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Sing Sing had the potential to be an engaging prison drama, but instead, it felt like watching a stage play trapped within four walls. The film leans heavily into its documentary-style approach, focusing almost entirely on prisoners participating in a theater program. While some might find this an inspiring take on rehabilitation, it quickly becomes repetitive and, frankly, tedious.

The trailer suggested something more akin to *Marriage Story*-a deeply emotional character-driven narrative-but what we got was a series of closed-room conversations filled with exaggerated theater acting that ultimately made me stop caring about the characters. If you're not a fan of stage performances, this film will likely feel unbearable. Watching grown men in prison engage in theatrical exercises felt more goofy than profound, and any potential tension introduced early on-like the violent prisoner-was quickly abandoned in favor of more "acting exercises." and "bad guy becoming a better person" trope.

Ultimately, *Sing Sing* is a niche film that will appeal to those who appreciate theater and documentary-style storytelling. For anyone expecting a gripping prison drama, this will feel like a frustrating misfire.

Also surprise surprise, It's made by A24, the kings of making "try so hard to be different and unique and deep but end up being average, boring and pretensious"

Adrian Brody's performance is the lifeline of The Brutalist, delivering depth and conviction that elevates the material beyond its pretentious trappings. He carries the film effortlessly, bringing a gravitas that many of its slower, self-indulgent sequences sorely lack.

Visually, there are moments of brilliance-the cinematography shines in select scenes, showcasing striking compositions that occasionally justify the film's deliberate pacing. However, as with many A24 productions, it stumbles into the familiar pitfalls of excessive self-importance. Long, drawn-out shots of seemingly nothing, dialogue that meanders with an air of faux-profundity, and a structure that feels like it's trying too hard to be enigmatic rather than engaging.

This pattern in A24 films has become more predictable than provocative, and *The Brutalist* doesn't escape that mold. While *Uncut Gems* and *Midsommar* stand out as exceptions, this movie falls into the category of A24 projects that overestimate their own artistic depth. Its ambition is evident, but its execution lacks the necessary energy to sustain interest, making it another example of the studio's tendency to prioritize aesthetic contemplation over genuine storytelling.

Ultimately, *The Brutalist* is a watchable but flawed experience, salvaged by Brody's commanding presence and a handful of well-shot moments. But beyond that, it's another slow, self-indulgent entry in the A24 catalog-forgettable in its pretension, overrated in its acclaim.

Sexy beast is razor-sharp crime thriller that thrives on tension, powerhouse performances, and unexpected humor. Ben Kingsley delivers a mesmerizing turn as the volatile Don Logan, a role that cements his place among cinema's most intimidating figures. The writing is tight and layered, balancing psychological intensity with sharp dialogue and surprising moments of absurd comedy. Scenes like Logan's relentless recruitment pitch-so aggressively unhinged it borders on farcical-add a twisted levity to the film's otherwise oppressive tension. Ray Winstone's weary, reluctant ex-gangster provides a perfect counterpoint to Kingsley's explosive energy, making their dynamic endlessly compelling. The film's unique style and pacing make it a standout in the genre, delivering a gripping, unsettling ride with an artistic edge.