THE HOUSEMAID (2025) – My rating: 8.5/10

Posted on March 10, 2026 | Leave a comment

ImageThe Housemaid is an erotic psychological thriller film directed by Paul Feig. It is based on the 2022 novel by Freida McFadden. The film follows a young woman with a troubled past who becomes the live-in maid for a wealthy family whose household hides dark secrets. The Housemaid premiered at the Axa Equitable Center in New York City on December 2, 2025, and was released in the United States by Lionsgate on December 19. Thinking this was a “same old, same old, different day” movie, I didn’t have much interest in seeing this film. It seemed like it was going to be a familiar tale, but boy was I wrong. The Housemaid was different, exciting, and well done.

Millie Calloway (Sydney Sweeney) is hired by Nina Winchester (Amanda Seyfried) as a live-in maid. She joins Nina’s wealthy husband, Andrew Winchester (Brandon Sklenar), and daughter, Cece (Indiana Elle), at their home in Great Neck, Long Island, and is given an attic bedroom that can be locked from the outside. Millie is desperate to keep her job as she has been living in her car. The situation seemed normal at first, but after some research, she learns that Nina’s past was more contemptible than her own.

Nina became unbearable—mean, conniving, and increasingly manipulative. She took every opportunity to torment Millie, twisting situations to her advantage and pushing emotional buttons whenever she could. The question that kept circling in my mind was simple: why? What could possibly drive someone to behave this way? At times, Nina appeared completely out of her mind, almost as if she were spiraling without reason.

But the story doesn’t let that chaos linger forever. Everything comes to a screeching halt when Nina’s carefully constructed plan finally becomes evident to Millie. In that moment, the narrative pivots, and the tension that had been quietly building throughout the film suddenly snaps into focus. The way the story constructs this evolution is genuinely brilliant. What once seemed like random cruelty slowly reveals itself as something far more calculated.

Both Millie and Nina deliver outstanding performances. Each character carries layers that unfold gradually, and the actresses handle that progression with precision and intensity. Watching their dynamic evolve—from uneasy coexistence to psychological warfare—is one of the film’s greatest strengths.

All of this leads the audience down a path toward one of the most satisfying endings I’ve seen in years. It’s the kind of conclusion that makes you reflect on everything that came before it and realize how carefully the pieces were put into place.

I highly recommend The Housemaid to mature viewers who enjoy thrillers that rise above the ordinary. If you’re looking for something more engaging than the typical suspense film, this one is definitely worth your time.

Note: A sequel is in development, with Feig, Sweeney, and Morrone set to return. The Housemaid is currently available to rent on several digital platforms, including Apple TV and Prime Video—so Check It Out


On the review aggregator website Rotten Tomatoes, 73% of 198 critics’ reviews are positive. The website’s consensus reads: “A sly throwback to the lurid thrillers that used to dominate multiplexes, The Housemaid cleans up nicely thanks to its wicked sense of fun and a delightfully unnerving performance from Amanda Seyfried.”

 

As of March 5, 2026, The Housemaid has grossed $126 million in the United States and Canada, and $264 million in other territories, for a worldwide total of $391 million on a budget of $35 million. 

 

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LITTLE AMÉLIE or the CHARACTER of RAIN (2025) – My rating: 7.5/10

Posted on March 7, 2026 | Leave a comment

ImageLittle Amélie or the Character of Rain (French: Amélie et la métaphysique des tubes) is an independently produced animated film directed by Maïlys Vallade and Liane-Cho Han. Produced by Maybe Movies and Ikki Films. It is an adaptation of the novel The Character of Rain (Métaphysique des tubes) by Amélie Nothomb. The film had its world premiere in the Special Screenings section of the 2025 Cannes Film Festival on 20 May, and it was theatrically released in France by Haut et Court on 25 June.I almost didn’t get to see this one. It was heartfelt, interesting, and has been Oscar-nominated.

Amélie is born in a vegetative state to a Belgian family living in Kobe, Japan. Amélie believes her condition makes her a god to everyone around her. On her second birthday, an earthquake frees Amélie from her vegetative state and allows her to move around. She soon becomes frustrated and resistant to her family, prompting her father, Patrick, to hire a nanny. At the suggestion of landlady Kashima-san, Nishio-san arrives at the household, alongside the family’s grandmother Claude, to stay for a while. Claude gives Amélie white chocolate, which calms her down. Amélie begins to bond with most of the family and learns her first words, “vacuum cleaner”.

Little Amélie tells its story through the lens of a toddler, and that perspective makes all the difference. The world as seen by a three-year-old is wonderfully unique—full of curiosity, confusion, discovery, and small moments that feel enormous. What adults might dismiss as ordinary becomes something magical, puzzling, or deeply meaningful in a child’s eyes.

For the first two years of her life, Amélie remains mostly silent, quietly observing everything around her. She watches people carefully, studying their behavior and forming subtle connections with the family members who fill her world. Yet the relationship that seems to matter most to her is the one she shares with her nanny. Through that bond, we see how important comfort, attention, and affection are to a child trying to understand the world.

When Amélie finally begins to speak, the silence disappears all at once—she talks endlessly, as if making up for lost time. Her words reflect the rapid pace at which children absorb life’s lessons. Through simple experiences and innocent misunderstandings, she begins learning about love, friendship, and even the difficult concept of death, as she experienced a near-death situation. Like every child, she also discovers that the world does not always bend to her wishes, and that realization becomes part of her growing awareness.

Visually, the film is charming. The colorful graphics and playful animated cinematography help capture the imaginative way children perceive their surroundings. Everyday scenes feel vibrant and expressive, almost as though we are briefly invited into the mind of a child who sees life as a series of vivid impressions and emotional discoveries.

I enjoyed the film, the story it tells, and the gentle message behind it. Little Amélie reminds us that the earliest stages of life—though often forgotten by adults—are full of profound moments of learning and emotional growth. Little Amélie is scheduled to begin streaming shortly—check it out!


VOICE CAST:
           French Language                                                  English Language

Loïse Charpentier narrates as Amélie           Lily Gilliam narrates as Amélie
Emmylou Homs voices Amélie’s dialogue    Lucille Ainsworth, the dialogue
Victoria Grosbois as Nishio-san                     Francesca Calo as Nishilo-san
Yumi Fujimori as Kashima-san                     Page Leong as Kashima-san
Cathy Cerdà as Claude                                     Jayne Taini as Claude
Marc Arnaud as Patrick                                   Brent Mukai as Patrick 
Laetitia Coryn as Danièle                                Jessica DiSalvo as Danièle   
Haylee Issembourg as Juliette                       Avril Kagan as Juliette 
Isaac Schoumsky as André                             Rhodes Carroll as André 
François Raison as the doctor                       Michael C. Pizzuto as the doctor


On review aggregator Rotten Tomatoes, the film holds a 98% approval rating based on 56 critic reviews. The website’s critics consensus reads, “Conveying complex emotions through a deceptively simple story and dynamic colors, Little Amélie is an enchanting animated feature that brims with wisdom.”

