Aarcflick

When I think of the word "roommate" and the world of cinema, my mind immediately drifts to the 2011 horror film *The Roommate*, starring Minka Kelly and Leighton Meester. Honestly, they looked absolutely stunning in that movie. But anyway—while this *Roommates* doesn't follow exactly the same tone, it certainly conveys that same unsettling feeling that something isn't quite right, right from the very start. *Roommates* kicks off with two college students arguing because they’ve been terrible roommates to one another.  When they are summoned to the dean's office, he offers to tell them a story to make them realize the magnitude of the offense they are committing by trying to hurt each other in front of a whole crowd of people. The story then transports us to the past, and the dean introduces us to the two protagonists of this twist-filled plot: Celeste and Devon. I know—the way I’m framing this, anyone would think it’s a horror movie. But it’s not; it’s a comedy pr...

The inaugural episode of *The Audacity* proved to be truly chaotic, with countless characters feeling as though their world was crumbling around them; yet, it all felt strangely well-coordinated, and we could already glimpse the points of convergence where all the characters would begin to intertwine. By the end of the first episode, Orson discovered—while eavesdropping on Duncan’s therapy session—that neither of his parents had wanted to take responsibility for him following their divorce; furthermore, he ended up locked in the basement when the housekeeper noticed that the door to the small room where he was hiding had been left open. We see much more of Orson in episodes 2 and 3, and it becomes evident that he will play a highly significant role in the story. Faced with the threat of blackmail (and the fact that Duncan had barged into her home just as she was already feeling paranoid), JoAnne provides Duncan with the name of one of her clients—someone who could become a potential in...

 I think I might be the only person watching *Perfect Crown* who didn't realize that Min Jeong-Woo was the Prime Minister. I won't lie: the first two episodes of the series were, without a doubt, a bit dry; we didn't really get much information about the prince, other than the fact that there was a fire and that his sister-in-law isn't exactly thrilled that he's still alive. The premise is simple: these two individuals—neither of whom has ever been accepted on their own merits—end up falling for one another after forming a fake alliance for their mutual benefit.  It’s sweet and all that, but the first two episodes felt a bit disjointed, as they came across as neither serious nor comedic. However, I cannot deny that IU and Byeon Woo-Seok share fantastic chemistry, and that is precisely why we see such a marked improvement in episodes 3 and 4, which dive headfirst—and full steam ahead—into the fun, comedic side of the plot. I just hope this momentum doesn't fizzle...

A multifaceted crisis—one whose devastating consequences linger and whose persistence permeates every community. Gun violence remains a complex and emotionally charged issue. As noted in *American Solitaire*, the United States records an average of 43,000 gun-related deaths per year; 120 people a day—5 people per hour—are killed by others in this country. But we are not mere statistics. Director Aaron Davidman appears to have deeply internalized the art of portraying the aftermath of war, starkly depicting elements such as Post-Traumatic Stress Disorder (PTSD) and a loss of control in his latest narrative. It is a commendable effort, grounded in a sincere examination of how the world attempts to function under the constant awareness of having a gun in hand—though it lacks certain elements required to stand as a fully realized cinematic work. Director: Aaron Davidman Writer: Aaron Davidman Stars: Joshua Close, Gilbert Owuor, Joanne Kelly Imagine this: you have before you a fascinating d...

The behind-the-scenes portrait of *SNL* feels remarkably familiar, yet this time it is filtered through the mischievous, revealing gaze of the man who lurks behind the curtain. Like countless *Saturday Night Live* fans, I felt as though I had spent the entire year of the show’s 50th anniversary immersed in a sort of crash course on *SNL*’s history and its place within the world of entertainment. I’m referring to all the *SNL50* specials, the commemorative gala, Questlove’s music documentary, and Jason Reitman’s film *Saturday Night*—a backstage drama in which almost none of the actors quite managed to nail the cast members they were portraying, yet which still possessed a vision of its own: a sense of how *SNL* became the first major-network comedy show capable of capturing the danger and madness of the real world—what was happening off-camera—and bringing it directly to the screen. Director: Morgan Neville Writers: Morgan Neville, Alan Lowe, Jake Hostetter Stars: Lorne Michaels, Chevy...

