the missing pieces for Chris. However, the probability of proving Chris innocent remains low. The challenge is heightened because those who plotted against him knew the facts and were able to tamper with the evidence which causes him to look guilty. The retracing of steps utilizing technology makes Mercy mesmerizing.

Time is of the essence, yet the film feels drags at times. There is a timer that audiences see repeatedly next to the performance of Ferguson. This gives audiences an idea of how long they will either get to enjoy or not enjoy this thriller. Some will and others won’t. I fell into the neutral category, partly because I’m a firm believer in fairness. Putting the facts and logistics together throughout the film made Mercy have some compelling scenes. The dynamic between the characters played by Pratt and Reiswas strong. Both are experienced playing roles that do not take no for answer.