[LITTLE AMÉLIE or the CHARACTER of RAIN has been Oscar Nominated at the 98th Academy Awards for BEST: Animated Feature  – Totaling 1 Nomination]

 

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ELIO (2025) – My rating: 8.5/10

Posted on March 4, 2026 | Leave a comment

ImageElio is an animated science fiction adventure film produced by Pixar Animation Studios for Walt Disney Pictures. Directed by Madeline Sharafian, Domee Shi, and Adrian Molina and written by Julia Cho, Mark Hammer, and Mike Jones, from a story developed by Molina, Sharafian, Shi, and Cho. The film follows an eleven-year-old boy named Elio Solís (Kibreab) who is mistaken for Earth’s intergalactic ambassador after being beamed up to the Communiverse by aliens for making contact, and must navigate a crisis involving the warlord father of an alien he befriended. This Oscar-nominated film is well-made and a great addition to the animated movie category.

After the death of his parents, young Elio Solís is orphaned and lives with his aunt Olga, an Air Force major who gave up her dreams of becoming an astronaut to raise her nephew. While visiting a museum with Aunt Olga, Elio wanders into a closed exhibit on the Voyager 1 spacecraft, where he is awed by the idea of discovering other life in space.

For years, Elio has wished to be abducted by aliens. Every day, he lies on the beach waiting, but without result. One night, a kid named Bryce and his bully friend Caleb tamper with Elio’s ham radio, leading to a fight that injures his left eye. At Olga’s workplace, Elio sneaks into an emergency meeting where conspiracy theorist Gunther Melmac claims to have detected an alien response to Voyager, but is dismissed by Olga and her colleagues. Elio uses Melmac’s device to send a message, causing a power outage at the military base, nearly costing Olga her job. Olga decides to send him to a youth camp, which he dreads because Bryce and Caleb are there as well.

Elio tells the story of a troubled young boy struggling to find his place in the world after the loss of his parents. His life has been completely uprooted, and the adjustment to living with his aunt—whose demanding military career leaves little time for emotional connection—only adds to his confusion and loneliness. The stability and warmth he once knew are gone, leaving Elio to process his grief largely on his own.

Elio is not without strengths. He is curious, intelligent, and imaginative, with a mind that constantly wanders to places most people would never expect. Unfortunately, that curiosity often leads him down complicated paths. Wanting an escape from his current circumstances, and perhaps searching for someone—or something—that might understand him, Elio becomes fascinated with the possibility of communicating with alien life.

What begins as an innocent curiosity soon turns into an extraordinary adventure filled with excitement, discovery, and consequences he never anticipated. As the story unfolds, the film quietly reveals an important message: when communication breaks down—or when the truth is replaced with half-truths and deception—misunderstandings can quickly spiral out of control. Elio’s reluctance to open up to his aunt leads to a series of misinterpretations that complicate both their lives.

Yet beneath the adventure and humor lies a heartfelt lesson. The very people we sometimes rebel against or feel disconnected from may actually be the ones we can trust the most and rely on when things become overwhelming. Elio gently reminds viewers that honesty, trust, and communication are essential, especially during difficult times.

This film offers more than colorful animation and imaginative storytelling. It delivers meaningful lessons while taking audiences on an entertaining and emotionally thoughtful journey. In many ways, Elio may be one of the more profound Oscar-nominated animated films, particularly for children who may be experiencing grief, loneliness, or major changes in their own lives.

Elio ultimately proves to be a heartfelt family experience—one that can spark conversation, understanding, and perhaps even a little hope for viewers of all ages. Elio is streaming on Disney + — Check It Out!

 

WHO’s WHO: + Voice Cast

(Yonas Kibreab) – Elio Solís:
An eleven-year-old boy who is mistakenly identified by the aliens as Earth’s ambassador. Kibreab also voices Other Elio, a clone of Elio

(Zoe Saldaña) – Olga Solís:
Elio’s aunt, who is an Air Force major

(Remy Edgerly) – Glordon:
A worm-like alien whom Elio befriends. Edgerly also voices Other Glordon, a clone of Glordon

(Brandon Moon) – Helix:
An alien ambassador from the planet Falluvinum

(Brad Garrett) – Lord Grigon:
A bulky, worm-like alien warlord and ambassador in high-tech armor from the planet Hylurg, who is Glordon’s father

(Jameela Jamil) – Questa:
A radiodonta-like alien ambassador from the planet Gom

(Dylan Gilmer) – Bryce:
A boy who shares the same fascination with aliens as Elio

(Jake Getman) – Caleb:
Bryce’s friend, who bullies Elio

(Matthias Schweighöfer) – Tegmen:
An alien ambassador from the planet Tegmen. Schweighöfer also voiced Tegmen in the film’s German dub

(Ana de la Reguera) – Turais:
An alien ambassador from the planet Com’acon

(Atsuko Okatsuka) – Naos:
An alien ambassador from an unknown planet who mastered the translations of the other alien races

(Shirley Henderson) – Ooooo:
A blue gelatinous liquid supercomputer. (Described as “a Swiss Army knife made of droplets”, animation supervisor Travis Hathaway stated that “she can become a screen, she can become a vinyl player, she can become a projector, she can manifest as a pen for Elio to write with”

(Brendan Hunt) – Gunther Melmac:
An Air Force analyst who is a conspiracy theorist. Melmac is the fictitious home planet of ALF

(Naomi Watanabe) – Auva:
An alien ambassador from the planet Knack a’ Knack. Watanabe also voiced Auva in the film’s Japanese dub

(Anissa Borrego) – Mira:
An alien ambassador from the planet Drump

(Shelby Young) – the Diplo Ship

(Bob Peterson) – the Universal Users Manual

(Kate Mulgrew) – Narrator of the Voyager 1 Museum Exhibit:
Mulgrew previously portrayed Kathryn Janeway, captain of the fictional future starship USS Voyager, in the Star Trek franchise

(Tamara Tunie) – Colonel Markwell:
Archival recordings of Carl Sagan are also used

On the review aggregator website Rotten Tomatoes, 83% of 229 critics’ reviews are positive. The website’s consensus reads: “Catapulted by its theme of building self-esteem, Pixar’s latest cosmic wonder Elio boasts a fanciful world of original creations to dazzling effect.”