Chandler Levack’s film consciously mirrors the rhythms of uncertainty—that eternal "where am I headed?"—of its 22-year-old protagonist. Grace (Barbie Ferreira), the heroine of *Mile End Kicks*, is a 22-year-old Toronto-based music critic who writes for an indie rock magazine called *Merge Weekly*; there, the staff consists of a group of male nerds who gather around their cubicles to engage in heated debates over whether Hüsker Dü’s masterpiece is *Zen Arcade* or *Flip Your Wig*. The year is 2011, and Grace has published 400 articles in *Merge* over the past year. As far as job opportunities for a 22-year-old music critic go, that figure isn't bad at all. Director: Chandler Levack Writer: Chandler Levack Stars: Barbie Ferreira, Jay Baruchel, Devon Bostick Moreover, Grace is an incisive writer. At the beginning of the film, we see her pitching an idea for the *33 1/3* book series—a collection of essays and meditations centered on individual albums; she wants to write a volu...

 It is a two-character film—well worth seeing—that ultimately transforms into a disquieting ghost story. In *Mother Mary*, the title character (Anne Hathaway)—a global pop superstar who could be said to draw inspiration from many figures, yet most directly and evidently serves as a variation on Lady Gaga (maximalist dance-pop; extravagant postmodern costumes; an air of transgressive Catholic ecstasy)—has a close encounter with Sam Anselm (Michaela Coel), the British fashion designer who created Mary’s visionary costumes. Sam was her inseparable collaborator—her "right hand" in times of tribulation—and, in fact, the relationship between the two went far deeper than that. However, they are now estranged and haven't seen each other in ten years. Their breakup was so cataclysmic that, in all that time, Sam hasn't listened to Mother Mary’s music a single time. Director: David Lowery Writer: David Lowery Stars: Anne Hathaway, Michaela Coel, Hunter Schafer But now, out of th...

 It is highly unusual for a director to receive an "ownership credit" in a film's title—such as "John Carpenter's *The Thing*"—unless they possess extraordinary prestige. John Carpenter earned this type of credit on several of his films; Lee Daniels secured it for *The Butler*, and Luca Guadagnino did the same for *Challengers*. It is likely that Lee Cronin's *The Mummy* includes such a credit not because the *Evil Dead Rise* director suffers from an inflated ego, but rather to distinguish it from the original 1932 *The Mummy*, the 1999 box-office hit starring Brendan Fraser, and the 2017 commercial flop featuring Tom Cruise. Furthermore, Universal holds the rights to the title "The Mummy," whereas this film is a New Line Cinema release. Cronin offers a unique take on this premise. TV reporter Charlie Cannon (Jack Reynor) and his wife, Larissa (Laia Costa), suffer the abduction of their young daughter, Katie, while living in Egypt. Eight years ...

If there is one thing you can count on, it is that a movie-town named Normal will be anything but normal. In the case of this aptly named town—Normal—it is located in Minnesota. At first glance, it is a small, picturesque place where everyone knows everyone else and life proceeds at a very leisurely pace. However, there is something strange about the fact that the town has, somehow, shelled out $15 million for a restoration project. Where would a population of barely 1,000 inhabitants get that kind of money? That is the question Ulysses Richardson (Bob Odenkirk) finds himself asking. He is the interim sheriff, brought in to maintain stability following the unexpected—and, frankly, somewhat suspicious—death of the previous sheriff. Ulysses has a single objective: "to leave the town exactly as I found it." In other words, to not exert himself too much during his eight-week tenure. That becomes impossible the moment he realizes that Mayor Kibner (Henry Winkler) is orchestrating ...

Tarik Saleh’s biting satire follows a renowned actor who is pressured by the Egyptian government to star in a blockbuster that glorifies the president. At the beginning of *Eagles of the Republic*, the protagonist—George Fahmy (Fares Fares), a (fictional) superstar of the Egyptian film industry so popular and profitable that others bestow upon him (with a hint of mockery) the title of "Pharaoh of the Screen"—overhears an actor, whom he despises for having recently starred in a government-backed propaganda film, say: "I see no contradiction whatsoever between being an artist and being a patriot." That is a thorny proposition that every actor with a certain level of success must confront, for the line between the most vibrant Hollywood-style entertainment and glorifying nationalist propaganda proves to be exceedingly thin. Director: Tarik Saleh Writers: Tarik Saleh, Magdi Abdelhadi Stars: Fares Fares, Lyna Khoudri, Amr Waked But if there is one genuine moral value tha...

