“Venom,” released in 2018, was Sony’s first foray into a Spider-Man cinematic universe without Spider-Man. This gamble that would require villains to hold up without their greatest hero. Surprisingly, it paid off with a box office gross of $850 million dollars, which propelled the next six years of Sony-verse (the name of Sony’s Spider-Man universe) into creation. Unfortunately, here in 2024, those days of box-office hits are long gone.

“Venom: The Last Dance” is the third film and the last movie of the Sony-verse, so it serves as a send off to the franchise and the character of Venom. This film follows Eddie Brock, played by Tom Hardy and his infectious parasite Venom as they get up to their usual hijinks of running away from generic military types and dealing with a supernatural macguffin. The movie’s plot is extremely formulaic, taking away from the film’s satisfying conclusion.

The best way to describe this film is as simply random. Everything about this movie feels somewhat disjointed and chaotic. There are points that are meant to be chaotic, like the fights and CGI, which help elevate the film and make it feel more fun. However, everything else in the movie, from the script to the editing to just the general aesthetic, feel very lost and disconnected. 

None of the characters, other than Venom/Eddie Brock, get more than one layer. They are all very generic, from the hard-headed military general to the curious, kooky scientist, no one is given an extra dimension to grow and develop in. They are all extremely forgettable, with no point to even try remembering anyone’s name. This is incredibly unfortunate in this film as the cast is loaded with pedigreed actors, like Juno Temple, Chiwetel Ejiofor and Rhys Ifans. Even Tom Hardy is an incredible actor, but he plays these movies like a coked up idiot, screaming his way to the end of the film.

The film is not without its positives, even with all the unfortunate sludge Venom fans need to trudge through to find them. It is clear that this film was meant to be a love letter to Venom fans, in the same way “Spider-Man: No Way Home” was a love letter to Spiderman fans. There are lots of references to classic Venom comics, with brief appearances from Lasher and Knull, kings of the symbiotes. However, these fan-service moments are extremely rare and short, making it a difficult challenge for most to wait for. 

A positive of this film is that it is short. At just 109 minutes long, “The Last Dance” doesn’t overstay its welcome and keeps the plot moving along, even if that pace becomes a trudge during certain character interactions or monologues. By keeping the story mostly compact, there is a higher focus on delivering more enjoyable moments for audiences. The fights are as hyper-violent and comedic as the last two. The buddy cop rapport between Eddie Brock and Venom is consistent. 

It truly is another “Venom” film, just not a great one. 

Vogue, Saint Louis University’s premier modeling and fashion club, had their Fall Showcase where they highlighted various St. Louis fashion designers on Nov. 17, 2024, in the Busch Student Center. Students at SLU took part as models and walked out to different popular songs, such as Tyler, The Creator’s new song “Sticky.” Designers present at the event included Lala’s Lair, Scrapzz & Stitchez and Greatness Clothing, among others. 

The entire showcase had a very positive vibe with a high focus on creative freedom for both the designers and the models;  the show started with a segment where models were allowed to dress themselves and perform their own walks. The designers had no specific criteria they had to fill, which was seen in the variety of their designs. 

Following an intermission between the showcase, several students performed a dance for the audience, while SLU Vogue encouraged viewers to join in. This was a common practice during the show, with the announcers repeatedly calling members of the audience on stage to walk and dance alongside their models. The show ended with an open dance floor for all audience members to join in, expressing their focus on creative freedom.  A message that was repeatedly stated at the event was that anyone can model, an idea exemplified by the show as a whole. 

Photos of the models walking and the different designers being highlighted are shown below. 

Gallery • 9 Photos

Aditya Gunturu

Junior Sydney Anderson modeling for Lala’s Lair, a local fashion designer, while at Saint Louis University’s Busch Student Center on Nov. 17, 2024.

SNL. “Saturday Night Live.” A titan of comedy in the late-night industry and a key launch pad and home for some of the greatest comedians of the past 50 years. Eddie Murphy, Amy Poehler, Will Ferrell and Tina Fey are just a few names synonymous with American comedy, all of whom got their start on this amazing show. However, the story of the show’s start is not often discussed. That is a problem the movie “Saturday Night” attempts to rectify. 