Elio has grossed $73 million in the United States and Canada, and $81 million in other territories, for a worldwide total of $154 million.


[ELIO has been Oscar Nominated at the 98th Academy Awards for BEST: Animated Feature  – Totaling 1 Nomination]

 

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ARCO (2025) – My rating: 8/10

Posted on February 27, 2026 | Leave a comment

ImageArco is an animated science fantasy co-produced and directed by Ugo Bienvenu, who co-wrote it with Félix de Givry. The film had its world premiere in the Special Screenings section of the 2025 Cannes Film Festival on 16 May.

This Oscar-nominated film is one of five must-see nominees, completing the Best Animated Feature category. Arco tells a great story with a huge message.

Arco, a ten-year-old boy in the year 2932, is jealous that his parents and sister can time travel while he has to wait at home, for children are not allowed to time travel until they turn twelve. One night, Arco steals his sister’s time-traveling cape and gemstone, then attempts to emulate his family’s flying skills by time-traveling to the age of the dinosaurs.

Back in the year 2075, Iris, a ten-year-old imaginative girl, is sitting outside her school drawing when she sees a rainbow. She follows it to its end and is led to Arco, who has crashed. She encounters three conspiracy theorist brothers named Dougie, Stewie, and Frankie, who are also following the rainbow’s end. She transports Arco to her home, where she is cared for by a kindly robot nanny named Mikki while her parents spend most of their weeks working in the city.

Arco is certainly different and, in many ways, refreshing. The film explores themes of disobedience, faith, consequences, and the unexpected friendships that can arise when life takes an uncertain turn. Stories like this can resonate deeply, especially when they show how one decision can alter the course of a life.

Arco’s journey, however, often feels uncertain and poorly thought out. His actions come across as impulsive and selfish, which unintentionally weakens what could have been an important message. The film touches on the idea that children should understand why parents set rules and boundaries, but it never fully develops that lesson. Instead, it shows how easily a young person’s life can be turned upside down when those rules—many of which exist to protect them—are ignored.

There are moments when the story feels like it is building toward something meaningful, but just when the audience expects a deeper resolution, the narrative stops short. When the film ended, I found myself wanting much more. The images that appear toward the end, chronicling Iris’s life, hint at a larger story that could have provided emotional closure and made the film more relatable. Unfortunately, those moments feel more like a summary than a fully realized conclusion.

Arco clearly has tremendous potential. The ideas are there, and the foundation of the story is intriguing. Yet the film ultimately feels incomplete, almost as if the creators ran out of time—or perhaps the budget—to fully develop the ending the story deserved. Still, its unique premise and heartfelt intentions make it worth a look. If you have a Prime Video subscription, Arco is streaming for free on TUBI TV.  Check it out!

 

 CHARACTER
 VOICE ACTOR:                 FRENCH:                       ENGLISH:
Iris                             Margot Ringard Oldra         Romy Fay
Arco                           Oscar Tresanini                  Juliano Krue Valdi
Iris’ father                 Swann Arlaud                     Mark Ruffalo
Iris’ mother               Alma Jodorowsky               Natalie Portman
Dougie                       Vincent Macaigne              Will Ferrell
Stewie                       Louis Garrel                       Andy Samberg
Frankie                     William Lebghil                  Flea
Arco’s father            Oxmo Puccino                    Roeg Sutherland
Arco’s mother           Sophie Mas                        America Ferrera
Mikki                        Ugo Bienvenu                    Mark Ruffalo
    ”                                                    ”                                Natalie Portman

 

On the review aggregator website Rotten Tomatoes, 92% of 71 critics’ reviews are positive. The website’s consensus reads: “Blending together different influences that complement each other like the colors of a rainbow, Arco soars with its clever world-building and lovable characters.”

 

[ARCO has been Oscar-nominated at the 98th Academy Awards for BEST: Animated Feature – Totaling 1 Nomination]

 

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DEAD MAN’S WIRE (2025) – My rating: 7/10

Posted on February 22, 2026 | 2 comments

ImageDead Man’s Wire is a crime thriller directed by Gus Van Sant and written by Austin Kolodney, who worked with historical consultants Alan Berry and Mark Enochs. Together, they made the 2018 documentary “Dead Man’s Line”, examining the same events.

The film is inspired by the 1977 hostage standoff involving Tony Kiritsis. Dead Man’s Wire is based on a true story and appears to be an interesting thriller. I thought it was an acceptable film.

On Tuesday, February 8, 1977, in Indianapolis, Tony Kiritsis (Bill Skarsgård) arrives for an appointment with wealthy mortgage broker M.L. Hall (Al Pacino) at Meridian Mortgage. Tony is instead met by M.L.’s son Richard (Dacre Montgomery), who reveals that M.L. has left on vacation. Tony then holds Richard at gunpoint and wires a shotgun to his neck as a dead man’s switch, rigged to fire if he tries to escape or if anyone interferes. He believes the Halls cheated him of potential profit after he bought land to develop, and he is determined to expose them. He notifies the local police that he has taken Richard prisoner, then commandeers a police car. Richard is then forced to drive them to Tony’s apartment, closely followed by the authorities and local reporters.

Inside his apartment, Tony booby-traps the doors and windows with explosives and secures Richard and the shotgun to the kitchen table. The building is evacuated, and Tony makes his demands known, including an apology from M.L., as news of the standoff spreads. Letting Richard phone his wife, Tony makes a call himself to local radio DJ Fred Temple (Coleman Domingo), who records him explaining how desperation drove him to take drastic action. The police allow Fred to air the recording while they formulate a plan, with Fred continuing to act as their liaison with Tony.


Dead Man’s Wire did not give us the chills and thrills that this type of movie usually promises. While it was entertaining, with a definite tinge of excitement, I never fully felt the seriousness or true danger of the situation. For a story built around such high stakes, the tension felt somewhat restrained. I kept waiting for that knot-in-the-stomach feeling, but it never quite tightened.

Coleman Domingo’s performance, however, was outstanding. He brought credibility and emotional weight to the screen, grounding the film in a way that made the scenario feel feasible. His presence gave the story much-needed authenticity. Without him, the film might have drifted even further from its intended intensity.

Al Pacino portrayed a know-it-all, selfish father — the kind of character that tests your patience. At times, you almost wished he were the one at the end of the wire instead of his son. His performance was convincing, but the character himself made it difficult to feel sympathy where perhaps the film hoped we would.