 *Trevor Noah: Joy in the Trenches* is funny enough, but not "woke" enough. Since the late 2010s, conservatives have gone hoarse screaming and lamenting about how *woke* culture is killing comedy. They have constantly repeated that an excessive emphasis on political correctness prevents them from saying the things they wish to say. If they aren't allowed to say what they want, they can't be funny. And if they can't be funny, comedy will die. This line of thinking was repeated so many times that it eventually took root in the minds of the general public; everyone seemed convinced that if the Right and conservatives took control of the narrative, then "freedom of speech" would become truly free. Has that happened? I can state with absolute certainty that it has not.  On social media, your account can be deleted if you create memes about corrupt politicians, cretinous capitalists, or people who fit into both categories. Your name and address can be publicly...

 Unless you’ve been living under a rock, you’ve undoubtedly heard of *Euphoria*—the series created by Sam Levinson that has been embroiled in more controversy than acclaim. But hey, you and I both know that it got off to an incredibly cool start and gave rise to a generation of future Hollywood icons. What began as a series about drug abuse and the kind of dysfunction that entails gradually transformed into a show obsessed with sex.  Anyway, given that the series is now over half a decade old—even before the third season has premiered—we all know we’re in need of a refresher. However, given all the craziness that has unfolded since the first season aired, along with the tragic loss of two very popular and beloved cast members—Eric Dane and Angus Cloud (RIP)—you probably don’t want to sit down and rewatch the entire first two seasons before diving headfirst into the third. So, with a *spoiler* warning in place, allow me to help you recall everything important you need to know b...

Nicky is a pastor who keeps his homosexuality hidden. His life takes a turn when his sister, Morgan, steals a diamond necklace, thereby entangling them with the criminal underworld. If it has been a while since you last enjoyed a good comedy, *Big Mistakes* offers a very welcome change of pace. The plot follows the story of Nicky, a closeted pastor whose life descends into absolute chaos when his sister Morgan—impulsive by nature—ends up stealing a diamond necklace linked to organized crime. These events drag the siblings into the criminal underworld—a world from which even they don't know how to escape. Although they try to set things right, their troubles seem endless. Creators: Dan Levy, Rachel Sennott Stars: Taylor Ortega, Dan Levy, Laurie Metcalf While the narrative bears some resemblance to titles like *Fargo* and *Only Murders in the Building*, *Big Mistakes* manages to carve out its own niche thanks to its humor and performances. Dan Levy, in the role of Nicky, portrays a c...

 *Bandi* is a 2026 French crime drama series, available for streaming on Netflix and set entirely on the Caribbean island of Martinique—a French overseas territory. This eight-episode series follows the lives of Kylian Lafleur and his ten siblings, who face one extreme hardship after another following the accidental death of their beloved and protective mother; all this unfolds amidst a shifting dynamic on the streets of Martinique, marked by a surge in drug-related violence. While *Bandi* unfortunately does not truly explore the essence of Martinique or the lives of its islanders in any profound sense, its intense and gritty plot is enough to impress fans of the action genre and leave them eagerly awaiting a second season. *Bandi* opens on an apparently ordinary night in the French territory of Martinique, in the Antilles, where three young men wait and keep watch over a specific commercial establishment from a distance. However, when the shopkeeper lowers the shutters and leaves,...

 *Thrash* is, basically, a cross between *Crawl* and *Jaws* that is suffering from an identity crisis. Look: if you’re going to make a shark movie, I am contractually (well, not literally) obligated to mention Steven Spielberg’s classic, because it is simply excellent. It’s dramatic, it has political undertones, it showcases some of the finest filmmaking techniques your eyes have ever beheld, the performances are fantastic, and it features a shark that malfunctioned so often that it forced the film crew to shift their approach to building suspense—thereby turning it into one of the most harrowing films of all time. Many films—including its own sequels—that came afterward tried to emulate its success and failed. Hence, they had to resort to mutated, CGI-generated animals to achieve their objective. Although I occasionally enjoy films like *Under Paris* or *The Meg*, I yearn for those creature features that go back to basics, maintaining a small scale and high tension. That’s why I e...