Directed by Jason Reitman, who is still riding the fame of his previous projects “Juno” and “Ghostbusters: Afterlife,” this film tells the story of the first time “Saturday Night Live” went on air in 1975. The movie captures the chaotic 90 minutes before the cast went live, as creator Lorne Michaels (Gabriel LaBelle) scrambles to keep the show on air. Michaels has to deal with everything from camera rigs crashing and sound engineers quitting, to greedy executives attempting to stop his show and disappearing actors. LaBelle plays the part of the neurotic, hopeful-to-a-fault, Michaels to a golden T, masterfully embodying SNL’s creator. He brings us along to witness all the chaos he must bear, with only his estranged wife and head costume designer, Rosie Shuster (Rachel Sennot), by his side.

LaBelle isn’t the only amazing performance here, as he’s joined by an absolutely electric ensemble. With stand-out performances such as Dylan O’Brien as Dan Aykroyd, Lamorne Morris as Garrett Morris, Nicolas Braun as both Andy Kaufman and Jim Henson, Ella Hunt as Gilda Radner and many more. In a cast this large, it is often impossible to allow for everyone to have enough screen time, but Reitman gives several characters standout arcs by never focusing too long on a single character and often having them grow together, helping to build the group’s chemistry. 

There are a few actors that deserve even more praise, more specifically Corey Michael Smith as Chevy Chase and Matt Wood as John Belushi. The two actors embody their roles, with Smith masterfully playing the cocky, up-and-coming comedian and placing all the right pieces that make his eventual fall from stardom even more apparent. Wood, a relative unknown, played the wacky comedian Belushi with all the proper respect and emotion he deserved, cementing himself as a future star. 

“Saturday Night” was edited with a lot of quick cuts and zipping cameras to give the film a very energized feel and keep the audience engaged. The camera will shift with swift movements throughout a scene, in rhythm with the score to give it this “living” feeling, like the camera is you, the viewer, following along in first person. Despite the quick pacing, the editing and camera work do pause at key moments to allow for emotional, engaging conversations between cast members. An argument between Chase and NBC golden boy Milton Berle (J. K. Simmons) defines their character as cocky men who only care about fame. A conversation between Michaels and his wife Shuster helps the audience better understand how much Michaels truly cares about this show and how badly he needs it to do well. These are just a few moments that are crucial for this movie, and offer a brief moment of reprieve from the fast pace. 

The editing also works in tandem with the writing, elevating each. This film is some of Gil Kenan and Jason Reitmans’ best writing, perfectly capturing the motivations and emotions of all the different characters on screen, allowing for them to throw out long, drawn-out expositional monologues in favor of real and dynamic conversations. This allows the audience to get to learn about these people like they’re a fly on the wall, witnessing greatness. 

The score itself is so integral to the film that it might as well be another person on the cast. Jon Baptiste, who plays the legendary R&B musician Billy Preston, produced the jazz-filled, chaotic score on the set, preferring to use a live musical ensemble to better capture the feelings present on the set that fateful day in 1975. Baptiste employs a heavy range of era-appropriate instruments like the keyboard, trumpets, electric guitar and a slew of drums to capture a high-energy, jumping feel, which perfectly encapsulates the film. 

This movie is truly lightning in a bottle. Everything from the wonderful writing and directing to an ensemble cast where every single person seems to hit the mark on their real-life characters makes this movie feel magical. In an age where most biopics feel long and drawn out, “Saturday Night” is 109 minutes of pure comedic talent and an homage to the history of late night and its humble beginnings. It captures the feeling of a Saturday night, where a long week of work and boredom can turn into something unforgettable. 

With the new month comes new movies. While many American and English films are releasing this October, there is still a world of cinema waiting to be seen. One of the most prolific cinema hubs exists in India, home to countless languages and even more movies. For those interested in dipping into this sphere, be sure to check out one of these four new and widely available films. 

