[EXPRESSO] HIM (2025) | They Forgot That I Am

If Opus cemented my belief the “eat the rich”-”social horror” strain of horror has been overdone to death … HIM is just further, further proof.

To be fair, it’s not that the idea of a horror movie set in the “american football/rugby” biz about its status of unofficial national religion is bad in itself.

The concept has potential, but the movie doesn’t explore anything, and i mentioned Opus, because it’s basically the same plot, just substitute the music biz and the “Not-Jamestown” commune led by old popstar with a brutalist football dungeon governated by an aging, nearly retired legendary NFL quarterback, Isaiah White giving a second chance to Cameron “Cam” Cade, an aspiring quarterback suffering from head trauma that could jeopardize its entire career, so Cam accepts do to a special training in the isolated facility led by Isaiah….

Like Opus, the entire thing is thinly held together by its lead actor performance, in this case Marlon Wayans playing Isaiah… or would, despite Wayans’ great performance this time i feel it’s not enough to suffice, especially with his character mostly devoid of a personality, and the entire thing being too obvious, downright spelt out as the movie it’s too afraid you won’t get some of the more obvious symbolism ever displayed, all the themes sanded down to be as broad and generic as possible, meaning nothing as the movie confuses parroting an arthouse modern “social horror” aesthetic for actual substance, since it has none, it’s all “pigskin deep”, talking about “no pain no gain” on and on yet unable to actually commit to its ideas.

While aware of its inherent silliness, it doesn’t know how to use that to enhance the horror, so it just amounts to a big ball of stupid, of well produced imagery that ultimately means nothing.

[EXPRESSO] La Valle Dei Sorrisi (2025) | Libera Nos

I’ve lamented before how Italy in terms of horror output nowadays is a phantom of what it used to be, and how most new horror films are either subpar shite, barely sufficient, and they mostly seem to be made by people ashamed of making horror films, so they don’t commit.

Thankfully this is not always the case, and movies like the recently released here La Valle Dei Sorrisi (The Valley Of Smiles) by Paolo Strippoli (A Classic Horror Story) are a good sign that we can make actually good horror films able to compete on an international level.

The premise see the city of Remis, a small, isolated mountain village where everyone is strangely happy and smiling and welcoming, receiving the new ph teacher, Sergio, a man haunted by a mysterious past, that is then led by Michela, the local tavern manager, to learn of the secret behind the townfolks’ happiness.

That is, a strange ritual where everyone lines up one night per week to embrace Matteo, a teenager with the power to absorb people’s pain. Sergio then tries to help Matteo back, to save him from the role of absolver forced upon him by his father and the townspeople, but accidentally helps him uncover a dark side to its powers…

It has some familiar elements seen in other A24-styled pictures, but it manages to do an interesting spin on the “village of the damned” and “chosen saint” storylines, starting off unassuming but gradually building a notable atmosphere, delivering some surprises and managing to develop well Sergio’s as well as Matteo’s character arc of teenage self-discovery.

The final could have been better but otherwise i was really, really stunned by how good it was, amazing performances, engrossing characters, unsettingly creepy and barely reliant on any graphical violence.

Highly recommended.

[EXPRESSO] The Conjuring: Last Rites (2025) | The Warrens

As i guess many did, i approached Conjuring Last Rites with tired obbligation, and i’m sad to say the movie just gave off that very same vibe in return.

Yes, i basically gave up expecting much from the series after the spinoffs and James Wan not directing anymore, but this is the final installment of the Conjuring series (and its cinematic universe, for spoiler heavy reasons), i do expect a better baseline of quality for these.

So this feels like an extra disappointing and limp finale, but first plot.

Final Rites goes back to chronicle the Warren’s last case, about an entity haunting the Smurl family in Pennsylvania, 5 years after they basically retired to do university work and live a normal middle aged life with their young adult daughter, whom also seems to share her mother’s ability to sense spirits…

While the series is mostly focused on the characters more than gore or blood, Final Rites takes it way too far as the Warren’s plotline is an overly long soap opera-ish slice of life mostly detached from the Smurl haunting, with the movie taking forever to become what you wanted to begin with, and when it finally does its incredibly underwhelming.

To say nothing of the final reveal that tethers between making some sense and being a cheap, stupid, frustrating arsepull because they couldn’t think of anything else, maybe.

I honestly personally enjoyed it even less than The Nun 2 (still more than La Llorona), the only reasons this one doesn’t score lower is because of the great performances by the cast, (especially by Farmiga and Wilson as the Warrens), the residual characterization work and the fact there’s a sense of finality to it.

Even though i do hope this is the actually the end for mainline Conjuring films.

[EXPRESSO] Milarepa (2025) | Sardinia Saint

A very loose retelling of the life of Milarepa, an important figure in Tibetan Buddhism, this 2025 Italian production takes many liberties, not just genderbending Milarepa, but mostly taking place in a post apocalyptic world where humanity regressed to live in mudhuts.

