Tolga, the son of a wealthy family, wants to escape his family's pressure. He leaves home and embarks on a boat trip without knowing where he is going. On the same boat, he meets Meral, who, like him, has set out on a journey without her family's consent. During the trip, Tolga and Meral get to know each other closely, and a love affair develops between them.
Carolina Caroline follows Caroline (Samara Weaving), a bored young woman dreaming of escaping a small Texas town where nothing ever happens. When she meets Oliver (Kyle Gallner) at her workplace while he is conning the owner, she sees her perfect opportunity to get out. Their whirlwind romance strongly echoes Bonnie and Clyde, as the two quickly embark on a bank-robbing spree.
The film, which focuses on an Argentinian family during an intimate birthday dinner, efficiently captures the eccentricities of each character as well as the nuances of their interpersonal dynamics.
Not every silence is empty. Some are filled with things too heavy for words.
Him is visually stunning—all concrete cathedrals and bone-rattling impact shots that look like a nightmare highlight reel. Marlon Wayans is magnetic as this legendary quarterback who's basically selling salvation with a smile that never quite reaches his eyes. But the story keeps running in circles: more tests, more cryptic pep talks, more ritualistic drills. The sports-as-religion metaphor beats you over the head when subtlety would've been more effective. The middle drags, and that finale chooses spectacle over substance. It's undeniably stylish, but left me cold. Also worth noting: despite the Monkeypaw connection, this isn't actually a Jordan Peele film—he didn't write or direct.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
A film for the post-MeToo era that inverts the narrative with an ironic coda, Tár depicts the duality of a sensitive artist capable of great evil and vile manipulation.
