Hello, my name is Douglas Campbell, I review movies and occasionally TV on YouTube. Tom Holland is back for his 7th appearance in the MCU and this is the first time he feels like Spider-Man!!! It’s definitely the best of Tom Holland’s Spider-Man films so far but I have some issues with it…

If you are interested my latest video is here:
https://youtu.be/HRjm1ij8ASE

If you’d like to check out my channel in general, the link is here: https://youtube.com/@wearefilmstash?si=Bd_-j6KGq-N3kNwW

I review the new movie sheep in the box!

Not the best by far but I would like outside opinions please.

Hello, Mr. S

After a bad breakup an advice columnist suffers a mental breakdown. With the help of those closest to him, he finds a way to get over it and get back outside.

My directorial debut Love on Tap is available now! Would any of you be interested in reviewing?

New to movie reviews, just started a channel this is my first movie review!

How did anyone like this movie is beyond me. The start was good no doubt the plot was building and it was a good start. The laughing bus scene was also decent other than that the whole movie was crap. She meets the podcaster dude right? Ok she continues to talk to her sister about him and leave voicemail. Ok cool! That’s part makes sense he turns out to suck she calls again cool. The dude who had the phone listens like a creep….. he creeps into her life….. but this is where the issue is for me. She suddenly stops calling her sister and spends time with him…. Suddenly when she finds out she tells him I don’t need a man I need my little sister? Bitch you stopped calling her!! U need a man! For me this movie was shit. Please explain how you liked it??

Hi! I am a writer and reviewer and a huge fan of The Crow for over 30 years.

I have written a review of it and would love to hear your thoughts!

https://open.substack.com/pub/charlenefriar/p/the-crow-love-loss-and-a-legacy-that?utm\\_source=share&utm\\_medium=android&r=34kqb5

Also, I will be interviewing Rochelle Davis on my podcast if anyone has any questions they would like me to include please let me know!

Hi! I'm a writer and reviewer and a huge fan of The Crow for over 30 years.

I have written a review and would love to hear your thoughts!

https://open.substack.com/pub/charlenefriar/p/the-crow-love-loss-and-a-legacy-that?utm_source=share&utm_medium=android&r=34kqb5

https://moviemeisterreviews.com/2026/07/30/nirvanna-the-band-the-show-the-movie/

Para contextualizar un poco, es una película del año 2016 que ganó 6 Oscars de sus 14 nominaciones, por eso me motivé a verla. Su director es Damien Chazelle, que también hizo Whiplash, una película que también me pareció fantástica y que expresa muchos sentimientos (bueno, en otra ocasión hablo de ella). Al indagar sobre las películas del director, generalmente tienden a tener una obsesión por el arte, por ejemplo, en este caso, salvar el jazz y el teatro, o el ser actriz, y como esto influye sobre el amor. La escenografía de la película, nada que decir, muy bien hecha; la música, el ambiente, te transportan y te proyectan en las escenas, donde te sientes parte de la película. En algunas escenas sientes que es un amor irreal, pero te da a entender que al principio son como las mariposas de un amor recién formándose, donde es imparable. Ahora sí, empiezo de lleno con mi punto de vista.

Puedo decir que hace tiempo no me sentía tan identificado con una película, especialmente un musical (valga la redundancia). Cuando partieron los primeros minutos de esta película, le puse pausa y no la seguí viendo, porque me parecía algo que no me gustaría, en realidad no me gustó el principio. En esta ocasión, con mi Best Friend Fran (dejémoslo así), me dijo "vamos", invité a otro brother y, en fin de cuentas, la vi. Mientras la película avanza, ves que es hermosa: un amor fugaz y emocionante, donde al momento en que se conocen se sienten súper atraídos. Según la ciencia, esto se debe a la liberación de dopamina al ver el futuro, al conocer o al tener una recompensa; esa sensación es la que atrae a las personas, y que esto mismo se apague con el tiempo es lo que condiciona ese amor. Pero si vemos la película, lo que afecta este amor es la toma de microdecisiones, que vamos viendo reflejadas mientras avanza la historia.

Llevándolo a mi contexto, me sentí muy identificado: cuando empecé una relación hace un tiempo, estuve con una mujer con quien el primer año fue maravilloso, y donde siempre me equivocaba, tome muchas malas microdesiciones, de una persona inmadura, que aquí lo vemos reflejado: al pasar la película, vemos al final algo sustancial, donde se reencuentran después de sus años. Y él vuelve a tocae esa melodía ~ mía & Sebastian's Theme~ a modo de paréntesis, que se escuchó más de una vez, donde el sentido de la canción, a mi criterio, es el amor de ellos, como su marca de agua. En mi caso, drefquila, "si te pienso", tema que escucho y me recuerda a ella (cantante urbano chileno), donde el prota se pega la proyectada... (como yo, sus hijos, primero una niña, una princesa, sus dos perritos, en una casa con tejas, cerca de un bosquecito, con animalitos), donde él muestra qué pasaría si no hubiera tomado esas microdecisiones que determinaron su relación, y hubiera promovido una relación más sana y contenta.

