Film 2482 - Miss Congeniality

Intro: I didn't get the chance to write anything new over the past few days because I was hospitalised a week ago. There's (still) an issue with my eyes - I constantly see double, they call it diplopia apparently - and the doctors cannot figure out what's causing it. It's getting much better - I can even write here! - but it still tires me out to look at a screen for too long, and it takes a lot of energy to focus on typing and reading, so I'm taking it easy for now.

Film 2482: "Miss Congeniality" (2000), Donald Petrie
Watched: On the projector
Language: English
Watched with: Niamh
Thoughts: Originally, we watched this movie to get ready for the Babes Awards - an award show my friends and I organise to give ourselves crazy titles like 'Drama Queen', 'Sporty Babe' or 'Best Couple' - because Niamh and I wanted to perform the famous opening number from the Miss United States beauty pageant featured here. Like, let's be real for a moment: "One in a Million" is a banger!
So, our plan was to study the choreography they do here and replicate it as the opening number for the 2026 Babes Awards. Reality is, there was just too much going on, our energy levels were low, and we ended up scrapping the idea in favour of something simpler: a picture and video collection of our friend group from previous years, set to the UK Traitors theme song. And that one, too, is another banger.
To be fair though, after watching "Hokum", going for something brighter and lighter in tone was definitely the right call. Not to mention that "Miss Congeniality" is just a damn good movie. It's a feel-good story, it's well told and imaginative, and it's genuinely funny. I wish they still made this kind of movie, where the premise is simple but effective, the story is fully fleshed out, and the cast is filled with true A-listers from both the present and the past. I mean, it's mind-blowing to think that "Miss Congeniality" brought together Sandra Bullock, Michael Caine, Candice Bergen, and William Shatner in the same film.
The sequel isn't nearly as good, but this one's iconic.
Film 1432 - Miss Congeniality
Film 2482 - Miss Congeniality
Cast: Sandra Bullock, Michael Caine, Benjamin Bratt, Candice Bergen, William Shatner, Ernie Hudson, Heather Burns.
Box Office: $212.7 million
Worth a watch?: I love romcoms from this era; there's something about them that I really miss and cherish. Back when this came out, "Miss Congeniality" was considered a chick flick, a lesser movie compared to other, more "worthy" films. The reality is that, 26 years later, it's not only a comfort watch, but it's also still genuinely good and incredibly entertaining. If you haven't watched it yet, it's time to give it a go!
Awards: 2 Golden Globe nominations for Best Performance by an Actress in a Motion Picture - Comedy or Musical (Sandra Bullock) and Best Original Song - Motion Picture ("One in a Million").
Key word: Crown.
Trailer
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Bengi

Film 2481 - Hokum

Intro: Niamh came over for dinner a few weeks ago and we decided to give this movie a go after we missed it at the cinema. The renaissance of the horror genre continues!

Film 2481: "Hokum" (2026), Damian McCarthy
Watched: On the projector
Language: English
Watched with: Niamh
Thoughts: It's not the most innovative horror film ever made and I agree with Niamh when she pointed out that they should have shown more of the witch, but overall I enjoyed "Hokum" more than I expected. To the point that a couple of jump scares actually worked on me.
I obviously resonated with the Irish setting of the story, having lived in Dublin for the past six years. I think there is definitely a spooky element that comes from the gloominess of the environment, both natural and manmade. The hotel, in particular, is such a strange combination of 'comfortable unfriendliness': there's everything you could think of for a comfortable stay, yet it doesn't feel natural or genuine. Instead, it ends up feeling more like a mix of clashing styles that doesn't really make sense and doesn't feel too welcoming. In addition to the environment, the characters are pretty shady themselves and that adds to the overall strange vibe of The Bilberry Woods Hotel.
"Hokum" also reminded me a lot of the hotel episode of "Widow's Bay": there's a supernatural force and we're stuck indoors, in the dark, trying to understand if the scary legends are real or not and whether the place is haunted. Additionally, the witch was giving me "Winchester" vibes and the Irish folklore elements of the story made me think of "The Watchers".
So, as I said, there are definitely many aspects of this film that don't feel new or innovative, but "Hokum" does a good job of delivering a solid horror film, perfectly carried by Adam Scott's cranky performance as the protagonist, Ohm. I also appreciated that the supporting characters actually had something to do with the overall plot and were not just casualties put there to be slaughtered by the 'evil force'. For a horror movie, the screenplay definitely takes its time to flesh the characters out and make sure they're an integral part of the story.
One thing I really didn't enjoy, though, was the beginning/ending part: it's disjointed from the rest of the story and doesn't add anything to it, and for me it really didn't work. The movie starts and ends in such a different tone from the rest of what you're shown that it's hard to wrap your head around it. I think it worked better on paper than it actually does on screen.
Cast: Adam Scott, Peter Coonan, David Wilmot, Florence Ordesh, Michael Patric, Will O'Connell, Brendan Conroy, Austin Amelio.
Box Office: $24.1 million
Worth a watch?: It's not gonna blow your mind, but it's an honest horror film and it does its job. There are slightly more storylines than there needed to be, but the scary moments and Adam Scott's performance are good reasons enough to give Damian McCarthy's movie a go.
Awards: /
Key word: Dumbwaiter.
Trailer
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Bengi

Film 2480 - La città proibita

Intro: I had never heard of this film before the 2026 David di Donatello nominations came out. And even after that, I didn't think much of it. It was when it won Best Visual Effects that it actually caught my attention. I wouldn't say Italian cinema is known for its bombastic, over-the-top yet realistic visual effects, so the three wins - and specifically this one - at the David awards pushed me to learn a bit more about the movie and, eventually, I decided to watch it.