The gist remains the same, as Mila lives a good life, then her father dies, her uncles decide to treat them like slaves. Mila’s eventually racks up enough money to have Mila be taught black magic and avenge them.

She succeeds, but the destruction and guilt grow to a point where Mila decides to set off in a journey to cleanse her karma….

The first issue is that the whole post apocalyptic angle doesn’t really work, it just looks medieval, and the movie it’s just too grounded/realistic to let the fantasy elements take any proper hold, to suspend disbelief and “buy” stuff like no one noticing Mila being obviously a girl.

Plus characterization is spotty, with some really stupid ass characters, and some inconsistent acting that sticks out against the decent work done by a cast sporting recognizable Hollywood actors like Harvey Keitel, F. Murray Abraham, Angela Molina and Franco Nero.

Doesn’t help that the editing often makes things confusing to follow (when the script already doesn’t, that is), and the second part (the “redemption-philosophical-meditative phase”) is kinda hilarious, almost feeling like a parody… while also clearly done in earnest.

I feel kinda bad because the worldbuilding clearly needed a budget that never was, and it almost feels like it’s going for a feminist message… but that too is pretty superficial and half-baked, as pretty much everything here.

It’s a mess, it’s not good, i do respect the honest effort and ambition, the heart is in the right place, it truly is…. but it’s still a huge mess.

[EXPRESSO] The Ritual (2025) | Al Pacino, Exorcist

Oh look, another exorcism movie…. BUT WAIT, this one has Al Pacino as an exorcist (and Dan Stevens as the head priest) in it!

…. i mean, that’s about the best selling point it has, but i want to make clear this isn’t a bad film.

It’s just another one. Sure, it is based on the 1928 exorcism of Emma Schmidt, one of the more documented cases of this kind, but that barely matters, as “based on real events” for exorcism movies feels like saying “the new first openly LBGT-ish Disney character” by now.

No point in discussing the plot, it’s what you expect by now: woman that seems possessed but has been unable to be helped by medical science is carried to a convent, where they call an exorcist in order to save her soul, attempting to do so in a series of rituals. The demon talks in Latin and other languages, pukes, abuses the woman’s body, the head priest aiding “Al Exorcino” has emotional baggage that makes his faith waver, etc etc.

Really nothing that you haven’t seen before, at all.

And while i do struggle to think how exorcism movie could innovate or improve… this one on one hand feels a bit more grounded and it not going for the cheap jumpscares, but on the flipside even the exorcism weird shit is too familiar to make much on an impact, and not extreme to satisfy horror fans that wanna see something more gruesome or weird or outthere.

Again, i feel this horror subgenre has nothing left to say, but i will admit this ain’t bad, i found myself more involved by the end than i would have expected, the acting is better than usual, the cast is too, but it’s too formulaic and forgettable to recommend.

[EXPRESSO] Andy Warhol: American Dream (2023) | Byzantine Soup

Released just now here as 2 days limited event screening, i decided to give Andy Warhol: American Dream, this fairly recent documentary about the famous artist Andy Warhol (as it makes sense to when you put his name in the title), even though i don’t really like his works or style, personally.

I don’t hate him, his works or the impact he had on popular culture and art alike, btw, i just am not really a fan, but i will say this is a better film than expected, as instead of just going through the stuff most people already know… it does eventually get to that, but alongside various critic figures, museum curators and experts chiming in, it mostly dwelves into the aspect Warhol himself avoided discussing: his roots.

Which in this case is being the son of Rusyns immigrants from Slovakia, ailing from a small rural village observing the religious traditions of the Svolak Greek Catholic Church, travelling to the United States as many others did to seek that fabled “American Dream” of a better life, with Andy being the youngest of 4 siblings, and this documentary puts big emphasis on his family and friends, as they are the main narrators-actors telling about Andy, his early life, the familial ties to his homeland, how they perceived them there in Slovakia, giving also more intimate stories revolving around the well know events of his life and carrer, from his Campbell soup paintings, his celebrity portraits, the Factory, his films, him getting shot, etc.

I think it could have been edited better (as at times the movie repeats itself) and since it’s not dubbed (some people talk in english, most in Slovakian)…. the color choice for the subs is kinda infortunate at times, but still, a nice surprise worth seeing.

[EXPRESSO] Sinners (2025) | From Blues Till Dawn

There are movies that are best enjoyed by going in “cold”, by i don’t know if Sinners is one of those, as i can imagine people being confused if they were not aware of From Dusk Until Dawn having been a thing for a couple of decades (alongside some sequels i keep forgetting exist).

Because it is that, but done less as a deliberately disjointed surprise jump in tone, direction and subject matter, as it made to feed into the themes of freedom, black heritage and racial tensions, with the first half being a thriller drama set in 30s America, where a couple of brothers in the crime business, Smoke and Stack, go back to their town in Mississippi, in order to try and make some cash by setting up a juke joint, and they involve their cousin, a budding bluesman dubbed “Preacher Boy”.

