Nosferatu is a testament to Robert Eggers’ scalpel-sharp precision—everything is meticulously in place, from the period setting that tells its own story to the perfect cast channeling his Faustian obsession. Every deliberate shot ties it all together. As Orlok drains life from his victims, he breathes it into the film, while Eggers plays out an attraction/disgust irony, led by Lily-Rose Depp in a choreography of dread. It recalls Possession’s controlled chaos, but loses the rawness that made his past work stand out. Still, it’s a solid entry to the Eggers’ stellar filmography.

PADDINGTON IN PERU may seem like it’s overstaying its welcome after the beloved second film, especially with the directorial shift, but it still captures the charm with polite humor & a heartfelt homecoming—though feels more like a one-off special than a fully carved-out story. Under Dougal Wilson’s direction, the stylistic shift & lean toward a traditional family holiday story are clear, but the third act realigns it with Paddington’s heart, anchoring his quest to find home away from home. A pivotal journey that keeps this beloved franchise intact.

The best way to enjoy COMPANION might be to know less about it. But even if that’s not the case—or even as the plot leans heavily into genre conventions & familiar twists (that aren’t twisted per se)—it still delivers exhilarating moments & dark humor, all for pure entertainment. It digs into the manipulative dating culture that feels futuristic but, at the same time, present, before turning into a clever cat-and-mouse thriller where body counts rise quickly. Might seem cheap, but it’s layered.

DARK NUNS aims to subvert exorcism tropes with a Far-Eastern Catholicism twist & a female lead giving Song Hye Kyo a path to illuminate, unlike THE PRIESTS, which sticks to Western influences & convention. It’s always interesting how Catholic exorcism story unravels in a non-Western setting, knowing that it’s a rather recent belief adopted by the society where local beliefs have thrived for so long. The demonologies coalesce and coexist in a way that traditional exorcism lores haven’t ventured before — especially when the plot boldly opts for female protagonists — challenging the convention even further. Yet, DARK NUNS ultimately succumbs to the procedural, missing its potential for a more nuanced horror.

Just like an architectural wonder and a core element of the film, 1 KAKAK 7 PONAKAN, is built by carefully placing tender moment upon tender moment, creating a beautifully functional home—where the heart is. And what a home it becomes: a solid, warm shelter for everyone.

Leigh Whannel’s at it again with WOLF MAN (2025), another reimagining of classic tale with high concepts & human drama that crawls under the skin just like INVISIBLE MAN. Intimate & intense for the whole night although the rather serviceable plot leaves much to be desired.