Film 2480: "La città proibita" (2025), Gabriele Mainetti
Watched: On the projector
Language: Italian, Mandarin
Watched with: No one
Thoughts: I really, really liked this movie.
First of all, you can tell the production budget was big enough to allow the filmmakers to fully realize the vision behind the story and really commit to it. "La città proibita" combines two cultures clashing together in a modern melting pot that results in distinctive color tones, aesthetics (fighting scenes included) and just the right amount of clichés to poke fun at. Also, I love that this story isn't confined to a single genre, but instead expands its scope across several: it's a martial arts film with mafia elements, action, romance and drama, with a little bit of comedy sprinkled on top. What a treat.
I was a bit surprised by how much I enjoyed this ride, I have to admit. Going into it, I didn't know what to expect, and I'm usually not the biggest fan of Netflix productions or modern Italian films. But "La città proibita" exceeds expectations and delivers an action-packed story that also manages to touch on deeper narrative elements (human exploitation, immigration, abuse, personal life goals, cultural clash, acceptance and, of course, family and romance) in a way that feels very unique thanks to its tone, dry style and humor. Needless to say, I was very impressed.
And maybe I shouldn't have been: Gabriele Mainetti has become one of the darlings of Italian cinema over the past decade and is possibly one of the most exciting film directors currently working we have back home, and this outing proves it once again.
If I had to pick something negative to say about it, it would be the big final plot twist. I think it comes a bit too late into the game, and the fact that Luca Zingaretti's character is barely in the movie until the end kind of gives away that there's still more to come involving him, considering how big of a movie star he is back home. It's like, why would Zingaretti agree to be part of this film if his character has so little impact on the story? Unless there's more to it that the audience doesn't expect while watching the story unfold... To me, this gave away the final twist a little bit, and I wish they had found a way to incorporate his story arc more organically throughout the whole film.
Apart from this, this film was a nice summer surprise: it has great energy, its own visual style, an amazing ensemble cast - Yaxi Liu does an amazing job considering she basically doesn't have any lines in Italian and her whole presence has to be conveyed through facial and physical expressions, while Sabrina Ferilli is just perfectly cast here - and it's an overall excellent cinematic experience. Controversial considering its themes and dramatic elements, but can I say I had a lot of fun watching "La città proibita"?
Cast: Enrico Borello, Yaxi Liu, Marco Giallini, Sabrina Ferilli, Chunyu Shanshan, Luca Zingaretti.
Box Office: $1,820,645
Worth a watch?: Polished Italian cinema at its finest; it's the best you can get from a Netflix production made back home. I had a great time, I think the story is engaging and well told, the production value is excellent, and Mainetti's direction really elevates the action scenes. And the film explores extremely heavy themes like human trafficking, sexual exploitation and immigration in a distinctive and unusual—but successful, especially for Italian cinema—way. Not your typical martial arts film, and definitely one you should check out.
Awards: 8 David di Donatello (Best Director, Editing, Music, Sound, Costume Design) and 3 wins for Best Visual Effects, Cinematography, and Production Design.
Key word: Restaurant.
Trailer
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Bengi

Film 2479 - Conclave

Intro: For Jake's last night at mine, this time around we went with a movie that he wanted to watch, and I knew it was a good pick.

Film 2479: "Conclave" (2024), Edward Berger
Watched: On the projector
Language: English, Spanish, Italian, Latin
Watched with: Jake
Thoughts: Yeah, it was my fourth time watching it, and I enjoyed it just as much once again.
I'll keep it short and sweet because I feel like I've already said enough about Edward Berger's film: it's a great movie (my favourite of 2024), the cast is amazing (and I wish Ralph Fiennes had won an Oscar for this role), the cinematography and set decoration are stunning, and the soundtrack is so good it's worth listening to on Spotify.
Seeing this is a movie about religion, I'd call it a little miracle for how good and well-made it is.
Film 2327 - Conclave
Film 2332 - Conclave
Film 2351 - Conclave
Film 2479 - Conclave
Cast: Ralph Fiennes, Stanley Tucci, John Lithgow, Lucian Msamati, Brían F. O'Byrne, Carlos Diehz, Isabella Rossellini, Sergio Castellitto.
Box Office: $128 million
Worth a watch?: Before "Obsession", I was obsessed with this film. I think it's an amazing example of how cinema can entertain, make you think, and create something beautiful to look at and listen to.
Awards: 1 Oscar win for Best Adapted Screenplay over 8 Oscar nominations (Best Picture, Actor for Fiennes, Supporting Actress for Rossellini, Original Score, Editing, Production Design, and Costume Design). 1 Golden Globe won for Best Screenplay out of 6 nominations in the drama category (Best Movie, Actor, Supporting Actress, Director, and Original Score). 12 BAFTA nominations and 4 wins for Best Film, Outstanding British Film, Best Adapted Screenplay, and Best Editing.
Key word: Vote.
Trailer
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Bengi

Film 2478 - Obsession

Intro: On Niamh's birthday we went out for lunch to celebrate her. After that, on the bus to town, Debbi was saying that she wanted to go to the movies, and she expressed disappointment because Niamh and I had already gone to see this movie without telling her. So - as the good person that I am - I went back with her.

Film 2478: "Obsession" (2025), Curry Barker
Watched: At the movies
Language: English
Watched with: Debbi
Thoughts: Obsessed with "Obsession" #2.
It's no mystery I liked this movie a lot the first time around... and this time even more. I think mainly because I was able to focus on details I either didn't notice or register the last time. Knowing what to expect, and where and when the scary bits are, I was able to sit back and really pay attention to the rest of the story and characters.
One thing that felt different from the get-go was my perception of the main protagonist, Bear. When you watch this film for the first time, it's impossible not to feel sorry for him: you can tell he's lonely, shy as hell, and you can sympathise with him because we've all been in love with, or been taken by, someone who doesn't feel the same way. Reality is, though, Bear is a little piece of shit, something you only realise as you watch the story unfold. This time around, the minute I saw his face on the screen, this sense of hatred and disgust came up and I couldn't shake it for the entire film. So yeah, I guess I'm a huge fan of the movie, its main actor Michael Johnston, and a big, big hater of its main protagonist. On the other hand, it was great to rewatch "Obsession" and focus even more on Inde Navarrette's performance, especially now that it's become even more culturally relevant.

She does indeed steal the whole show here; hers is undeniably the performance that stays with you after you leave the cinema. And yes, of course it's because of what happens to her character, Nikki, but mainly because Navarrette's emotional and, at the same time, terrifying portrayal is a rollercoaster of feelings that's hard to shake. Nikki is trapped in her own body, her free will taken away from her (by a man, nonetheless), her whole life now revolving around Bear - who's only happy when Nikki behaves the way he expects her to - and the only desire of what's left of the real Nikki is to die. 

In the hands of a less capable actress, the portrayal of Nikki could have been disastrous, felt caricaturesque, or even undermined her story arc. So not only did Navarrette rise to the occasion and deliver an iconic performance, she also showed Hollywood the talented actress she is (and the industry took notice: "Obsession’s Inde Navarrette Met With MCU ‘X-Men’ Director").
All in all, this second watch solidified my love (and obsession) for Curry Barker's "Obsession" even more. Like last year with "Weapons", 2026 has another horror movie sitting atop my personal Movies of the Year list. There's still a while to go before this year ends, so who knows what film will actually claim the top spot, but so far this is the story that surprised me the most: terrifying on both an emotional and visual level, sad and creepy, with a great example of genius screenwriting.
Film 2472 - Obsession
Film 2478 - Obsession
Cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter.
Box Office: $427 million (as of today)
Worth a watch?: An amazing horror experience able to deliver scares and twists while also managing to be emotionally disturbing in a way few other films in the genre are capable of. It is the movie surprise of the summer, the horror sensation of the year, and a piece of current pop culture that shouldn't be missed. Creative and unsettling, if you love horror films then this one's for you.
Awards: /
Key word: Necklace.
Trailer
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Bengi

Emmys 2026: nominees and winners

78th Primetime Emmy Awards

Outstanding Drama Series

"The Diplomat" (Netflix)
"The Gilded Age" (HBO Max)
"A Knight of the Seven Kingdoms" (HBO Max)
"Paradise" (Hulu)
"The Pitt" (HBO Max)
"Pluribus" (Apple TV+)
"Slow Horses" (Apple TV+)
"Your Friends & Neighbors" (Apple TV+)

Outstanding Comedy Series

"Abbott Elementary" (ABC)
"The Bear" (FX)
"Hacks" (HBO Max)
"Margo's Got Money Troubles" (Apple TV+)
"Nobody Wants This" (Netflix)
"Only Murders in the Building" (Hulu)
"Shrinking" (Apple TV+)
"Widow's Bay" (Apple TV+)