I wouldn’t call this a great film, but it does manage to keep you guessing until the very end. There’s a steady curiosity about how everything will resolve. Since it’s based on a true story, there wasn’t much room for dramatic alteration, which may explain why the conclusion felt somewhat ho-hum. Real life doesn’t always provide cinematic fireworks, and this ending reflects that.

By now, you can probably tell this isn’t a rush-to-the-theater recommendation. When it begins streaming, though, check it out for yourself. It’s worth a watch — just maybe not worth the price of a ticket.


On the review aggregator website Rotten Tomatoes, 91% of 136 critics’ reviews are positive, with an average rating of 7.20/10. The website’s consensus reads: “Brilliantly offbeat and tinged with a darkly humorous edge, Dead Man’s Wire is brought to life by Bill Skarsgård’s fearless performance, authentic period flavor, and anti-capitalist fervor.”


The film grossed $154,100 from 14 theaters in its opening weekend. It expanded to 1,101 theaters in its second weekend and grossed $1.23 million over the four-day holiday. To date, Dead Man’s Wire grossed $2,236,813 domestically and $11,756 internationally, for a total of $2,248,569 worldwide.

 

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ZOOTOPIA 2 (2025) – My rating 8/10

Posted on February 16, 2026 | 8 comments

ImageZootopia 2 (titled Zootropolis 2 in some markets) is an animated buddy cop comedy produced by Walt Disney Animation Studios and the sequel to Zootopia (2016). Directed by Jared Bush and Byron Howard and written by Bush. The film Zootopia 2 premiered at El Capitan Theatre in Hollywood, Los Angeles, on November 13, 2025, and was released in the United States on November 26. The film follows Judy Hopps and Nick Wilde as they pursue a pit viper named Gary De’Snake across Zootopia and try to clear their names after being framed. This Oscar contender took in the most revenue of any Disney Animated film and is an outstanding addition to the Zootopia franchise.

One week after Judy Hopps (voice: Ginnifer Goodwin) and Nick Wilde (voice: Jason Bateman) became partners at the Zootopia Police Department (ZPD), their clashing personalities start to complicate their work, and Chief Bogo (voice: Idris Elba) threatens to separate them if they cannot resolve their differences. During a raid on a smuggling ring, Judy finds a piece of shedded snake skin, but when she shares her discovery, her worries are dismissed because snakes have not been in Zootopia for years. Undeterred, Judy finds evidence that a snake may be present at the Zootenial Gala, an event celebrating the city’s centennial anniversary, hosted by a family of lynxes who are descendants of Zootopia’s founder, Ebenezer Lynxley.

At the Gala, Judy befriends Pawbert (voice: Andy Samberg), the youngest son and black sheep of the Lynxley family, while Nick notices a hooded figure, revealed to be a pit viper named Gary De’Snake (voice: Ke Huy Quan). As chaos erupts, Gary kidnaps Milton (voice: David Strathairn), the Lynxley patriarch, and uses him to steal an old journal that documents the creation of the weather walls that regulate Zootopia’s climate zones. Judy corners Gary, who persuades her that snakes are not bad animals and that the journal contains evidence to help his family. Seeking to protect the Lynxley reputation, Milton demands that the journal be destroyed and that Gary be killed. When Judy and Nick do not comply, the Lynxleys accuse them of aiding Gary to have them arrested, with witnesses holding them responsible for Gary accidentally biting Bogo. Judy and Nick escape with the journal, while an unidentified motorcyclist takes Gary.


Zootopia 2 delivers a message that may sound simple on the surface, but it carries real weight—especially for young audiences. The film reminds us that understanding one another’s cultures, backgrounds, and differences will always accomplish more than hate, violence, deception, or wasted energy spent on negativity. Choosing love, peace, and cooperation over division isn’t just a children’s lesson—it’s a timely reflection of the world we’re living in. Yes, it may sound a little corny when you spell it out, but it absolutely resonates in today’s society.

Visually, the animation is outstanding. The detail in the cityscapes, the characters’ expressions, and the seamless action sequences show just how far animation has come. The sound design and music elevate each scene, adding humor, tension, and warmth exactly where they’re needed. The narrative moves at a steady pace, weaving in twists and surprises that keep both children and adults engaged.

One of the film’s greatest strengths is its familiarity. Much of the original gang returns, creating a sense of comfort and continuity. It doesn’t take long to feel reconnected to the world of Zootopia. That said, some might feel the sequel occasionally leans on that familiarity a bit too comfortably. While it’s fun to revisit beloved characters, there are moments where you wish the film would take even bigger risks instead of playing it safe.

Still, it’s hard to deny the charm. The humor lands, the heart is present, and the message is clear without feeling overly preachy. Zootopia 2 may not completely reinvent the wheel, but it reinforces why the original worked so well in the first place.

There’s not much more to say about what is quickly becoming a modern classic—it’s worth every penny. And as an added bonus, it’s streaming on Netflix. Check it out!


Zootopia 2 received positive reviews from critics. On the review aggregator website Rotten Tomatoes, 91% of 221 critics’ reviews are positive. The website’s consensus reads: “Cleverly laying a thoughtful message onto another crackerjack caper while solidifying Judy Hopps and Nick Wilde as one of the most endearing buddy pairings in ages, Zootopia 2 more than justifies a return trip to the big city.”


As of February 12, 2026, Zootopia 2 has grossed $416 million in the United States and Canada, and $1.389 billion in other territories, for a worldwide total of $1.805 billion. It was the SECOND-highest-grossing film of 2025 and the second-highest-grossing animated film of all time, both behind Ne Zha 2

WHO’s WHO: (Voice cast)
(Ginnifer Goodwin) as Judy Hopps:
A young, optimistic rabbit and the first rabbit officer of the Zootopia Police Department (ZPD)

(Jason Bateman) as Nick Wilde:
A sly red fox and a former con artist who later joined the Zootopia Police Department as their first fox officer

(Ke Huy Quan) as Gary De’Snake:
A snake being pursued by Judy and Nick

(Fortune Feimster) as Nibbles Maplestick:
A beaver podcast host and conspiracy theorist

(Andy Samberg) as Pawbert Lynxley:
An awkward Canada lynx, and the youngest runt of the powerful Lynxley family

(David Strathairn) as Milton Lynxley:
Pawbert’s father and the oligarch patriarch of the Lynxley family

(Idris Elba) as Chief Bogo:
The African buffalo chief of police of the Zootopia Police Department

(Shakira as Gazelle):
Thomson’s gazelle, who is a famous pop star

(Patrick Warburton) as Brian Winddancer:
A stallion who is a former action hero actor and the current Mayor of Zootopia, who also officially succeeds Leodore Lionheart