“Kill” (Hindi) – Available On Demand

Fans of tightly choreographed action movies like “John Wick” will love “Kill,” an absolutely electric film. The audience follows Amrit, a skilled military agent who decides to take on a gang of thieves on a train after they start to attack his family. While its story may be formulaic, the rest of the movie is anything but, with amazing action stunts, great acting and a well-contained setting. For a quick and crazy ride, “Kill” is perfect. 

“Devara: Part 1” (Telugu) – In Theaters

Nandamuri Taraka Ramana Rao, better known as Jr. NTR returns to the silver screen for the first time since the Academy-Award winning 2022 film “RRR”, an action film about two freedom fighters in colonial India, as the lead in “Devara: Part 1.” This film follows a village of sea smugglers who suddenly turn into normal fishermans, for reasons no one will discuss. As the police begin to uncover the truth, the village’s story turns more and more nefarious. NTR previously worked with the film’s director Koratala Siva on the blockbuster movie “Janatha Garage.” “Devara” continues the recent Tollywood trend of splitting films into two and three parts to attract repeat audiences, which is unfortunately clear in the pacing of the movie. Besides some issues with unnecessary characters and undeveloped writing, the film has stellar action choreography and a stunning soundtrack from Anirudh – making it a great watch in the theater. 

“Saripodhaa Sanivaram” (Telugu) – On Netflix

Following the success of “Ante Sundaraniki,” a stellar romantic comedy about love and lies, Nani and Vivek Athreya team up again to deliver another quirky, exciting premise in “Saripodhaa Sanivaram.” Nani plays Surya, a calm man who saves his anger for every Saturday and quarrels with the corrupt police constable Dayanand, portrayed by S. J. Suryah. Priyanka Mohan closes out the main three characters as the love interest Charulatha. With great writing, stellar performances and a catchy soundtrack, this film is a fun weekend watch. 

“Raayan” (Tamil) – On Prime Video

Actor Dhanush once again proves his skills in front of and behind the camera in “Raayan”; the actor-director plays the serious Kathavaraayan, a man focused on protecting his family, no matter the cost. While the lengthy runtime may feel obvious at points, it is clear that the experienced actor had a story he wished to tell, as no parts were cut out. For fans of Dev Patel’s “Monkey Man,” this beautifully shot and amazingly written film is perfect. 

Coming into the 2024 Formula 1 season, the gap could not have been more clear. Other than a freak win for Carlos Sainz and Ferrari in Singapore last year, Red Bull had experienced a never-before-seen period of dominance across 22 races. 

Max Verstappen, the 2023 Drivers Champion, pulled off an unbelievable season, breaking records like the most race wins in a single season (19), most consecutive wins (10) and most consecutive pole positions (8). Red Bull and Verstappen’s dominance was so strong that they won the Constructors Championship in September and the Drivers in October, months before the final race in December. 

So when the energy drink sponsored team proceeded to win the first two races of the season, no one batted an eye. That was, until, Australia. 

The 2024 Australian Grand Prix had started as anyone expected, with Verstappen on pole and retaining first place coming into the first corner. As the third lap began, Carlos Sainz managed to overtake for first position in a very slow Ferrari, at which point everyone realized Verstappen’s car was failing and he would have to retire from the race. From this point on, the season changed. 

A similar situation occurred three races later at the Miami Grand Prix, where a lucky safety car and more car problems for Verstappen helped McLaren’s Lando Norris achieve his first race win and McLaren’s in more than three years. This was the first time in years that three different constructors had won a race in the same season. 

Things proceeded to escalate over the summer thanks to upgrades making the McLaren the most dominant car in the field and teams like Ferrari and Mercedes making the competition even more fierce. Long gone are the days of the Red Bull beating every other car by 20 seconds. Now it has become Red Bull being left in the dust. 

The last time Verstappen was on the top step of the podium, in first place, was the Spanish Grand Prix, back in June. He has been unable to win for the last eight races, a feat that hasn’t occurred since early 2020. With him gone, McLaren has been more than happy to pick up the wins. 

Thanks to a first place win for Oscar Piastri and fourth place finish for Norris at the Azerbaijan Grand Prix just two weeks ago, McLaren Racing is back on the top of the Constructors Championships standings. The last time they were first in the standings was during the 2014 season and the last time they won the trophy was in 1998, more than two decades ago. With the strongest car and one of the strongest driver pairings on the field, it is safe to assume they have the Constructors Championship in the bag. 