Outstanding Limited Or Anthology Series

"All Her Fault" (Peacock)
"The Beast in Me" (Netflix)
"Beef" (Netflix)
"DTF St. Louis" (HBO Max)
"Love Story: John F. Kennedy Jr. and Carolyn Bessette" (Hulu)

Outstanding Television Movie

"Heads of State" (Prime Video)
"Miss You, Love You" (HBO Max)
"People We Meet on Vacation" (Netflix)
"Remarkably Bright Creatures" (Netflix)
"Tom Clancy's Jack Ryan: Ghost War" (Prime Video)

Outstanding Reality Competition Program

"Dancing with the Stars" (ABC)
"RuPaul's Drag Race" (MTV)
"Survivor" (CBS)
"Top Chef" (Bravo)
"The Traitors" (Peacock)

Outstanding Lead Actress In A Drama Series

Carrie Coon, "The Gilded Age"
Chase Infiniti, "The Testaments"
Keri Russell, "The Diplomat"
Rhea Seehorn, "Pluribus"
Zendaya, "Euphoria"

Outstanding Lead Actor In A Drama Series

Sterling K. Brown, "Paradise"
Gary Oldman, "Slow Horses"
Mark Ruffalo, "Task"
Rufus Sewell, "The Diplomat"
Noah Wyle, "The Pitt"

Outstanding Lead Actress In A Comedy Series

Quinta Brunson, "Abbott Elementary"
Ayo Edebiri, "The Bear"
Elle Fanning, "Margo's Got Money Troubles"
Lisa Kudrow, "The Comeback"
Jean Smart, "Hacks"

Outstanding Lead Actor In A Comedy Series

Yahya Abdul-Mateen II, "Wonder Man"
Steve Carell, "Rooster"
Matthew Rhys, "Widow's Bay"
Jason Segel, "Shrinking"
Martin Short, "Only Murders in the Building"

Outstanding Lead Actress In A Limited Or Anthology Series Or Movie

Claire Danes, "The Beast in Me"
Sally Field, "Remarkably Bright Creatures"
Carey Mulligan, "Beef"
Sarah Pidgeon, "Love Story: John F. Kennedy Jr. and Carolyn Bessette"
Sarah Snook, "All Her Fault"

Outstanding Lead Actor In A Limited Or Anthology Series Or Movie

Riz Ahmed, "Bait"

Jason Bateman, "Black Rabbit"
Charlie Hunnam, "Monster: The Ed Gein Story"
Oscar Isaac, "Beef"
Matthew Rhys, "The Beast in Me"

Outstanding Supporting Actress In A Drama Series

Taylor Dearden, "The Pitt"
Fiona Dourif, "The Pitt"
Allison Janney, "The Diplomat"
Katherine LaNasa, "The Pitt"
Sepideh Moafi, "The Pitt"
Julianne Nicholson, "Paradise"
Karolina Wydra, "Pluribus"

Outstanding Supporting Actor In A Drama Series

Patrick Ball, "The Pitt"
Billy Crudup, "The Morning Show"
Shawn Hatosy, "The Pitt"
Gerran Howell, "The Pitt"
Jack Lowden, "Slow Horses"
Tom Pelphrey, "Task"
Carlos-Manuel Vesga, "Pluribus"

Outstanding Supporting Actress In A Comedy Series

Dale Dickey, "Widow's Bay"
Hannah Einbinder, "Hacks"
Janelle James, "Abbott Elementary"
Kate O'Flynn, "Widow's Bay"
Michelle Pfeiffer, "Margo's Got Money Troubles"
Megan Stalter, "Hacks"
Jessica Williams, "Shrinking"

Outstanding Supporting Actor In A Comedy Series

Colman Domingo, "The Four Seasons"
Paul W. Downs, "Hacks"
Harrison Ford, "Shrinking"
Nick Offerman, "Margo's Got Money Troubles"
Stephen Root, "Widow's Bay"
Michael Urie, "Shrinking"
Tyler James Williams, "Abbott Elementary"

Outstanding Supporting Actress In A Limited Or Anthology Series Or Movie

Linda Cardellini, "DTF St. Louis"
Dakota Fanning, "All Her Fault"
Laurie Metcalf, "Monster: The Ed Gein Story"
Joy Sunday, "DTF St. Louis"
Youn Yuh-jung, "Beef"
Constance Zimmer, "Love Story: John F. Kennedy Jr. and Carolyn Bessette"

Outstanding Supporting Actor In A Limited Or Anthology Series Or Movie

Jason Bateman, "DTF St. Louis"
Richard Gadd, "Half Man"
David Harbour, "DTF St. Louis"
Richard Jenkins, "DTF St. Louis"
Charles Melton, "Beef"
Nick Offerman, "Death By Lightning"

Outstanding Guest Actress In A Drama Series

Brittany Allen, "The Pitt"
Tal Anderson, "The Pitt"
Tina Ivlev, "The Pitt"
Miriam Shor, "Pluribus"
Merritt Wever, "The Gilded Age"
Shailene Woodley, "Paradise"

Outstanding Guest Actor In A Drama Series

Colman Domingo, "Euphoria"
Ernest Harden Jr., "The Pitt"
Jeff Hiller, "Pluribus"
Jeff Kober, "The Pitt"
Jonathan Pryce, "Slow Horses"
Bradley Whitford, "The Diplomat"

Outstanding Guest Actress In A Comedy Series

Leslie Bibb, "Hacks"
Jamie Lee Curtis, "The Bear"
Betty Gilpin, "Widow's Bay"
Cherry Jones, "Hacks"
Laurie Metcalf, "Hacks"
Kaitlin Olson, "Hacks"
Lauren Weedman, "Hacks"

Outstanding Guest Actor In A Comedy Series

Michael J. Fox, "Shrinking"
Brett Goldstein, "Shrinking"
Hamish Linklater, "Widow's Bay"
Christopher McDonald, "Hacks"
Rob Reiner, "The Bear"
Connor Storrie, "Saturday Night Live"

Outstanding Variety Series

"The Daily Show" (Comedy Central)
"Jimmy Kimmel Live!" (ABC)
"Last Week Tonight with John Oliver" (HBO Max)
"The Late Show with Stephen Colbert" (CBS)
"Saturday Night Live" (NBC)

Outstanding Variety Special (Live)

"The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny" (NBC)
"The 83rd Annual Golden Globes" (CBS)
"The 68th Annual Grammy Awards" (CBS)
"The Oscars" (ABC)
"The 78th Annual Tony Awards" (CBS)

Outstanding Variety Special (Prerecorded)

"Dave Chappelle: The Unstoppable..." (Netflix)
"The Muppet Show" (Disney+)
"Nikki Glaser: Good Girl" (Hulu)
"Taylor Swift | The Eras Tour | Final Show" (Disney+)
"Wicked: One Wonderful Night" (NBC)

Outstanding Structured Reality Program
Antiques Roadshow (PBS)
Diners, Drive-Ins and Dives (Food Network)
Love Is Blind (Netflix)
Queer Eye (Netflix)
Shark Tank (ABC)

