“Tony” is Yet Another Good Biopic
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.

Odysseus, a typical bourgeois, married and father of two, is working in the accounting department of a large company when he is suddenly fired, leaving him stranded. Now unemployed, with severance pay in his pocket, he wanders aimlessly around summer Athens. In his wanderings he meets a girl who represents for him the lost youth. He follows her everywhere, but every now and then he loses sight of her and worries. It's a wander from Athens to Hydra, and yet it's full of surprises, funny moments, but also suspense.
The problem isn’t that it’s bad. It's good. But it fails to stand out from a crowd of similar films.
Lin-Manuel Miranda's Tony-winning musical translates beautifully to the screen.
Behind all the action, 'Space Sweepers' is a surprisingly heartfelt and progressive story about building community.
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.
The Slumber Party Massacre wonderfully combines the suspense of its horror with its commentary on gender, creating a memorable slasher classic that began a horror trilogy entirely written and directed by women.
Coolie promised style, action, and Rajinikanth’s mass presence, but did it deliver on substance? Here’s my full review on whether Lokesh Kanagaraj’s film lives up to the hype.