(Quinta Brunson) as Dr. Fuzzbee:
A quokka psychotherapist at partners’ therapy

(Danny Trejo) as Jesús:
A basilisk who is the leader of a hidden reptilian community at Marsh Market

(Nate Torrence) as Benjamin Clawhauser:
A cheerful, overweight cheetah who works as the receptionist at the ZPD

(Bonnie Hunt) as Bonnie Hopps:
Judy’s mother

(Don Lake) as Stu Hopps:
Judy’s father

(Michelle Gomez) as Captain Fern Hoggbottom:
A razorback who is the head of the ZPD’s T.U.S.K. unit

(David Fane) as Truffler:
Hoggbottom’s razorback partner

(Joe “Roman Reigns” Anoa’i) as Gene Zebraxton:
One half of a pair of plains zebra ZPD cops known as the “Zebros”

(Phil “CM Punk” Brooks)  as Gene Zebrowski:
One half of a pair of plains zebra ZPD cops known as the “Zebros”

(Stephanie Beatriz) as Bloats:
A hippopotamus ZPD cop

(Wilmer Valderrama) as Higgins:
A hippopotamus ZPD cop who was previously voiced by Raymond S. Persi

(Jean Reno) as Bûcheron and Chèvre:
A pair of goat ZPD cops

(Alan Tudyk) as:
.  Duke Weaselton, a least weasel crook
.  A French raccoon chef
.  Molt Kohl, a green iguana who serves a drink to Buzz Shedley
.  A reporter

(Macaulay Culkin) as Cattrick Lynxley:
The older son of Milton Lynxley

(Brenda Song) as Kitty Lynxley:
The sharp-tongued daughter of Milton Lynxley

(John Leguizamo) as Antony Snootley:
An anteater smuggler

(The late Tiny Lister) as Finnick:
A fennec fox and Nick’s former partner in crime, who acts undercover as a baby bunny. Note: Lister, who died in 2020, reprises the role posthumously through unused recordings from the first film.

(Maurice LaMarche) as Mr. Big:
An arctic shrew crime boss in Tundratown

(Leah Latham) as Fru Fru:
An arctic shrew who is Mr. Big’s daughter and Little Judith’s mother

(Raymond S. Persi) as Flash Slothmore:
A three-toed sloth and Nick’s close friend, who works at the DMV

(Jenny Slate) as Dawn Bellwether:
A sheep criminal mastermind and the disgraced former Assistant Mayor (and briefly mayor) of Zootopia

(Josh Dallas) as an unnamed pig:
A pig whose car gets taken by Judy and Nick to chase Snootley

(Tommy Chong) as Yax:
A laid-back yak who owns the Mystic Springs Oasis naturist club in Sahara Square

(Auli’i Cravalho) as the voice line from an anti-venom pen:
The pen is from Pawbert’s pouch bag that Gary uses to cure Judy

(Blake Slatkin) as Baalake Lambkin:
A sheep visitor at a barbershop

(Nick DiGiovanni) as Slick Di’Giguani:
A gecko bartender

(Tig Notaro) as Big Tig:
A grizzly bear prisoner

(Sasha Piqué Mebarak) as Binky Hopps:
One of Judy’s younger brothers

(Milan Piqué Mebarak) as Blinkston Hopps: 
One of Judy’s younger brothers

(Bob Iger) as Bob Tiger:
A tiger weatherman

(Amanda Gorman) as Deerdra Bambino:
A deer news reporter

(Ed Sheeran) as Ed Shearin:
A sheep visitor at a barbershop whose makeover gets affected by Judy and Nick’s pursuit of Snootley

(Yvette Nicole Brown as:
.   An EMT otter working with a jumbo unit to remove Zeke from a tuba
.   The Bearoness, a grizzly bear gala guest that Nick pickpockets

(Tiffany Lonsdale) as the unseen announcer:
She announces the Zootenial Gala

(George Pennacchio) as George Purrnacleo:
A lion news reporter

(Jared Bush) as:
.   Jürgen Ziegenkäse, a German-accented Saanen goat who is Berthold’s                partner
.   Pronk Oryx-Antlerson, Judy’s gemsbok neighbor

(June Squibb as Gram Gram:
Judy’s grandmother

(Rachel House) as Gramma Taller:
A giraffe prisoner

(Melissa G. Shepherd) as a mouse prisoner:
This mouse carries a knife

(Cecily Strong) as Little Judith:
Fru Fru’s daughter and Judith’s goddaughter

(Mario Lopez) as Denny Howlett:
A wolf reporter

(Michael J. Fox) as Michael J
A red fox prisoner

(Mark Rhino Smith) as Officer McHorn:
A black rhinoceros police officer

(Josh Gad) as Paul Moldebrandt:
An ornery mole who works as the Zootopia Police Department’s IT expert
Hideo Kojima voices Paul in the Japanese dub

(Fabienne Rawley) as Fabienne Growley:
The snow leopard anchor of the ZNN News

(Peter Mansbridge) as Peter Moosebridge:
The snow moose anchor of the ZNN News

(Robert Irwin) as Robert Furwin:
A koala airport receptionist

(Anika Noni Rose) as the announcer:
She announced the game show Squeal of Fortune

(Taylen Biggs) as Tailen Smalls:
A mouse gala guest that rides a champagne bottle cap from George Purrnacleo

(Mae Martin) as Tuffy Cheeksworth:
A golden hamster prisoner

(Dwayne Johnson) as Zeke:
A dik-dik from a parade who accidentally gets stuck in a tuba


FYI:
Talks of a third Zootopia film began before Zootopia 2 was released in theaters, with both directors and actors openly discussing different possibilities. On December 21, 2025, directors Howard and Bush confirmed that Bush had already begun sketching ideas for a third film.

 

[ZOOTOPIA 2 has been Oscar Nominated at the 98th Academy Awards for BEST:  Animated Feature — Totaling 1 Nomination]

 

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KPOP DEMON HUNTERS (2025) – My rating: 8.5/10

Posted on February 14, 2026 | 1 comment

On a platform, the members of Huntrix (from left to right: Mira, Rumi, and Zoey) stand on a stage, dressed as demon hunters and holding combat weapons. A large digital banner appears behind them, showing them in their normal outfits promoting the band's world tour. Under the platform they stand on, demons are held back by the Honmoon. The skyline of Seoul, including the N Seoul Tower, is seen in the background.KPop Demon Hunters is an animated musical urban fantasy co-written and directed by Maggie Kang and Chris Appelhans. It was produced by Sony Pictures Animation for Netflix and animated by Sony Pictures Imageworks. The story follows a K-pop girl group, Huntrix, who lead double lives as demon hunters. They face off against a rival boy band, the Saja Boys, whose members are secretly demons. As an Oscar contender, I saw KPop Demon Hunters and thought it was a great Oscar choice as well as an interesting and entertaining animated movie.