As of the latest Singapore Grand Prix, which was another Norris win, Verstappen sits just 52 points ahead of Lando in the Drivers Championship standings. With six races to go, the silverware is still up for grabs. 

This season has also been unexpected for the rest of the field. Lewis Hamilton was able to achieve another win at his home race at Silverstone, in his final year with Mercedes, the team that helped him to a record-equalling seven Drivers Championships. Charles Leclerc, similarly, finally broke a long-standing curse and won his home race in the principality of Monaco. 

The season so far has seen seven different race winners from four different constructors, a feat unseen since 2012. With three sprints and six races going until this December, there is still no set conclusion to this wild year. 

Donald Trump. 

It is a name practically ingrained in today’s popular and political culture. Known by billions, his story is marred by leagues of controversial moments and actions. However, before the Trump of today, there was the Trump of 50 years ago – a younger but still decrepit man – a message the film “The Apprentice” attempts to capture. 

Iranian-Danish filmmaker Ali Abbasi directs this film, which focuses on Trump’s early days, portrayed by Sebastian Stan. Here, he is the young, naive son of American real estate developer Fred Trump, portrayed by Martin Donovan, whose shadow he is attempting to escape from. The film starts when Donald Trump meets the sleazy lawyer Roy Cohn, portrayed by Jeremy Strong, while his family attempts to escape a civil rights lawsuit. What starts as a professional relationship between client and lawyer quickly shifts into a dangerous duo.

Strong and Stan shine as cruel mentor and evil-budding mentee, beautifully portraying these two sick and twisted real-life figures. Stan’s portrayal of Trump starts as a wimpy socialite, obsessed with his image and money. While these characteristics do not really change, they intensify as Cohn begins to mold the young Trump into the evil, greedy persona that the public knows him as today. 

While Stan’s acting amazes, Strong manages to blow him out of the water as Cohn. While Trump is a well-known personality, Cohn is not as prominent in today’s culture, making his character a challenge to bring to life. Strong masterfully achieved the nearly impossible task of portraying a terrible man who created a man worse than himself. Strong embodies the immoral lawyer, best known for knocking down civil rights lawsuits while harboring a key secret: He himself was a gay man suffering from HIV, a disease he eventually died fighting.

Points in this film feel like a genuine horror movie. Key moments showed Trump’s anger and cruelty, especially when he meets and marries his first wife, Ivana Trump, portrayed by Maria Bakalova. Viewers watch as hebecomes increasingly  more evil, at first treating her kindly and showering her with gifts, then torturing and even raping her at one point, a moment that is highly contested by the Trump administration. 

This already amazing film is further empowered by a stellar soundtrack from Martin Dirkov. The music perfectly captures the time period of the ‘70s and ‘80s with the xylophone and digital keyboards. During scarier portions of the movie, there are more intense musical tones, allowing for proper beats in the story. 

Following the film’s recent release, Trump published a statement on his conservative social media site, Truth Social, calling the film “a disgusting hatchet job” and “FAKE and CLASSLESS.” His attorneys also threatened legal action to the filmmakers, even sending a cease and desist order to Abbasi and his team. 

Oftentimes historical dramas like this, which focus on extremely controversial and terrible figures, receive backlash from the same figures they attempt to critique and analyze. Trump’s history has been marred by all the insane things he has achieved and gotten away with, yet people often cannot separate the man from the myth. This movie helps to show the public that they may be one and the same. 

“Transformers,” a timeless classic of the 80s, has not had the greatest track record with blockbuster cinema. Michael Bay turned the story of the kind robotic aliens into a computer-generated-imaging (CGI) explosion fest filled with an oversexualization of women and crude jokes. While this formula did deliver billions in profits, it rarely delivered on faithfully adapting the stories of decades ago. That was, until “Transformers One.” 

In the recent renaissance era of animated films, “Transformers One” follows in the footsteps of films like “Spider-Man: Across the Spider-Verse” and “Puss in Boots: The Last Wish” with beautiful animation, an emotional story and an impassioned cast. But, just like these movies, it suffered from a very inaccurate marketing campaign, which made this film seem more like a kids movie when it is filled with dark and serious plot points.

