Mister Sir Loves Movies. (2025)

04/08/2025

"The Queen must ride alone."

🎥 "Midsommar" (2019)
dir. Ari Aster
Cinematography: Pawel Pogorzelski

03/08/2025

Here's the round of news for this week in the wonderful world of movies. What are you most excited for? Let me know in the comments!

Holy s**t guys, sorry - I'm back!

First thing I want to know - what's the new release you're the most hyped for this month? Any of these ones? Let me know in the comments!

02/08/2025

Holy s**t guys, sorry - I'm back!

First thing I want to know - what's the new release you're the most hyped for this month? Any of these ones? Let me know in the comments!

02/08/2025

Holy s**t guys, sorry - I'm back!

First thing I want to know - what's the new release you're the most hyped for this month? Any of these ones? Let me know in the comments!

29/07/2025

Still working on some stuff, he's my review for Wind River in the meantime!

“Wind River” by Taylor Sheridan (2017)

“While missing person statistics are compiled for every other demographic, none exist for Native American women.”

What a bleak, horrifying, and shameful truth. And if the word bleak needed a cinematic embodiment, Wind River would be it. Not in the sense of being uninteresting—but in the truest sense of hopelessness. Sheridan’s depiction of the Wind River Reservation feels like one of the most desolate places I’ve ever seen on screen… and that desolation isn’t fiction.

Renner’s Cory Lambert says it to Olsen’s Jane Banner: this place swallows people whole. And the film backs that up in every frame. The bleakness isn’t just in the snow-covered landscape—it’s in the silence, the characters, the generational pain.

The most harrowing moment is the flashback to Natalie’s final moments—one of the most brutal things I’ve watched in years. But there are others that cut just as deep… like when Natalie’s mother mutilates herself in a grief-stricken trance. The devastation in Olsen’s face says it all: she realizes, in real time, how much she doesn’t understand.

Then there’s Graham Greene’s line: “These people expect to go to jail. It’s almost like they wish for it.” That’s the emotional core. Not just one crime—but what happens when a community is systemically ignored for generations.

Sheridan directs the hell out of this. The cinematography is stunning. The Nick Cave & Warren Ellis score? Haunting. Bernthal’s flashback performance? Show-stopping. Renner and Olsen? Fantastic chemistry.

The final revenge is brutal. The final scene is dim, but it’s light. Wind River is harrowing, important, unflinching. And it demands to be heard.

For a longer, more detailed version, go to my Letterboxd page!

28/07/2025

"You keep dancing with the devil... one day he's gonna follow you home."

🎥 "Sinners" (2025)
dir. Ryan Coogler
Cinematography: Autumn Durald Arkapaw

27/07/2025

"Eddington" by Ari Aster (2025)

Now more than ever, I need to emphasize that this is just my opinion. I know for a fact that some of you probably won’t like this movie—but Eddington blew me away. It’s the first film this year that genuinely made me pause and ask: “Wait… is this actually my number one of the year?” It’s not—Coogler still holds that spot with Sinners—but this came in second like a bullet. I absolutely adore this movie.

And that’s not an easy thing to say about a film set during the worst time we’ve lived through: the COVID-19 pandemic. Somehow, Ari Aster—the madman that he is—pulls it off. He doesn't exploit the trauma—weirdly enough, he honors it by showing just how messy, irrational, and human it all was.

The nuance here is unreal. No one in this movie is reasonable—and that’s the point. Everyone has a point, but no one’s right. That early grocery store scene perfectly encapsulates it... Everyone is a contradiction.

That fundraiser scene? Maybe my favorite of the year. And I hate that it involves Katy Perry’s “Firework.” I cannot stand that song—and yet, in that moment, it’s perfect. It becomes the center of this escalating nightmare... hilarious and horrifying at once.

The bar scene that follows... full-blown horror. And then, the mid-movie twist to end all mid-movie twists. A game-changer. One of the best second-act turns I’ve seen all year.

The third act is sheer chaos in the best way... a shootout that plays like a fever dream. That whole Solidgoldmagikarp subplot is unsettling and genius - look into it.

The performances are phenomenal. Joaquin Phoenix might have just delivered his best work post-2020. The whole movie is visually stunning. The details hit hard— the fact that Phoenix’s character is the only one who gets COVID in the film perhaps being the biggest one.

It’s immersive, intense, deeply upsetting—and genuinely funny. I loved every second of it.

For a longer, more detailed version, go to my Letterboxd page!

24/07/2025

"Well done, my brave knight. Now... off with your head."

🎥 "The Green Knight" (2021)
dir. David Lowery
Cinematography: Andrew Droz Palermo

24/07/2025

"Superman" by James Gunn (2025)

I love James Gunn. I love the man, I love his movies, I love his storytelling — he’s one of my guys. And to no one’s surprise, I loved Superman. This is the most compelling Superman story I’ve ever seen. Period.