Outstanding Unstructured Reality Program
America's Sweethearts: Dallas Cowboys Cheerleaders (Netflix)
Love on the Spectrum (Netflix)
RuPaul's Drag Race: Untucked (MTV)
Summer House (Bravo)
Welcome to Wrexham (FX / Hulu)

Outstanding Documentary or Nonfiction Series
The American Revolution (PBS)
Mr. Scorsese (Apple TV)
Rafa (Netflix)
Sean Combs: The Reckoning (Netflix)
The Yogurt Shop Murders (HBO)

Outstanding Documentary or Nonfiction Special
John Candy: I Like Me (Prime Video)
Marty, Life is Short (Netflix)
Mel Brooks: The 99 Year Old Man! (HBO)
My Mom Jayne (HBO)
Ocean with David Attenborough (Nat Geo)

Outstanding Narrator
Sir David Attenborough – A Gorilla Story: Told by David Attenborough (Netflix)
Sir David Attenborough – Ocean with David Attenborough (Nat Geo)
Jodie Foster – Breakdown: 1975 (Netflix)
Werner Herzog – Ghost Elephants (Nat Geo)
Octavia Spencer – Lost Women of Alaska: "The Missing" (Investigation Discovery)

Outstanding Host for a Reality or Reality Competition Program
RuPaul Charles – RuPaul's Drag Race (MTV)
Alan Cumming – The Traitors (Peacock)
Kristen Kish – Top Chef (Bravo)
Ariana Madix – Love Island USA (Peacock)
Jeff Probst – Survivor (CBS)

Outstanding Host for a Game Show
Steve Harvey – Celebrity Family Feud (ABC)
Ken Jennings – Jeopardy! (ABC / Syndicated)
Colin Jost – Pop Culture Jeopardy! (Netflix)
Jimmy Kimmel – Who Wants to Be a Millionaire (ABC)
Martin Short – Match Game (ABC)

Outstanding Directing For A Drama Series

"The Gilded Age," Salli Richardson Whitfield ("My Mind is Made Up")
"Paradise," Hanelle M. Culpepper ("Exodus")
"The Pitt," Noah Wyle ("12 P.M.")
"Pluribus," Vince Gilligan ("We Is Us")
"Slow Horses," Saul Metzstein ("Scars")
"Task," Salli Richardson Whitfield ("Out Beyond Ideas of Wrongdoing and Rightdowing, There is a River")

Outstanding Directing For A Comedy Series

"Abbott Elementary," Randall Einhorn ("Ballgame")
"The Bear," Christopher Storer ("Bears")
"The Chair Company," Andrew DeYoung ("Life Goes By Too F***ing Fast, It Really Does.")
"Hacks," Lucia Aniello ("Hacks")
"The Ms. Pat Show," Mary Lou Belli ("Give It Arrest")
"Widow's Bay," Hiro Murai ("Welcome To Widow's Bay!")

Outstanding Directing For A Limited Or Anthology Series Or Movie

"Beef," Jack Schreier ("It Will Stay This Way and You Will Obey")
"Beef," Lee Sung Jin ("Oh, the Comfort, the Inexpressible Comfort")
"Black Rabbit," Jason Bateman ("The Black Rabbits")
"DTF St. Louis," Steven Conrad

Outstanding Writing For A Drama Series

"The Diplomat," Peter Ackerman and Debora Cahn ("Amagansett")
"The Pitt," Kirsten Pierre-Geyfman and R. Scott Gemmill ("1 P.M.")
"The Pitt," Valerie Chu ("12 P.M.")
"Pluribus," Vince Gilligan ("We Is Us")
"Slow Horses," Will Smith ("Scars")
"Task," Brad Ingelsby ("A Still Small Voice")

Outstanding Writing For A Comedy Series

"Abbott Elementary," Quinta Brunson ("Team Building")
"The Chair Company," Tim Robinson and Zach Kanin ("Life Goes By Too F***ing Fast, It Really Does.")
"The Comeback," Michael Patrick King and Lisa Kudrow ("Valerie Does It All")
"Hacks," Lucia Aniello, Paul W. Downs and Jen Statsky ("Hacks")
"Jury Duty Presents: Company Retreat," Anthony King ("Mergers and Acquisitions")
"Widow's Bay," Katie Dippold ("Welcome To Widow's Bay!")

Outstanding Writing For A Limited Or Anthology Series Or Movie

"All Her Fault," Megan Gallagher ("Episode 8")
"The Beast in Me," Gabe Rotter and Daniel Pearle ("Sick Puppy")
"Beef," Lee Sung Jin ("All the Things We're Never Going to Have")
"Death By Lightning," Mike Makowsky
"DTF St. Louis," Steven Conrad

Outstanding Writing For A Variety Series

"Jimmy Kimmel Live!"
"Last Week Tonight with John Oliver"
"The Late Show with Stephen Colbert"

Outstanding Performer in a Short Form Comedy or Drama Series
Kim Estes – Big Law as Boyd Bennett (Vimeo)
Desi Lydic – The Daily Show: Desi Lydic Foxsplains as Herself (YouTube)
Randy Rainbow – The Randy Rainbow Show as Himself (YouTube)

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Bengi

Film 2477 - Benedetta

Intro: I wanted to see this movie for a long time, but I never found the right moment. A month ago Simon came to my place to watch something and, when I recommended this one, he was almost immediately on board. But I think we both weren't ready for what was to come...

Film 2477: "Benedetta" (2021), Paul Verhoeven
Watched: From the computer
Language: French
Watched with: Simon
Thoughts: Possibly one of the wildest movies I've ever seen.
From the lesbian affair in the convent to the naked Jesus with no penis and the wooden dildo used as proof to accuse the title character, "Benedetta" is definitely a crazy ride. Not a bad one, I actually quite enjoyed the film, but it definitely caught me by surprise. To some comedic effect, at times.
Specifically, I think the comedic element of the story was mainly enhanced in my case by the subtitles, which were clearly not professionally made. I don't speak French fluently, but I do understand some bits and I could tell that the dialogue wasn't properly translated. Oftentimes a sentence would be translated literally from French in a way that wouldn't make any sense in English, which added a ridiculous tone to certain scenes. It was frustrating at first, but we decided to keep them on because of how absurd the whole thing eventually got. So, not the proper way to experience this movie, but one impossible to forget.
In a world of biopics that take themselves extremely seriously, I think Verhoeven clearly leaned into the absurdity of this story and ran with it. From IMDb's logline: "A 17th-century nun in Italy suffers from disturbing religious and erotic visions. She is assisted by a companion, and the relationship between the two women develops into a romantic love affair."
It's clear from the get-go that this isn't your typical religious movie tale: Benedetta (Virginie Efira) is a nun who rarely wears any clothes, has a lesbian love affair, speaks to Jesus, fakes stigmata, dies and resurrects—while her lover (Daphné Patakia) carves a wooden dildo... And these are just some of the more extreme examples of what the story throws at you. If you're up for the challenge, it's definitely a refreshing watch. It doesn't happen often that a movie showcases its most controversial elements in such a candid way: literally, what you see is what you get. It's crude, but not exploitative, as Verhoeven definitely displays a voyeuristic tone in his films ("Basic Instinct", "Showgirls", "Elle"), while clearly caring about his female characters. And although the sexual element is quite prominent, it never completely takes over the plot. Benedetta's story arc is defined, clear, and coherent, never compromised in favor of the sexual scenes. Obviously I can't be sure how much of what is shown matches the true story of the real Benedetta Carlini—I'm quite sure a great deal of artistic license was taken—but all in all I really didn't mind the wild direction this movie takes. At least, in its own way, it's a memorable cinematic experience.
Cast: Virginie Efira, Charlotte Rampling, Daphné Patakia, Lambert Wilson, Olivier Rabourdin, Louise Chevillotte, Hervé Pierre, Clotilde Courau.
Box Office: $4.3 million
Worth a watch?: Not your usual biopic, "Benedetta" is a film that would shock many viewers, but could be a great ride for some. It's definitely way too long (132 minutes) and some bits could've been cut out, but if you're up for it and you're ready to be entertained, this is surely a film that delivers.
Awards: In competition for the Palme d'Or and the Queer Palm at the 74th Cannes Film Festival. 1 nomination at the César for Best Actress (Virginie Efira).
Key word: Dildo.
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Bengi