“Transformers One” takes the audience back to before the iconic war of the Autobots vs Decepticons. Before Optimus Prime vs Megatron, there were Orion Pax and D-16, voiced by Chris Hemsworth and Brian Tyree Henry respectively, two simple miners from the lower levels of Cybertron who can’t even transform. 

The film takes the two best friends on an unwanted adventure across a ravaged home planet as they attempt to search for the film’s macguffin, the Matrix of Leadership. Along the way, they are joined by the silly, young Bumblebee (Keegan Michael Key) and the strong, harsh Elita One (Scarlett Johansson). While the film starts off quite basic and low stakes, it quickly veers into a story of dark and epic proportions, with amazing twists and powerfully written villains. 

A crucial task for this movie is to show how Optimus and Megatron become who they are: leaders of their specific factions, destined to fight each other forever. Luckily, this is a task that it achieves swimmingly. Throughout the film, Orion and D-16 are shown having small disagreements, but as the plot progresses we see this metaphorical cavern grow between them, as their respective responses to traumatic events shape them into their characters. It is not often you can leave a film agreeing with a villain, feeling their actions to be justified. “Transformers One” manages to achieve this feeling, making the film ever more compelling. 

Outside of the stellar plot, the voice cast is top-notch. None of the original nor Bayverse voice actors returned for this film, which allowed for this cast to have more range and unique takes. Each cast member delivers a proper performance filled with accurate levels of emotion and passion for these characters. 

When it comes to animated projects, it is often clear which ones are made for profits. This film, thankfully, falls into the rare pile of those made with love. Josh Cooley, the director of “Transformers One,” previously directed “Toy Story 4” and worked on “Inside Out,” so it was clear he had experience taking the reins of these beloved franchises. 

“Transformers One” also proves that these cybernetic aliens were not meant for live action. The cartoon robots of the 80s and 90s were meant to stay in that realm, which is clear from the way this film progresses. The worldbuilding of Cybertron and the fight choreography was captured beautifully in the shiny textures of this film. 

In a sea of terrible classic cartoon adaptations, audiences can at least be confident in this one to deliver an exciting and satisfying story. 

In 2020, Korean director Bong Joon Ho won four Oscars for his critically and commercially acclaimed film “Parasite.” It was the 11th foreign-language film nominated for Best Picture, but the first to win the award. 

In his acceptance speech, Ho said, “Once you overcome the 1-inch tall barrier of subtitles, you will be introduced to so many more amazing films.” A powerful sentiment, but lately, it can feel like an empty one. 

The world we live in today is more connected than ever before, especially in terms of entertainment. Streaming services like Netflix now cater to hundreds of languages, increasing their demographics to billions of people all over the globe. Cultures and peoples of all nations and history are now having their stories told, yet those stories are not being heard. At least, not properly.  

About a year ago, I had the opportunity to show my best friends a movie in Telugu, my mother tongue. I chose a family favorite: “Ala Vaikuntampuramoolo.” Most might be turned away simply after attempting to pronounce the name, but I love this movie. It has all the staples of Indian films: great fights, catchy music, a serious plot and some of my favorite actors. I thought nothing could go wrong. As you can probably assume, I was wrong — a lot could go wrong.

Ten minutes into the movie, we got to a scene of a very serious, establishing fight, and all they were doing was laughing. Throughout the film, they saw all the tense, emotional beats as comedic. All the romantic scenes were not seen that way at all. A film I love left me feeling embarrassed as the credits rolled. It made me angry. 

I wondered how these people could be so crass with the art of another culture. But it also led me to a more important question: Why did this happen? I was so shocked because all of the things they were laughing at felt like normal parts of a Telugu movie, but I knew it was normal to me because I had that constant exposure to it. 

From a very young age, I was exposed to films in multiple languages, because my parents are both immigrants and massive film nerds. I still remember my father taking me to a Tamil movie about a cyborg which ended up giving me nightmares and I recalled it the night I showed him “Avengers: Age of Ultron.” 