That opening — “three centuries ago… three minutes ago, Superman lost a fight for the first time ever” — had me hooked. We’re inside Superman’s Antarctica compound within minutes, and it never feels rushed. Same with Clark and Lois — two scenes in and we already get their whole dynamic. No filler.

The film flows perfectly. The 12-minute Lois interview scene literally felt like five. Gunn nails pacing perfectly.

What I really loved is how it never treats Superman as invincible. His weakness is his morality — he stops mid-fight to save a squirrel, tries to euthanize a kaiju with dignity, and that's what ultimately stifles his offensive momentum. His empathy makes every battle feel dangerous.

Nicholas Hoult’s Lex Luthor? Best version ever. Angry, theatrical, terrifying — and totally believable. Corenswet nails Superman’s gentle strength. To me Rachel Brosnahan is the best Lois Lane. No debate. And Mr. Terrific...what can I say? Edi Gathegi steals every scene.

The geopolitical subplot worked well for me. “Jarhanpur’s not perfect, but that doesn’t give anyone the right to invade it.” And the kid raising the Superman flag in a war zone had me shed a tear.

Lois: “You trust everyone and think everyone you’ve ever met is, like… beautiful.”
Clark: “Maybe that’s the real punk rock.”

That line is Superman.

This movie reminded me why superhero fatigue is nonsense. When the story’s great, people show up, regardless of genre. And I’ll be showing up for this one again and again.

Thank you, James Gunn.

For a longer, more detailed version, go to my Letterboxd page!

22/07/2025

"Babylon" by Damien Chazelle (2022)

One of my favorite movies of the century—no exaggeration. Babylon deserved so much better. A full-blown masterpiece: acting, writing, directing, editing, pacing, blocking—it’s all impeccable.

A 3-hour epic about the transition from silent films to talkies doesn’t sound like a thrill ride, but this is one of the most engaging 3-hour films I’ve ever seen. You could start it at 2 a.m. and I’d still be locked in. The energy is relentless—from the wild opening party to Jack Conrad brushing off a spear wound on set, to Nellie LaRoy wrestling a snake and bombing at a high-society party.

Tobey Maguire’s “asshole of L.A.” descent into hell is absolutely terrifying. But it’s not just chaos—the film also nails the quiet, crushing moments. That first soundstage scene with Nellie is a comedy of errors so chaotic it’s brilliant. A guy literally dies mid-take and they just keep going. That’s the world Chazelle builds: one of beauty, madness, and heartbreak.

Jack Conrad’s arc is devastating—left behind by the art form he loved and revered. Watching him fade into irrelevance is brutal. Same for Nellie and Manny, who rise fast and fall harder. The way Manny clings to Nellie, or that small moment about not visiting his own family—it’s beautiful and sad.

The direction is flawless. Handheld frustration, dreamlike tracking shots, and meticulous blocking bring this world to life. Linus Sandgren’s 35mm cinematography is gorgeous. Justin Hurwitz’s jazz score? Electrifying.

Robbie, Pitt, Calva, Jean Smart, Li Jun Li—all incredible. Robbie owns this role. If Whiplash was Chazelle’s Raging Bull, Babylon is his Wolf of Wall Street.

And that ending montage? Goosebumps. This is cinema.

18/07/2025

"Sometimes the truth isn't good enough, sometimes people deserve more. Sometimes people deserve to have their faith rewarded..."

My favorite film of all time.

🎥 "The Dark Knight" (2008)
dir. Christopher Nolan
Cinematography: Wally Pfister

17/07/2025

Actor Spotlight: Emma Stone

Has anyone had a more meteoric rise than Emma Stone? From her breakout roles in Superbad and Easy A, she’s been defying expectations ever since. Performances in Birdman and The Favourite gave us early glimpses of the dramatic powerhouse she was destined to become. Her two Academy Awards—for La La Land and Poor Things—weren’t just well-earned, they were career-defining, proving she’s far more than just a gifted comedic actress. She’s one of my absolute favorites, and I’m always excited to see what she does next.

Emma Stone plays Louise Cross in Ari Aster’s new film, Eddington, which releases tomorrow, July 18th.

She also stars in Yorgos Lanthimos’ new film, Bugonia, releasing on October 31st.

Personal favorite: “La La Land” (2016)
Highest rated: “La La Land” (2016)
Underrated performance: “Crazy, Stupid, Love.” (2011)

Mister Sir Loves Movies.

04/08/2025

03/08/2025

02/08/2025

02/08/2025

29/07/2025

28/07/2025

27/07/2025

24/07/2025

24/07/2025

22/07/2025

18/07/2025

17/07/2025

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