Long ago, demons preyed on humans, feeding their drained souls to their ruler, Gwi-Ma. Eventually, three women became demon hunters and used their singing voices to create a magical barrier against demons called the Honmoon. As time passed, new trios of hunters emerged to maintain the Honmoon, with the ultimate goal of strengthening it into the Golden Honmoon—a final seal that would permanently banish demons.

In the present, the K-pop girl group Huntrix—composed of Rumi (voices: Arden Cho & Ejae ), Mira (voices: May Hong & Audrey Nuna), and Zoey (voices: Ji-young Yoo & Reu Ami) —is the latest demon-hunting trio, trained by former hunter Celine (voices: Yunjin Kim & Lea Salonga). Rumi is secretly half-demon, a fact known only to her and Celine, who raised Rumi. Disquieted by the demonic patterns gradually spreading across her skin, Rumi pushes forward the release and live performance of Huntrix’s new single, “Golden”, hoping it will turn the Honmoon gold and thereby erase her patterns. However, as they prepare for the performance, Rumi begins to lose her voice.

In the demon world, Gwi-Ma (voice: Lee Byung-hun) grows enraged at his minions’ failures. Led by Jinu, a human-turned-demon, five demons form a boy band called the Saja Boys to steal Huntrix’s fans and weaken the Honmoon, in exchange for Gwi-Ma promising to erase Jinu’s painful human memories.

This film sends a powerful message to the youth of our nation about what can be accomplished when people choose to work together instead of against one another. At its heart, KPop Demon Hunters is more than flashy performances and vibrant animation—it’s about unity, courage, and standing up to manipulation and fear.

The hunters are up against a master manipulator—a bullying force whose goal is to expand his control over the world by threatening, deceiving, and instilling fear in others. He commands his loyal minions to carry out destructive acts, showing how easily people can be influenced when fear becomes the driving force. The film does a solid job of illustrating how dangerous unchecked power can be, especially when it preys on insecurity and division.

The music is one of the film’s strongest elements. It energizes the audience and heightens the emotional stakes of each scene. K-pop itself is lively, colorful, and entertaining, and the soundtrack plays a major role in drawing viewers into the story. The performances feel purposeful, not just decorative, and the narrative resonates in a way that makes the message accessible to younger audiences without feeling overly preachy.

The animation is flawless—smooth, dynamic, and visually captivating. The action sequences are well choreographed, and the color palette bursts off the screen. Visually, there is very little to critique. It’s polished and engaging from beginning to end.

If there is any weakness, it may be that the storyline follows a somewhat familiar “good versus evil” formula. However, the cultural spin, musical integration, and strong themes of teamwork help it rise above predictability. It knows its audience and delivers exactly what it promises: energy, inspiration, and heart.

I truly enjoyed KPop Demon Hunters and would gladly welcome future sequels. It’s fun, meaningful, and visually impressive. 

KPop Demon Hunters is streaming on Netflix — check it out!

KPop Demon Hunters received wide acclaim from both critics and audiences, who praised its animation, music, voice acting, and story. On the review aggregator website Rotten Tomatoes, 94% of 97 critics’ reviews are positive, with an average rating of 7.8/10. The website’s consensus reads: “Animated with infectious energy and vibrant colors, KPop Demon Hunters is jaunty family entertainment with a terrific soundtrack to boot.”

KPop Demon Hunters was initially projected to gross $18 to $20 million during its opening weekend. It was the company’s best-performing theatrical release, beating out Glass Onion ($13.1 million in 2022). It was the first Netflix film to finish in first place over the weekend. Netflix did not report grosses. In the United States and Canada, KPop Demon Hunters made $19.2 million, ahead of Weapons, which was expected to remain in first during its third weekend.


WHO’s WHO – Voice Cast:
(Arden Cho) as Rumi:
The lead vocalist and leader of Huntrix, who wields a saingeom sword in combat. Rumi is the daughter of a demon father and a deceased demon hunter mother. Ejae provides Rumi’s singing voice.
(Rumi Oak) as young Rumi.

(May Hong) as Mira:
The main dancer of Huntrix, who wields a gokdo polearm in combat. She comes from a wealthy background and is considered the black sheep of her family due to her rebellious nature.
Audrey Nuna provides Mira’s singing voice.

(Ji-young Yoo) as Zoey:
The main rapper and lyricist of Huntrix, and the group’s maknae. She wields shinkal throwing knives in combat. Zoey is Korean American and was raised in Burbank. Rei Ami provides Zoey’s singing voice.

(Ahn Hyo-seop) as Jinu:
Leader of the Saja Boys. He is accompanied by a blue pet tiger and a six-eyed magpie. Andrew Choi provides Jinu’s singing voice.

(Yunjin Kim) as Celine:
A former demon hunter and K-pop idol who fostered Rumi following her mother’s death. Lea Salonga provides Celine’s singing voice.

(Joel Kim Booster) as Romance Saja:
Samuil Lee provides Romance Saja’s singing voice.

(Alan Lee) as Mystery Saja:
Kevin Woo provides Mystery Saja’s singing voice.

(SungWon Cho) as Abby Saja:
Neckwav provides Abby Saja’s singing voice.
(Danny Chung) as Baby Saja

(Daniel Dae Kim) as Healer Han:
An eccentric doctor

(Ken Jeong) as Bobby:
The energetic agent and manager of Huntrix

(Lee Byung-hun) as Gwi-Ma:
The king of demons, who takes the form of a giant fiery mouth. Lee reprises the role in the Korean dub of the film


FYI:
On July 29, 2025, Netflix announced that KPop Demon Hunters had become the platform’s “most-watched original animated film of all time”. On August 26, Netflix said it had been watched 236 million times, passing Red Notice (2021) as its most-watched film. KPop Demon Hunters garnered 20.5 billion minutes of watch time in 2025, ranking as the most-streamed film of the year.

In interviews with Screen Rant and Variety, director Maggie Kang expressed interest in a sequel and side stories to flesh out the KPop Demon Hunters universe. She said that many questions that were raised remain unanswered fully, with additional stories capable of being explored, such as potential backstories for Mira and Zoey. Director Chris Appelhans likewise told People that there were many pathways available for further stories. Matthew Belloni of Puck noted that, under the 2021 agreement between Sony and Netflix, Sony contractually holds the right to produce future installments of KPop Demon Hunters; however, any such installments would likely, just as for the first film, be released for streaming on Netflix.