For all my life, I never stuck to the mentality that all the films I saw needed to be in English, have the same A-list actors or even follow similar themes. Growing up, Tollywood (the Telugu language equivalent of Hollywood) was always a part of my movie encyclopedia. I cherished every film I saw. So when I had the chance to show these films to non-Telugu speakers, I leaped at the opportunity, not thinking of our differences in exposure. 

I had a unique situation where I came from a family where I was constantly exposed to non-English films. I was able to see the great things in these different film industries. The grand productions, beautiful songs and soundtracks and stellar romances of Telugu cinema. The important social issues and dark storytelling in Tamil movies. The dark comedies and intense thrillers of Korea, and everything else in between, all shaped me as a cinephile, with so many different movies guiding my life.

In middle school, I saw the Telugu movie “Mirchi”, a film about a very angry man learning to control himself for love. It taught me the importance of family at a time I was fighting with my own. During COVID, I watched “Parasite”, a Korean dramedy about social inequality, which helped shape my social advocacy. Before I came to SLU, I watched “3 Idiots”, a Hindi comedy about 3 friends starting their freshman year. It taught me to never stop exploring my passions, even in a world that doesn’t support them. So many foreign films had a positive impact on my life. I just never realized how niche of an experience that was. 

Every few years, Hollywood and popular media seem to go through a “foreign cinema craze.” Starting in 2019, attention from both critics and general audiences increased for more East Asian cinema, like with the aforementioned “Parasite” winning best picture. Beyond that, however, we saw huge success for films like “Drive My Car” (Japanese), “Minari” (Korean), and even for television shows like “Squid Game” (Korean). 

Even more recently, and what I’ve been the happiest about, has been the increased focus on Indian and South Asian movies. In 2022, the Telugu film “RRR,” directed by the renowned S.S. Rajamouli, took the Western world by storm. 

Thanks to its thrilling story, top-notch action and stellar soundtrack, American audiences were captivated, and it became the most-watched non-English film on Netflix. It even won the Oscar for Best Original Song, for the film’s killer dance song “Naatu Naatu.” There was just one problem: no one knew it was a Telugu movie. 

When it was released on Netflix, the film was only available in Hindi, which meant people assumed it was a Hindi movie. Even at the Academy Awards, the host called “RRR” a Bollywood film (Hindi’s equivalent to Hollywood) and an apology or correction was never issued. 

When moments like these occur, American interests in these films feel very empty and veiled. 

Every time this cycle slows down, and people start to forget there are films outside of the United States, I like to remember that quote from Bong Joon Ho. It feels ever more important to remember those words in the low points because it makes them less prominent. It may sound lofty, that watching movies can be life-changing but it really is true. 

So if you have some time this weekend, go on Netflix, the theater or even YouTube. Find a foreign film and watch it. Though it may seem strange, or even off at points, just stay and watch. You will find something truly amazing, I guarantee it. 

At my screening of “Megalopolis,” three people proceeded to leave in the middle of the movie. By the end of it, I wished I had been the fourth. 

There is no denying the cultural impact that pedigreed director Francis Ford Coppola has had on cinema, with influential works like “The Godfather,” “Apocalypse Now” and “Bram Stoker’s Dracula” setting the stages of Hollywood for the last half-century. But, this latest project was much more ambitious than anything he had attempted before.

“Megalopolis,” a self-proclaimed “fable,” is the story of Caesar Catalina (Adam Driver). Catalina is a genius architect in the city of New Rome, the film’s very obvious stand-in for New York, shown by obvious set pieces like Madison Square Garden and the Empire State Building. The plot of the film is his attempt to create a new futuristic city, called Megalopolis, while butting heads with other prominent figures of the city like Mayor Cicero (Giancarlo Esposito) and Clodio Pulcher (Shia LaBeouf).

This is the main plot of the film, but it rarely stays on this track, preferring to get distracted and bogged down by unnecessary B-stories. For instance, the confusing love triangle between Catalina, the manipulative newscaster Wow Platinum (Aubrey Plaza) and the mayor’s daughter Julia Cicero (Natalie Emmanuel). Or, the business takeover battle between the incestuous Pulcher and his kooky billionaire grandfather Hamilton Crassius (Jon Voight). These plots ultimately do not factor into the final plot, making them frustrating time wasters in an already lengthy film. 

