Monster (2023): When the Truth Is Not in the Telling but in the Seeing
Not every silence is empty. Some are filled with things too heavy for words.

Three men spend their days in a dying gas station, on the side of a wrecked road, on the outskirts of a small town. The three men resist and wait. They spend their time in fortuitous, random or miraculous things, hoping that something will free them for this situation. One day, the opportunity they were waiting for appears, in a different way than they imagined. Now, they will have to find out if they're ready to take advantage of it.
Not every silence is empty. Some are filled with things too heavy for words.
We’ve always known that Edgar Wright is a mixologist when it comes to blending sound, light, colour, and texture. This is especially true in the first act of the film. In fact, all of my positive feedback is directed exclusively at the first act of this film.
At first glance, “The Good Liar” is a respectable piece of fiction, starring Ian McKellen and Helen Mirren. But underneath everything, the film expertly hones the unpredictability of deceit.
Two Korean sisters must save their family after a ghost tears the family apart.
Its predictability shouldn’t distract from the enjoyment that the pure cinematic imagination behind the camera elicits. It is a movie of crises both moral and mortal, oozing with CGI, and thoroughly enjoyable.