Film 2476 - Backrooms

Intro: Extremely excited to see this movie, we timed it perfectly so that Jake—whether he wanted to or not—ended up coming with us. It was his first time at the movies in years, so I was happy to be the one who brought him back.

Film 2476: "Backrooms" (2026), Kane Parsons
Watched: At the movies
Language: English
Watched with: Jake, Niamh, Debbi
Thoughts: What a time to be a horror fan!
Within the span of a couple of weeks, "Obsession" and this film have taken the box office by storm, brought people back to the theater, smashed record after record, and created such a cultural phenomenon that we haven't seen in a while. Not of Barbenheimer proportions, but quite impressive still. Keep all of this in mind when I say: I had big expectations for this one.
Pumped up by my "Obsession" fever, ecstatic because of the massive opening weekend gross in the US ($81.5 million! The movie cost $10 million to produce!), and excited about this horror abundance, I didn't necessarily know what to expect, but I was really hoping that "Backrooms" could deliver. And, well, it did. And it didn't. Let me explain.
I want to start by saying I don't know anything about the lore behind this story. I didn't know Kane Parsons or his web series, I didn't know what creepypasta meant—I still don't, if I'm being honest. So I went into this just hoping for a good time. Which I did have, for the most part.
The premise is this: Clark (Chiwetel Ejiofor) owns a furniture store. His life is falling apart: he's an alcoholic, he's getting divorced, and the business is failing. For this reason, he moves into the store. One night, he notices the lights flickering mysteriously in the basement and, when he goes to check the breaker box, there's a glowing slit in a wall. When Clark approaches it, he falls through and enters the Backrooms. And what are the Backrooms? (From Wiki:) A labyrinthine extradimensional space containing a chaotic expanse of dull yellow rooms, fluorescent lights, long corridors, and malformed furniture.
So the story starts really strong: the mystery is intriguing and the screenplay does a great job of giving you enough details to understand what's going on while avoiding giving too much away, so that the second part of the movie doesn't get ruined. Amazing. The issues, though, start with the second part of the movie.
The more the screenplay tries to explain itself and its lore, the more things start to get complicated and harder to understand. Or maybe I just lost interest, I don't know. I was initially extremely invested, but once Clark's therapist (Renate Reinsve) enters the Backrooms herself and the big mystery behind the monster is revealed... things really take an odd turn, and the big reveal is so meh that I found it almost lazy, if I'm being honest. I don't want to give too much away, but I don't understand how the monster was created. And what's its meaning in the story? I don't get what it's supposed to symbolize, considering the first thing it does after we see it on screen for the first time is kill its creator.
Another thing that I found confusing is why the Async Research Institute plotline is so underutilized. The movie opens with a scientist from this project being killed by the monster: was the monster the same one that is later revealed, or was it a different one? Because it seemed to me that Clark doesn't enter the Backrooms until after the scientist has been killed, so how could the monster be that monster, if you know what I mean (I'm trying so hard to avoid spoilers and name names not to give anything away). And, anyway, why don't we get more details about this research institute? Maybe they're going to use it in the already announced sequel, but so far it's absolutely unclear to me what is going on with the science people and why they're there.
So yeah, a lot of confusion that kind of ruined the well-built first half of the movie. The tension and uncertainty I experienced at the beginning of the story quickly disappeared once the monster was finally revealed, and for the rest of the movie I struggled to follow and grasp what was going on. I'm not saying this is necessarily bad: it could be that all of this gets fixed in the sequel and we get all the explanations and details we lack here. I highly doubt it, but it's possible.
Based on the information I have now, though, I have to admit that "Backrooms" was a bit of a letdown: a great starting point and build-up, but the plot twist and ending didn't deliver for me.
All in all, I did enjoy "Backrooms" as a collective cinematic experience: the theater was full, and it was nice, for once, to be in sync with the current pop-cultural discourse (usually I'm always late to the game). On top of that, Chiwetel Ejiofor's and Renate Reinsve's performances are extremely good so, if not for the plot, I appreciated this movie for their committed, convincing performances.
Cast: Chiwetel Ejiofor, Renate Reinsve, Mark Duplass, Finn Bennett, Lukita Maxwell.
Box Office: $350 million (as of today)
Worth a watch?: Is it my favourite horror movie? No, but it's still a solid one. I think "Backrooms'" problem is that its premise is so good and intriguing that it's hard to write a whole story that can keep the hype and mystery as high. So yeah, the plot twist isn't my favourite, but overall this movie is a good watch and a fascinating one: the whole liminal-space aesthetic, malformed furniture, and insane spaces all come together to create such a distinct cinematic experience that it's hard to describe unless you see it. So give it a go and see it for yourself. You might enjoy it more than I did.
Awards: /
Key word: Mascot.
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Bengi

Film 2475 - I Saw the TV Glow

Intro: I heard great things about this film and wanted to check it for myself. So on the way back from Fuerteventura earlier this year I started watching it and, unfortunately, I stopped almost immediately. Back then it was mainly because there isn't a lot of dialogue here and the plane was so loud I could barely follow what was going on. In retrospect, it might have been a sign...