This film attempts to do more than simply tell a story; it attempts to act as a mythological fable. This is clearly stated throughout with several “acts” and symbolism that connects to ancient fables. The name of the city is literally New Rome and the protagonists’ names are Caesar and Julia. “On the nose” would be the kindest way to describe the message of this movie.

A silver lining of this audacious film is the acting prowess of the cast. Driver and  Esposito are highly experienced actors who once again show their talents by managing to make this deplorable script into a few passable scenes. Some of the best parts of this film are the scenes they share, as they are able to show their range without being distracted by outside forces.

There are several events that occur in this film that are quite hard to believe. Whether that be hundreds of old men bidding on a woman’s virginity pledge or a dead man being resurrected by a pseudo-concrete substance named “Megalon,” it is clear this film requires its audiences to suspend their disbelief. Unfortunately, this suspension is never deserved. 

The writing of this film often feels extremely off. There are several monologues in this film that are written very strangely, in a way no person would actually talk. The crux of the film is that the world has to feel real. In “Megalopolis,” neither the people nor the city do.

My biggest takeaway from this movie is that it would have been a lot better as a play. The sets were already incredibly compact and the stilted writing would have been a lot better in a rhythmic pentameter. However, that still would not have corrected all the key issues present in this film. 

In “Megalopolis,” Coppola clearly had an ambition and drive to create a life-changing film. In that pursuit of creation, he failed to remember all of the things that make a movie good and satisfying to watch. It is hard to see, but even the most experienced of filmmakers can flop, and sometimes that is okay. 

There is something so chilling about a film that starts with a trigger warning, getting its audience to already feel a sense of unease before a single frame of the movie is shown. However, there is something very raw about that warning too. It means nothing has been held back, no emotion cut out; the movie’s message is unaltered, unsullied and unchained. 

“Blink Twice” is the directorial debut of pedigreed Hollywood actress Zoe Kravitz, and it is clear she intended on making waves with her first film, originally naming it “Pussy Island.” While the current title may not be as on the nose, it still plays as a reminder for the movie’s cast to never trust what they see at first glance. 

The film is led by Naomi Ackie’s Frida, a struggling cocktail waitress and Instagram wannabe-Influencer, who is whisked away to the private island of rich tech CEO Slater King (Channing Tatum). On the island, she is accompanied by her best friend Jess (Alia Shawkat) and is introduced to an entire ensemble of eclectic characters, each with their own secrets and mysteries. 

These mysteries are what drive the film, with Frida attempting to understand more of the strange things that are occurring on the island while also struggling to accept the absolutely horrendous actions she begins to uncover. Kravitz also uses Frida as a great conduit for the viewer, with the horrors she experiences feeling especially personal. 

It is clear that Kravitz’s talent extends beyond acting, with beautifully filmed shots scattered throughout the film, and a clear deliberate movement of the camera. Even the most static of shots are filled with powerful symbolism and strong imagery, leaving every scene lingering in the viewer’s mind. 

Tatum, the film’s main antagonist, gives one of the most emotionally charged performances of his career, standing out even more among an already uber-talented ensemble cast. He masterfully plays the part of the charming, passionate and rich bachelor while occasionally injecting moments of anger or insanity to keep the audience intrigued about the true nature of his character. 

Even with well directed elements and a powerful story, it is still clear this is Kravitz’s debut foray into directing. There are several points throughout the film that feel especially long and dragged out, but then there are also moments that go by too fast. Kravitz obviously has a story that she wants to tell, but she is so focused on keeping certain beats that other moments are not given enough time to linger, leading to pacing problems. 

The film’s tagline: “Are you having a good time?” is repeated multiple times throughout “Blink Twice,” with each moment being an integral look into Frida’s psyche, showing her slowly falling deeper and deeper into her fear as she uncovers more and more of the mystery at the center of this film. It is a chilling reminder of the terrors occurring in the film, but it also acts as a symbolic message to the audience: nothing is as it seems.