sinefili

This movie is basically four rich guys talking in a fancy mountain house - that's it. And weirdly... I really liked it. At first I thought it was gonna be boring, but after 20 minutes I was fully in.

The characters are so over-the-top but also weirdly real. You really feel how disconnected they are from normal people. The dialogues are smart but not too heavy, and some moments are actually really funny in a dark way.

Souper was my favorite - trying so hard to be a billionaire with a meditation app, but clearly lost inside. The tension between the characters is always there, like something bad could happen anytime, but it never turns into a cliché.

There's no action, no music really, not much going on visually, but it still keeps you watching. It's just... different. And in a good way.

If you liked Succession or enjoy dark comedy with smart dialogue, give this one a shot. I didn't expect to like it this much.

Bonus points for making me laugh and feel a little uncomfortable at the same time.

Orphan (2009), directed by Jaume Collet-Serra, is a slow-burning psychological thriller that plays with the viewer's expectations in unsettling ways. What begins as a tale of grief and second chances soon unravels into something far more disturbing. Vera Farmiga anchors the film with a deeply emotional performance, while Isabelle Fuhrman's portrayal of Esther is chilling and unforgettable. The cinematography heightens the claustrophobic tension, and the pacing allows dread to creep in naturally. Rather than relying on cheap scares, Orphan leans into psychological unease and character-driven suspense. It's a film that knows how to keep its cards close, rewarding patient viewers with a tightly wound, genuinely shocking narrative.

I waited a long time to watch Oppenheimer, hoping for something truly remarkable, but in the end, it felt like an overinflated balloon. Outside of Christopher Nolan's signature style and technical craftsmanship, there isn't much to make this film as groundbreaking as it was marketed. Unlike his previous films, which thrive on unique storytelling structures and thought-provoking narratives, Oppenheimer often feels like a conventional biopic with a massive studio push.

While the film boasts impressive performances, particularly from Cillian Murphy, its pacing drags at times, and the emotional weight is overshadowed by its excessive runtime. The political and historical nuances seem carefully tailored for mainstream appeal, making it feel more like a prestige project designed for awards season rather than a deeply personal Nolan film. Ultimately, it's not as captivating or innovative as expected-just another well-crafted but forgettable addition to the Hollywood machine.