Film 2475: "I Saw the TV Glow" (2024), Jane Schoenbrun
Watched: From the projector
Language: English
Watched with: Jake
Thoughts: Possibly my least favourite film I've seen recently. I'm sure "I Saw the TV Glow" has its fans out there, but this is definitely not my cup of tea.
My main issue with this movie is its pace, and a little bit the outlandish plot (especially towards the end).
Specifically, it's evident from the get-go that the screenplay is in no rush to let you know what's going on: the pace is slow, the dialogue is minimal, the soundtrack takes the lead, things happen and yet it feels like nothing is going on. I would describe it as one of those stories where vibes and aesthetic vision take over the plot to deliver a product that is more in the range of a long music video or something that would be shown at an art gallery as a visual piece from an artist. That's how I felt watching it — together with frustration.
Yes, frustration, because "I Saw the TV Glow" was sold to me as an indie masterpiece and a psychological horror drama, so my expectations were high and connected to a specific movie genre. So I was definitely disappointed when a) I wasn't particularly taken by the story while watching it and b) I realized there was no conventional horror element in the story whatsoever. And it definitely didn't help that Jake and I were making fun of some bits of the story while watching it: the amount of time they repeat "The Pink Opaque" in the fucking dialogues is insane and drove me crazy.
All in all, this movie wasn't what I expected it to be (and probably needed to see that evening, if I'm being honest) and ended up not enjoying it at all. Justice Smith and Jack Haven's performances are good but didn't blow me away, while Jane Schoenbrun's artistic vision is clear and consistent throughout the whole story, but it's so prominent that it ends up outshining the script. They have a new movie coming out soon that looks promising ("Teenage Sex and Death at Camp Miasma" with none other than Gillian Anderson and Hannah Einbinder) and I'm probably gonna watch it, but I'm afraid I'll end up feeling the same way I felt watching this film: having bought into the promising trailer and enthusiastic reviews only to find it didn't live up to the hype.
P.S. I don't want to deadname anyone, but for the sake of clarity, I just want to point out that Jack Haven here is credited as Brigette Lundy-Paine.
Cast: Justice Smith, Jack Haven, Helena Howard, Lindsey Jordan, Conner O'Malley, Emma Portner, Ian Foreman, Fred Durst, Danielle Deadwyler.
Box Office: $5.4 million
Worth a watch?: The obsession for a TV show pushes two high school friends to question their reality when the show starts to feel more real than their own lives at times. This idea is quite intriguing and I was curious to see where the screenplay would have led this story, but I have to admit that I really struggled to stay focused the more the plot developed and progressed.
It's a very slow-paced film that relies heavily on aesthetics and vibes: if this is what you're looking for in a film, go for it, I'm sure you'll have a great time. For those who enjoy a more structured and dialogue-heavy story, this might not be your cup of tea.
Awards: Presented in the Panorama section at the 74th Berlin International Film Festival.
Key word: The Pink Opaque.
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Bengi

Film 2474 - Sinners

Intro: It was only a matter of time before I gave this one another go. Especially after I spent months listening to the "Rocky Road to Dublin” song from its soundtrack.

Film 2474: "Sinners" (2025), Ryan Coogler
Watched: From the projector
Language: English
Watched with: No one
Thoughts: I like it the first time around, but this time I loved it.
There's a lot to take in when you watch "Sinners". It's a vampire story, a horror movie, a musical, it's set in a historical setting, and it focuses on racial issues (of the African-Americans mainly, but the Irish as well). In many ways, this film reminded me of "Get Out": a social commentary of the African-American experience framed in the horror movie genre, where the scary elements of the plot are hightened by the horrors of reality. And interesting enough, both movies won the Oscar for Ogiginal Screenplay.
On top of a great story, "Sinners" fetures an amazing cast of talents: Wunmi Mosaku gives possibly her best performance so far and Jack O'Connell is delisiously evil, while Delroy Lindo finally get his first Oscar nomination as the old town harmonica player. Leading them all, Michael B. Jordan plays both twins Elijah and Elias, in a dual performance that secured him the Oscar for Best actor. Now, don't get me wrong, I think it was about time Jordan finally got some award recognition and he 100% deserved the win, but I can't not awkclnoledge the fact that Timothée Chalamet's strange Oscar campaign definitely worked in his advantage. It's possible that, without the theater and ballet controversy, Chalament could have won instead as he was predicted as the favourite to win in the category for at least half of the award season. That said, I'm glad Jordan won instead: it might look like a "quieter" performance in a way - especially compared to Chalament's on in "Marty Supreme" - but it is indeed a great one. Playing twins, there was definitely a challenge there in differentiating both characters in a way that would make them both stand out and Jordan absolutely succeded. Especially watching the movie this second time around, I noticed the different mannerisms, the different way he carries himself depending on which character he's playing, details I didn't notice before as I was more focused on following the overall story and keeping up with the dialogues (yes, I struggled a bit with all the different accents).
All in all, I think "Sinners" is the perfect example of what great movies can do: transport you to somewhere different you've never been before, tell you a compelling story you can fully immerse in, trascend you into someone else's life for a couple of hours making you feel what they feel and go through. It's magical. And that's why I love movies so much.
Film 2377 - Sinners
Film 2474 - Sinners
Cast: Michael B. Jordan, Hailee Steinfeld, Miles Caton, Jack O'Connell, Wunmi Mosaku, Jayme Lawson, Omar Benson Miller, Delroy Lindo.
Box Office: $370 million
Worth a watch?: Look, it might not be your cup of tea and it's absolutely fine. Personally, I loved it: it's a feast for the eyes and ears (the soundtrack by Ludwig Göransson is crazy good), it's an original story full of creativity and meaning that goes beyond the expected and seens before "it's a vampire story". There's so much more to this film, it's shot beautifully, all the performances are top notch and Ryan Coogler's vision really comes to life here.
Give it a go and see how you feel!
Awards: The movie received so many accolades, I'll list them like this for convenience. In

bold the wins.

Oscars
Best Picture
Best Director
Best Actor (Michael B. Jordan)
Best Supporting Actor (Delroy Lindo)
Best Supporting Actress (Wunmi Mosaku)
Best Original Screenplay
Best Casting
Best Cinematography
Best Film Editing
Best Costume Design
Best Makeup and Hairstyling
Best Original Score
Best Original Song (for "I Lied to You")
Best Production Design
Best Sound
Best Visual Effects

BAFTAs
Best Film
Best Director
Best Actor in a Leading Role (Michael B. Jordan)
Best Actress in a Supporting Role (Wunmi Mosaku)
Best Original Screenplay
Best Cinematography
Best Production Design
Best Costume Design
Best Makeup and Hair
Best Editing
Best Original Score
Best Sound
EE Rising Star Award (Miles Caton)

Golden Globes
Best Motion Picture – Drama
Best Actor in a Motion Picture – Drama (Michael B. Jordan)
Best Director
Best Screenplay
Best Original Score
Cinematic and Box Office Achievement
Best Original Song (for "I Lied to You")

Actor Awards
Outstanding Performance by a Cast in a Motion Picture (Miles Caton, Buddy Guy, Michael B. Jordan, Jayme Lawson, Delroy Lindo, Omar Miller, Wunmi Mosaku, Jack O'Connell, and Hailee Steinfeld)
Outstanding Performance by a Male Actor in a Leading Role (Michael B. Jordan)
Outstanding Performance by a Male Actor in a Supporting Role (Miles Caton)
Outstanding Performance by a Female Actor in a Supporting Role (Wunmi Mosaku)
Outstanding Performance by a Stunt Ensemble in a Motion Picture

Grammy
Best Compilation Soundtrack for Visual Media
Best Score Soundtrack Album for Visual Media
Best Song Written for Visual Media (for "I Lied to You")
Best Song Written for Visual Media (for "Pale, Pale Moon")
Best Song Written for Visual Media (for "Sinners")
Best Instrumental Composition (for "Why You Here / Before The Sun Went Down")

Key word: Blues.
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Bengi

Film 2473 - What Lies Beneath

Intro: Simon came over to watch a movie at mine, and I suggested this one, which had been on my watchlist for a while (and, of course, he hadn't seen it before as he's younger than me...).

