“Michael” and the Tension of Lacking Tension
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.

The Minerva docks at a ZAFT base, where they are met by Chairman Durandal. Over a quiet dinner, he talks with Athrun, Shinn and other members of the crew. This conversation leads Shinn to reflect on the past, and the events that brought them to where they are now. But understanding does not bring peace, and after another argument with some of his shipmates, Shinn heads ashore to clear his head. There he meets a beautiful girl, and watches her fall into the ocean. He dives in to rescue her, and in turn then must wait to be rescued. Meanwhile, the Alliance Forces gather, along with their Orb Allies, to launch an attack on ZAFT. The Minerva scrambles and prepares for battle. But unknown to either side, far beneath the waves, another group is going to try to put an end to the fighting.
It is not hard to make a musical biopic that pleases audiences and draws a profit. Michael is no exception.
If the message here is that without a support system, grieving people turn into monsters, it’s not really well-delivered and may be flawed as a message itself.
The Brazilian filmmaker Alexandre Alonso’s Hunter is a film with a lot of ideas, but with very little holding those ideas together.
A film loosely based on the fairy tale Hansel and Gretel, with major twists to the original story.
Nick Rowland’s She Rides Shotgun is a blistering, blood-soaked road thriller that doubles as a bruised love story between a haunted ex-con (a career-best Taron Egerton) and the daughter he barely knows (astonishing newcomer Ana Sophia Heger). Fueled by white-knuckle chases, razor-tense shootouts, and quiet moments of aching tenderness, the film captures both the terror and fragile beauty of survival. It’s gritty, heartbreaking, and unforgettable—a father-daughter odyssey destined to leave audiences shaken.
Star Wars is better if you believe that Luke Skywalker is gay. You can't change my mind.