“Forbidden Fruits” (2026)
Not every film can make a shopping mall feel both magical and menacing, but Forbidden Fruits challenges that.

Volunteer girls come to the village. They will help to harvest the crop. The girls are dressed in fashion, behave provocatively. Four village men want to demonstrate their qualities. The mechanic pretends to be an athlete, the teacher plays love sketches that he watched in the movies. The vet flirts clumsily, and the doctor decides to go to Africa. The girls leave. Calmness and boredom come to the village.
Not every film can make a shopping mall feel both magical and menacing, but Forbidden Fruits challenges that.
She is being made to justify why she doesn’t believe he’s a feminist, instead of him having to justify his choice to claim he is one.
Outer Banks (2020-) knows its audience: young adults in a country that can’t stop romanticizing good ole’ treasure hunts. Add a little of Riverdale’s (2017-) sex appeal, and no one can look away. Forty years after The Goonies (1985) America’s consciousness hasn’t strayed from the same tropes: treasure hunts, a vulnerable white male lead, and the whitewashing of a racially segregated setting.
When it comes the horror genre, I am VERY hard to please or impress, much less scare. Coming from a current mindset of appreciation for chilling, unsettling, tension-inducing efforts such as "Hereditary", "The Conjuring" (ONLY the first one to date, mind you), "Lights Out", "The Babadook", "Midsommar", "Talk To Me", "Oddity", "Bring Her Back", and the like
“To be universal, you have to get specific”: while the film does not attempt to provoke discussions about queerness or race, those watching closely may find something resonant in Sorrentino’s love letter to the Naples of his youth.
An unlikely friendship changes the hearts of men, and helps a young boy come into his own.