Film 2473: "What Lies Beneath" (2000), Robert Zemeckis
Watched: From the projector
Language: English
Watched with: Simon
Thoughts: 26 years later, I'm still a big fan of this movie. I remember going to the theater with my mom the first time I saw it, so I obviously have a personal connection to it, but I still think it's a great blockbuster film.
I do believe it's insane that this film cost $100 million to produce. I think it's a bit mad, if I'm being honest. Like, yeah, it looks good, but to justify a price tag like that, you'd expect something a bit grander and on a bigger scale. Instead, most of the story is shot indoors, mainly in the gigantic house our main couple lives in, so it's a bit mind-boggling to think that a story like this one cost this much to bring to life. On the flip side, "What Lies Beneath" still looks amazing all these years later.
Harrison Ford and Michelle Pfeiffer are amazing leads, and they really exude that A-list Hollywood aura; they're just so hot together. Pfeiffer especially—the real lead of this film—is captivating to watch and gives a great performance. She basically carries almost the whole story by herself, considering Ford is, for the most part, more of a supporting character. They should have co-starred in more films together; I really enjoyed their chemistry on screen.
The only small critique I have of this film is its length: 130 minutes feels a bit too long for this genre, especially because it takes a while to get to the juicy, spooky bits. For a film categorized as a supernatural horror thriller, the supernatural—and especially the horror—elements come quite late into the game. I still enjoyed the build-up and the fact that the screenplay takes its time fleshing out the characters, especially the dynamic between the two leads. Still, a few things here and there could have been shortened—I feel like we really didn't need to go all the way to the couple's daughter's dorm on the day she leaves for college, for example—but considering Robert Zemeckis directed this film, I'm not surprised by the attention to detail ("Forrest Gump", "Contact", and "Cast Away" all run for at least 140 minutes each).
All in all, I really enjoyed rewatching "What Lies Beneath". I think it's very entertaining and fun for what it is, and Pfeiffer and Ford really help elevate the final product thanks to their committed performances. Without them, this would have been just another average, slightly scary film the turn of the millennium.
Cast: Harrison Ford, Michelle Pfeiffer, Diana Scarwid, Joe Morton, James Remar, Miranda Otto, Amber Valletta.
Box Office: $291.4 million
Worth a watch?: "The wife of a university research scientist believes that her lakeside Vermont home is haunted by a ghost—or that she is losing her mind" (IMDb): sounds interesting? Well, if you give it a go, I'm pretty sure you'll enjoy the ride. Especially if you like that late '90s–early 2000s vibe that movies from that era encapsulate so perfectly.
Awards: /
Key word: Braid of hair.
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Bengi

Film 2472 - Obsession

Intro: I've seen this movie three times already since it came out a little more than a month ago. Some might say I am... obsessed.

Film 2472: "Obsession" (2025), Curry Barker
Watched: At the movies
Language: English
Watched with: Niamh
Thoughts: I don't think I realized how much I liked this movie the first time I watched it. I mean, it was clear that I liked it, but to be willing to go back an additional two times—and, on top of that, always finding new details and things to appreciate and enjoy—that is definitely a testament to how good this movie is. And I think it's even more remarkable when you factor in that "Obsession" is a horror movie and, usually, once you know the plot and the horrific secret/monster/mystery is revealed, part of the novelty and thrill of the story is gone forever.
It's clear that I'm not the only one who liked Curry Barker's film: $370 million made so far (over a budget of $750,000), many records broken (from Wikipedia: In its third weekend, the film made $27.4 million, becoming the first wide release outside of the Christmas season since E.T. the Extra-Terrestrial (1982) to increase its earnings for three consecutive weekends), the One Wish Willow merchandise and, as it happens when movies perform better than expected and connect with audiences, an extremely early potential Oscar campaign (that Focus Features seems to have confirmed). But is the movie really worth all the buzz that it has generated so far?
My personal opinion aside, I think "Obsession" is an incredibly clever movie. Unlike many other horror outings, this one actually presents a solid screenplay with an ending that not only makes perfect sense and surprises with a twist, but also wraps the story in a full-circle moment that is both satisfying and terrifying to watch. Considering there is nothing worse than a horror movie with a bad ending, "Obsession" feels even more refreshing because of this.
Additionally, both lead performances are great. Michael Johnston has the difficult task of portraying Bear, a shy and nerdy guy who has been secretly in love with his friend and co-worker Nikki. At the beginning he seems so nice and you really root for him; you feel sad for what happens to him and what he's going through. I guess everyone can identify with his experience in some capacity: we've all felt lonely, lost someone, or fallen in love with a person who didn't reciprocate our feelings. That said, it doesn't take much time before we realize how shitty of a person Bear is: his bruised ego makes him selfish and deaf to Nikki's cries for help (or mercy). There's really no other way to put it: he's a gigantic piece of shit.
Opposite him, Nikki (played by Inde Navarrette in a breakthrough performance) is, at the beginning of the story, ready to move on with her life, quit her job, and focus on her passion for writing, looking to fall in love with life again. This is obviously cut short by Bear's actions: imprisoned by the One Wish Willow curse, she'll turn into Bear's perfect girlfriend for a while, until things gradually take a crazy turn. Nikki's overall story arc and extremely sad and disturbing fate are perfectly portrayed by Navarrette's hypnotic performance. She's mesmerizing and clearly the star of the movie, and rightfully so. Her character's journey is terrifying, to say the least: trapped in a body that isn't hers anymore, forced to please her jailor in every possible way—mentally and physically—and unable to escape her fate. She's basically turned into an object, stripped of everything that made Nikki herself: her future and her will. I know this is just fiction, but it's scary when you think about it and reflect a bit deeper on this movie's plot and themes. And I do think it's relevant that the character who goes through this journey is the female one: dehumanized, objectified, and sexualized. In this political climate, I cannot help but wonder if Nikki's fate is just an extremified take on the female experience. But I digress.
Navarrette's portrayal is powerful and extremely physical, sometimes so hard to watch that you have to look away. But at the same time, so many iconic moments belong to her Nikki, and I think partly this is where the power of this movie lies: its story is simple and scary, the performances are good, and there are so many memeable moments. Go on TikTok and look for "Obsession" content and see it for yourself.
All in all, Curry Barker's film was such an amazing surprise. It's no secret I love horror films and I feel blessed with the amount of good content we've gotten lately: we've been spoiled with "The Substance", "Weapons", "Sinners", "28 Years Later", "Final Destination: Bloodlines" and "Send Help". With newcomers like this one and "Backrooms", the horror genre seems to find itself in a moment of cultural resurgence and relevance thanks to new, good stories and possibly the current need for escapism and entertainment. And "Obsession" rightfully takes its place in the zeitgeist of it all: it's a crazy, terrifying ride thanks to a smart script and a simple idea behind it all. That once again proves that you don't need a stellar budget and the biggest names in Hollywood to bring people to the theaters: the right ingredients will do that for you.
Film 2472 - Obsession
Film 2478 - Obsession
Cast: Michael Johnston, Inde Navarrette, Cooper Tomlinson, Megan Lawless, Andy Richter.
Box Office: $370 million (as of now)
Worth a watch?: Horror movies are not for everyone, for sure, but if you do enjoy them, this is one for the ages. So far, my favourite movie that I've watched this year.
Awards: /
Key word: One wish.
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Bengi

Film 2471 - The Sheep Detectives

Intro: Back in Ireland, I wanted to go and watch "Mortal Kombat II" after work, but the time slots available at Cineworld weren't suitable, so I ended up going to see this one with Debbi instead.