[KPOP DEMON HUNTERS has been Oscar Nominated at the 98th Academy Awards for BEST:  Animated Feature, and Original Song — Totaling 2 Nominations]

 

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THE UGLY STEPSISTER (2025) – My rating: 8/10

Posted on February 13, 2026 | Leave a comment

ImageThe Ugly Stepsister (Norwegian: Den Stygge Stesøsteren) is a satirical black comedy body horror written and directed by Emilie Blichfeldt in her directorial debut. Drawing on the fairy tale “Cinderella”, it retells a twisted story of Elvira, who competes with her beautiful stepsister in a bloody battle for beauty. The film had its world premiere as the opening film of the Midnight section of the 2025 Sundance Film Festival on 23 January. Being a huge fan of the Cinderella tale and the many stories inspired by it, I was happy to see this Oscar-nominated film, which was quite enjoyable.

A widow, Rebekka (Ane Dahl Torp), has two plain daughters named Elvira (Lea Myren) and Alma (Flo Fagerli). She marries an older widower, Otto (Ralph Carlsson), who has a beautiful daughter named Agnes (Agnieszka Żulewska). Otto and Rebekka marry and blend their families, each hoping to become wealthy through the other, only to discover neither family has any wealth to speak of. Agnes behaves haughtily toward her stepmother and stepsisters for their comparatively low social status. One evening during dinner with Rebekka and their three daughters, Otto suddenly dies.

Royal heralds announce that all noble young virgins are invited to a ball, where Prince Julian (Isac Calmroth) will choose a wife. To save them from poverty, Rebekka plans to marry off Elvira, her eldest daughter, to Julian. While Elvira dreams of marrying the prince, Rebekka considers her too ugly to succeed. To improve her chances with the prince, Rebekka subjects Elvira to a series of primitive and painful cosmetic surgeries.

This version of Cinderella stands out by shifting the focus away from the traditional heroine and delving into the lives of the stepsisters and their mother, portrayed as a woman fighting desperately for survival. Rather than presenting a simple fairy tale of good versus evil, The Ugly Step Sisters explores ambition, insecurity, and the crushing pressure to succeed in a world where beauty is currency.

Rebekka is relentless. She will do anything to mold the daughter she believes has potential into someone “worthy” of the Prince. In doing so, she pushes her child to the brink—emotionally and physically—without much concern for the pain she is causing. Her obsession with appearance becomes disturbing as she continually devises ways to alter her daughter’s appearance to meet an impossible standard. It’s uncomfortable to watch, but that discomfort is clearly intentional.

The film spends more time examining the predator than the prey, giving us insight into the desperation that drives cruelty. At times, I wished we had explored the emotional depth of the victims a bit more, but the focus on the aggressor adds an unusual and thought-provoking layer to the story. There are several horrific scenes involving mutilation, deceit, and sheer self-desperation that may be difficult for some viewers. These moments are graphic and unsettling, yet they effectively reinforce the film’s darker message about vanity and survival.

Agnes, though treated terribly, emerges as the strongest of the girls. She possesses a quiet resilience and survival instinct that carries her through the chaos. Her strength is not loud or flashy, but steady and believable.

I was especially pleased with how the story concluded. The twist at the end felt earned and, in hindsight, made perfect sense. It tied the narrative together in a way that was both satisfying and thematically consistent. While the film can feel harsh and at times emotionally heavy, it ultimately succeeds in offering a fresh and daring take on a familiar tale.

I was thoroughly entertained. Job well done. The Ugly Step Sister is available to rent or buy on several platforms. Check It Out!

 

On the review aggregator website Rotten Tomatoes, 96% of 127 critics’ reviews are positive. The website’s consensus reads: “Taking a hammer and chisel to a quintessential fairy tale, The Ugly Stepsister’s masterful application of gore and subversion is the stuff that nightmares are made of.”

 

[THE UGLY STEPSISTER has been Oscar Nominated at the 98th Academy Awards for BEST:  Makeup and Hairstyling — Totaling 1 Nomination]

 

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THE LOST BUS (2025) – My rating: 8.5/10

Posted on February 12, 2026 | 1 comment

ImageThe Lost Bus is a survival drama directed by Paul Greengrass, who co-wrote the screenplay with Brad Ingelsby, based on Lizzie Johnson’s 2021 novel Paradise. The Lost Bus premiered at the Toronto International Film Festival on September 5, 2025, and received a limited theatrical release in the United States on September 19. The film premiered on Apple TV+ on October 3rd. It follows a struggling dad who braves a horrifying wildfire to bring a school bus full of children to safety. The movie was well executed and entertaining.

On November 8, 2018, high winds and dry conditions led to a Pacific Gas & Electric transmission line failure, sparking a Camp Fire. Firefighters are unable to contain the blaze from spreading into a massive wildfire, and computer issues prevent the fire chief, Ray Martinez’s (Yul Vazquez), evacuation order from being carried out.

Kevin McKay (Matthew McConaughey), a school bus driver in Paradise, California, struggles to care for his disabled mother, Sherry (Kay McCabe McConaughey), and estranged teenage son, Shaun (Levi McConaughey). On the morning of the fire, he is chastised by his boss, transportation director Ruby Bishop (Ashlie Atkinson), for several delays in returning his bus to the depot for maintenance. Instead, after a tense call with Shaun’s mother, Linda (Kimberli Flores), Kevin turns back to bring Shaun medication, leaving him the only driver near enough to pick up 22 children stranded at Ponderosa Elementary School in the Paradise evacuation zone. As the students board the bus, Kevin convinces teacher Mary Ludwig (America Ferrera) to accompany them, hoping to get home to Sherry and Shaun, neither of whom can drive to evacuate.


From the very beginning, I found the narrative exciting and genuinely entertaining. Even though I was able to predict some of the scenes, the tension and pacing kept me on pins and needles throughout. The film does an excellent job of building suspense without losing momentum, making it easy to stay emotionally invested in the outcome.

The visuals were outstanding. Kevin’s journey through the horrific fire felt almost unbelievable in its intensity, and the cinematography truly transported me into the heart of the chaos. I felt as though I was right there on the school bus with the children, sharing their fear, hope, and desperation. At times, it even seemed like the fire had a mind of its own, determined to stop that bus from escaping, which heightened the drama and urgency.

Matthew McConaughey, as expected from a seasoned A-lister, handled the role with finesse and confidence. His performance, along with America Ferrera, grounded the film and gave it emotional credibility. I was surprised to learn that Matthew’s real-life mother and son played his disabled mother and estranged son in the movie, and they both did an excellent job. Their presence added an unexpected layer of authenticity to the family dynamics.