The second half is them being stalked and having to survive when vampires surround the juke joint at night, and yes, its indeed doing a “From Dusk Until Dawn”, turning things straight into horror territory, with pretty good effects too and some very nice musical bits, lots of carnage, really good acting as always, especially Michael B. Jordan as both “Smokestack” brothers.

I respect it’s ambition and willing to do some out there shit (like the “future and past” visions of blues music), but the editing at times is frustrating, it kinda keeps going even after what would have been a good time to end the movie… twice, which is partially due to close up some subplots.

At times it’s a bit too much and it’s a miracle it works so well instead of being the utter mess it sounds-could have been like, but it is still well done, bold and stylish, i do recommend it.

[EXPRESSO] Opus (2025) | Modesto, Cult Of The Damned

A horror movie where John Malkovich plays a 90s super popstar coming back after 20 years with a new album and inviting a clique of media personalities (and a young journalist willing to make her mark) for a special preview event on his very Jonestown looking comunity/cult…

It sound promising, but honestly Opus it’s pretty frustrating, for the feature debut of Mark Antony Green shows clear ambition in wanting to tackle the modern theme of the “cult of celebrity”… but it does so quite badly, mostly rehashing stuff already done notably better before, for an uninspired popstar take on The Menu crossed with Midsommar, for example.

I’d complain it’s a thriller devoid of thrills as you know exactly that some culty shit is gonna go down… but it doesn’t really play like a thriller, going for a comedy angle of sorts that doesn’t quite work, as they don’t committ fully to that either. They do deliver a Chuck Norris joke (i kid you not), but mostly you’re left wondering how stupid are these people to not notice they’ve entered “Elton Jonestown”.

Aside from the main protagonist-final girl, whose actress seems unable to gel with the direction… but then again the film isn’t really sure what to do with itself, often contradicting its own set-ups for cheap sholc, the villain plans becoming increasingly stupider and the plot somehow even more senseless, making for a pretentious yet half baked, incredibly stupid mess.

What saves it from being as bad as Blink Twice is John Malkovic go full ham as the villain, basically “Elton Leto”, he commits perfectly that his performance alone makes it kinda worth a watch… but boy it’s a dud, frustratingly so, and maybe – MAYBE – a sign that this type of modern horror-thrillers its running on fumes. Just a bit.

Trollhunter (2010) [REVIEW] | #giantmonstermarch

Aside from the 2022 Troll monster film on Netflix, there’s not much in the way of troll movies outside of the overcovered Troll 2 (and it’s “prequels” and “sequels” also mostly made by Italian directors and actors), even more so if we’re going for proper giant sized trolls, not the tiny ones, or the Dreamworks animated film series based on those old troll toys with the hair, for that matter.

Also, i had this on the backburner for a while, and it also lets me cover of my lest liked genres: the found footage mockumentary.

Directed by André Øvredal, nowadays better known for The Autopsy Of Jane Doe, Scary Stories To Tell In The Dark and The Last Voyage of The Demeter (with an upcoming adaptation of the horror videogame Bendy And The Ink Machine) here at his second feature lenght film, one more close to home for him, as it dwelves with the more well known beast of Norwegian folklore: the troll.

Continua a leggere

[EXPRESSO] Mickey 17 (2025) | Hardspace Shipbreaker Multiplicity

From Bong Joon-Ho (Parasite, Snowpiercer, Okja), we now have Mickey 17, an intriguing original brew of comedy, drama, romance, sci-fi, takin place in the future, where a down on his luck guy, Mickey Barnes, finds himself – due to a huge debt – signing up as an “expendable” for this religious backed colony envoy led by a zealot ex-congressman (Mark Ruffalo), meaning that basically he’s used as a guinea pig to test viruses, be given deadly jobs in the cold of space and then the ice-laden planet they want to colonize, thrown against the wildlife.. doesn’t matter, as they keep back ups of all his memories and just 3D print him a new body when he inevitably kicks the bucket.

One day he’s just left to die in a icy crevice, but miracolously manages to find himself alive and travels back to the outpost, only to notice they didn’t wait around to clone him again…

It’s an interesting film because it can jump to having romantic comedy scenes to serious sci-fi drama, throwing blunt satirical boulders about class warfare, tense thriller scenes, and yet, despite it sounding like it should be a fuckin mess, it all comes together organically, as the star studded cast delivers an incredible range, making the characters believable, even with the wild swings in tone… minus the two main villains, the zealot fascist cult-leader and his fitting wife (Tony Colette), i get why they are so over the top, i do, but they stick out as way too cartoonishly evil (especially when everyone else has some complexity or grounding in this specific sci-fi reality), to the point they become a detriment to what is still a great movie.

It’s still a notable, engaging and interesting film that fully deserves to be seen in cinemas,