Film 2471: "The Sheep Detectives" (2026), Kyle Balda
Watched: At the movies
Language: English
Watched with: Debbi
Thoughts: I'd be honest, putting Hugh Jackman front and center on the poster and pushing him as the lead of this movie is a little bit of false advertising if I've ever seen one. He's at best a supporting character.
I have no beef - wink wink - with this one, it's a perfectly fine movie that does its job. I'm not as enthusiastic about it as everyone else apparently - the ratings are high almost everywhere and the critics loved it - which kind of surprised me. Usually I'd be the perfect audience for a film like this, but I wasn't as invested, let's say.
Partly because of the Hugh Jackman thing I mentioned, partly because, as good as the CGI is here, it's still too obvious that all the animals are computer-generated, and possibly because I was expecting more after reading the good reviews, I have to admit I wasn't vibing too much with the story and I couldn't really connect with any of the characters.
This is not to say that "The Sheep Detectives" is a bad movie, because it's not. Despite its themes and plot points - a murder, of all things! - it's almost like a fairytale: all the animals talk, the human characters are either stupid or silly (apart from the shepherd, of course), and the animals save the day. The mystery isn't that complex either, in the sense that the green paint found on the body was obviously a clue from the get-go.
All in all, I had a good enough time not to regret watching it. But I don't think I'd watch it again.
Cast: Hugh Jackman, Nicholas Braun, Nicholas Galitzine, Molly Gordon, Julia Louis-Dreyfus, Bryan Cranston, Chris O'Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Brett Goldstein, Hong Chau, Emma Thompson.
Box Office: $126 million
Worth a watch?: This film gives off whodunnit vibes, a murder mystery solved by sheep, yet it's somehow more of a family-friendly story. If you like movies that include talking animals, though, I'd go with Chris Noonan's "Babe" if I were you.
Awards: /
Key word: Blue and yellow.
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Bengi

Film 2470 - 30 notti con il mio ex

Intro: Still in Italy, I was looking for something to watch on the one evening I decided to spend at home. I was scrolling through Netflix, unsure what to watch, and found this. The last time I watched a new Italian movie was ages ago, so I decided to give it a go. To feel a bit like I still belong.

Film 2470: "30 notti con il mio ex" (2025), Guido Chiesa
Watched: From the TV
Language: Italian
Watched with: No one
Thoughts: I think the idea behind this story works and the potential is there, but I didn't fully buy the overall execution.
Bruno (Edoardo Leo) lives with his teenage daughter, with whom he struggles to connect. His ex-wife (Micaela Ramazzotti) comes back into the picture when she spends 30 days with them before being able to return to the real world now that her mental health treatment has concluded. I thought this premise was intriguing and could definitely set up an interesting story for all the characters involved, which it does to a certain extent. Being back together as a family is initially a struggle, but then things seem to work once again and, inevitably, feelings resurface and it all gets messy again. I'm fine with the story; I think it certainly doesn't reinvent the wheel, but it does a decent job of portraying a realistic scenario of what it would look like if a situation similar to the one depicted here happened in real life.
The issue for me lies with the ending, a classic cliffhanger that doesn't really work here. I'm not sure if this choice of ending the movie this way was intentional or just a replica of the Argentinian film this movie is inspired by ("30 noches con mi ex" by Adrián Suar), but it really bothered me. You've invested a couple of hours in this story, these characters, their lives and struggles, and how they finally start to cope with the new setup they're in and... the story ends. Caput. No more. Go home.
I'm sure this is supposed to be the movie's way of letting you decide for yourself what happens to these people, but it's actually just extremely frustrating. I really, really don't like open endings and, for a movie like this one, an alleged romcom, it is possibly the worst way to end your story. Or rather, not end it at all.
Ending aside, I appreciated Edoardo Leo's performance. To me, it was the one most grounded in reality. Micaela Ramazzotti is an extremely gifted actress, but here I felt she was basically giving off the same character vibes as the one she previously played in "La pazza gioia". Additionally, the whimsical, slightly frantic way she plays Terry started to get on my nerves after a while. You'd expect her character to grow and change as the story progresses, but there's a child-like quality to her that never really goes away, and I thought it felt unnecessary once Terry starts to regain her confidence and reconnect with her family.
I think I was expecting "30 notti con il mio ex" to be something different, maybe more comedic and lighthearted than it actually is. Which is obviously fine, but possibly not what I was looking for at that moment. That said, I still believe this could have been a better movie with a different ending, fewer dead moments, and a more grounded portrayal of mental illness, recovery, and reconnecting with the world and your loved ones.
Cast: Edoardo Leo, Micaela Ramazzotti, Gloria Harvey, Claudio Colica, Francesca Valtorta, Matteo Scattaretico, Anna Bonaiuto.
Box Office: $1,552,852
Worth a watch?: Not a romcom, more a dramedy... maybe? I didn't necessarily laugh, but there are definitely lighter moments. The ending was a big no-no for me. Overall, if you enjoy Italian movies, this is definitely not the worst one you could watch, but not the best either. It's more middle of the way for me.
Awards: /
Key word: Mental illness.
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Bengi

Film 2469 - Mortal Kombat

Intro: For whatever reason, I fucking love this franchise. So when I was back in Italy, I decided to watch the first one once again to prepare for the second movie coming to theaters..

Film 2469: "Mortal Kombat" (2021), Simon McQuoid
Watched: From the TV
Language: Italian
Watched with: Giulio
Thoughts: Still love this movie. I watched it for the first time back at DCU during Covid - so yeah, from home - and I remember being really surprised by how much I enjoyed it.
I mean, it's not perfect by any means, but it's a fun, easy ride. The fight scenes are good, the whole vibe isn't too serious, and for almost 2 hours you forget about everything and bask in the sweet memories of your childhood when playing videogames was one of your biggest concerns.
For what it is, "Mortal Kombat" delivers an uncomplicated spectacle that works and balances enough references to the OG game with new, cool scenes perfect for the big screen.
Film 2014 - Mortal Kombat
Film 2469 - Mortal Kombat
Cast: Lewis Tan, Jessica McNamee, Josh Lawson, Tadanobu Asano, Mehcad Brooks, Ludi Lin, Chin Han, Joe Taslim, Hiroyuki Sanada.
Box Office: $84.4 million
Worth a watch?: Although some performances are a bit stiff - but are we really here for the performances? - the fight scenes work, and some of them are actually quite cool to watch (and gruesome, let me tell you). I enjoyed it more than I expected the first time and enjoyed it even more this second time around. If you loved the videogame, this is for you.
Awards: /
Key word: Birth mark.
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Bengi