The Lost Bus could have been a full-scale theatrical release; it was thrilling, visually breathtaking, and emotionally engaging. While a few moments leaned into predictability, the overall experience remained gripping and worthwhile.

If you have an Apple TV+ subscription, this is definitely one to watch — it’s an intense, heart-pounding ride that delivers both spectacle and emotion — Check It Out!


On the review aggregator website Rotten Tomatoes, 87% of 130 critics’ reviews are positive, with an average rating of 8.1/10. The website’s consensus reads: “Recreating a real-life disaster with terrifying authenticity, The Lost Bus ratchets up the tension while maintaining a humanist core thanks to Matthew McConaughey and America Ferrera’s effective performances.”

 

[THE LOST BUS has been Oscar Nominated at the 98th Academy Awards for BEST:  Visual Effects — Totaling 1 Nomination]

 

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IT WAS JUST AN ACCIDENT (2025) – My rating 8/10

Posted on February 11, 2026 | 1 comment

ImageIt Was Just an Accident (Persian: یک تصادف ساده, romanized: Yek tasādof-e sāde; French: Un simple accident) is a thriller written and directed by Jafar Panahi. The film is a co-production between Iran, France, and Luxembourg. It Was Just an Accident was theatrically released in France on 1 October 2025 by Memento Distribution. The film follows a group of former Iranian political prisoners who face the question of whether to exact revenge on a man they believe may be their tormentor. Panahi, who is critical of the Iranian government and has been imprisoned several times, made the film without official filming permission from the Iranian authorities. Because of its Oscar nomination, I watched “It was Just an Accident” on Netflix. I liked the overall film enough to give it a positive review.

The film had its world premiere at the main competition of the 78th Cannes Film Festival on 20 May 2025, where it won the Palme d’Or and received critical acclaim. At the 83rd Golden Globe Awards, it became the first Iranian film to be nominated for Best Motion Picture – Drama, Best Director, and Best Screenplay, and was also nominated for Best Foreign Language Film.

A man with a prosthetic leg is driving his car at night with his wife and daughter when he accidentally hits and kills a dog. To repair his car, he visits a nearby garage where Vahid (Vahid Mobasseri), an ethnic Azerbaijani auto mechanic, recognizes him from the sound his prosthetic leg makes after Vahid speaks to his mother on the phone. The next day, Vahid follows the man, kidnaps him, and attempts to bury him in the desert. He tells him that he recognized his voice and stumbling walk as that of Eghbal “peg leg” (Ebrahim Azizi), his former tormentor in an Iranian prison. The man denies being Eghbal and begs Vahid not to kill him, saying that the scars on his leg are recent, unlike Eghbal’s.

Doubting the man’s identity, Vahid puts his unconscious body into the van and visits Salar (Georges Hashemzadeh) at a bookshop. Salar refuses to help him identify the man but directs him to a woman named Shiva (Mariam Afshari), a photographer in the middle of taking wedding photos of Goli/Golrokh (Hadis Pakbaten) and Ali (Majid Panahi), an engaged couple to be married the next day. Reluctant to help him, Shiva recognizes the smell of the man as that of Eghbal but is also unsure of his identity due to the fact that they were blindfolded during their torture/interrogations. Goli reveals that she was also tortured by Eghbal, but cannot confirm his identity either, so they seek out the help of Hamid (Mohammad Ali Elyasmehr), Shiva’s former partner.

Although the subject matter is extremely serious, Jafar Panahi chose to present it as a very dark comedy, which is both daring and unsettling. As each formerly tortured team member is introduced, the situation grows increasingly absurd, complicated, and risky, pushing the story further into chaotic territory. What begins as a mission rooted in revenge eventually reaches a point where giving up almost seems like the most logical option.

Each character brings their own unique and morally questionable way of resolving the conflict, yet none of their choices come without consequences. In that sense, the film highlights how vengeance can spiral out of control, turning personal pain into collective dysfunction. The storytelling often feels intentionally messy, which mirrors the emotional and psychological damage the characters carry—but it can also feel scattered and directionless at times.

The writer and director made a bold and courageous decision to create this film without official approval from the governments of either country involved. What’s surprising is how the film manages to tackle sensitive political and social themes without placing any one party under overt ridicule or scrutiny. That restraint adds to the film’s intrigue, even if it occasionally softens the impact.

I enjoyed this wildly unpredictable movie, even though it often felt like it was going nowhere fast. The ending is ambiguous and offers little closure, which may frustrate viewers hoping for resolution. Still, it effectively places the audience in a decision-making dilemma—one where there is no clear plan, no perfect answer, and no fully satisfying outcome.

It Was Just an Accident leaves you confused but oddly refreshed, as though you’ve experienced something imperfect yet thought-provoking. It may not tie everything together neatly, but it does linger in your mind. You can catch it on Netflix — check it out!

 

On the review aggregator website Rotten Tomatoes, 97% of 192 critics’ reviews are positive. The website’s consensus reads: “Perhaps the most bluntly political film by Jafar Panahi yet, It Was Just an Accident is a defiant rebuke of authoritarianism that still delivers the entertainment value of a gripping thriller.”

 

To date, IT WAS JUST AN ACCIDENT took in $1,773,664 domestically and $8,355,315 Internationally for a worldwide total of $1,773,664.

 

FYI:
Panahi is one of Iran’s best-known directors, who has repeatedly criticized the Iranian regime’s policies in his works. He was arrested in 2022 after being sentenced in 2010 to a six-year prison sentence and a 20-year ban on working. He had not yet begun serving his prison sentence at that time. This decision was heavily criticized internationally. After almost seven months in detention, Panahi was released in early February 2023, after the 65-year-old went on a hunger strike. Despite his ban on working, he had always managed to complete film projects in Iran and have them released abroad. Most recently, in his absence, his film No Bears (2022) was shown in the main competition at the 79th Venice International Film Festival and won the Special Jury Prize there. In an interview ahead of the film’s Cannes premiere, Panahi said that although the bans on his filmmaking and travelling had been lifted, he still had to maintain secrecy about his work and work illegally with a “very limited cast and crew”. 

Panahi filmed It Was Just an Accident in secret, without a filming permit from the Islamic Republic. The actresses in the film do not always wear the hijab, which is compulsory for women under Iranian law.

[IT WAS JUST AN ACCIDENT has been Oscar Nominated at the 98th Academy Awards for BEST: International Feature Film (France) and Original Screenplay – Totaling 2 Nominations]

 

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