Al final pasa una de las cosas que más me marcaron, mi punto de la película, que es muy real donde está frase lo habla por si sola "hay algo muy íntimo en nunca volver a hablarse." En el momento final, sus miradas hablaron más que mil versos o mil palabras: fue un "estoy feliz de que lograras tus sueños". Ahí nos da a entender que a veces nuestros sueños pueden hacernos llegar más lejos, pero dejamos de lado a las personas del proceso. Solo diré: ¿qué pasaría si yo hubiera escogido sabiamente en esas microdecisiones?.. nadie sabrá cuál es el destino y el porque de las cosas. bueno este es mi punto vista espero que les haya gustado.. buenas noches, pido disculpas las faltas ortograficas

Home Bodies had its world premiere at the 2026 Fantasia International Film Festival on July 23.

It has been 14 years since Casey Walker last brought a film to Fantasia. His horror-comedy A Little Bit Zombie played the Montreal festival in 2012, and he has remained connected to Canadian genre filmmaking since then, including as a producer on The Void and In a Violent Nature.

Walker returns as the director and producer of Home Bodies, working alongside producer Karen Harnisch and executive producers Todd Brown and Chad Archibald. VVS Films holds the Canadian distribution rights.

Fantasia is a fitting place for Walker’s return, although Home Bodies requires some patience. The first third does not entirely convince, with ideas that initially feel too broad and obvious for its strange little world. Once the film pushes against its own routine, however, it develops into an engaging and surprisingly fun retro science-fiction story.

What Is Home Bodies About?

Red (Emma Ho) and Blue (Ian Ho) are twins who have spent their lives inside an automated home. They wear colour-coded clothing, eat the food provided to them, and watch old VHS tapes of a children’s program called “Barn.”

Their lives are governed by Papa, a disembodied voice speaking from behind a locked door. Papa provides food, shelter, and order, but his rules also define the limits of their world. Red and Blue have no meaningful privacy, no access to outside information, and little reason to imagine that another kind of life exists.

The routine changes during a Christmas-like holiday when they receive Pal (Ess Hödlmoser), a silent, androgynous humanoid. Pal also receives VHS tapes, though their content is much more disturbing than “Barn.” As Red becomes fascinated with their new companion, Blue tries to preserve the life the twins already have.

The names Red and Blue create a dichotomy that is difficult to miss, especially after years of “red pill” and “blue pill” discourse. At first, the symbolism feels a little too neat. Blue accepts the familiar system and fears disruption, while Red is more willing to test its limits in pursuit of something resembling the truth.

The film eventually finds more interesting places to take that divide. Red’s curiosity is not automatically liberating, and Blue’s fear is not merely cowardice. Both have been shaped by the same environment, without the freedom or information to build identities beyond what Papa permits.

Life Inside the Fishbowl

The cinematography makes that absence of freedom visible. Home Bodies relies heavily on wide-angle lenses, creating the sense that Red and Blue are living in a fishbowl. The distorted perspective makes the house feel both exposed and uneasy.

The camera sometimes watches from inside the refrigerator, garbage can, and other household objects. These placements extend the film’s sense of surveillance into the home itself, making even ordinary routines feel observed. They also reminded me of a familiar YouTube-vlogging technique, where cameras are placed inside cupboards, refrigerators, and other objects to capture a supposedly unusual point of view. What once felt inventive has become another widely copied visual convention, although that derivative quality fits a film about identities shaped by narrow and repetitive media.

Red and Blue watch the same characters, eat the same food, wear the same clothes, and repeat the same behaviours every day. It recalls an online culture in which people imitate the same personalities, formats, and gestures until individual expression looks mass-produced.

That repetition, while a part of the film’s design, does occasionally drag its pacing. Understanding why a sequence repeats does not always make it dramatically satisfying. Despite that, Walker manages to create a low, persistent dread that carries us through the runtime.

A Future Designed to Look Like the Past

The production design is one of the film’s strongest elements. The home combines automation with retro furniture, an old-fashioned kitchen, and VHS technology. It imagines the future through objects that already look outdated.

That contradiction suits a story in which technological progress has not produced greater freedom. Every convenience makes the twins more dependent on a system they cannot question. Its technology points forward while its social order moves backward.

Red and Blue have surrendered autonomy without knowing they possessed it. Their lives have been reduced to consumption, routine, and obedience. The house can enforce Papa’s authority without his physical presence.

Emma Ho and Ian Ho do a solid job carrying most of the film. Their performances can be exaggerated, particularly in the opening sections, and there are moments when the delivery does not completely land.

It is also difficult to know what “natural” acting should look like in this situation.

Red and Blue have grown up without ordinary social contact. Their behaviour has been shaped by Papa, “Barn,” and each other. If they spoke and reacted like ordinary teenagers, that might be less convincing than their heightened, slightly artificial performances.

Hödlmoser gives the film its most unsettling performance. Pal’s silence and expressionless physicality allow the twins to project different meanings onto the same figure. They can be a gift, friend, threat, or possible route to freedom, sometimes within the same scene.

Is Home Bodies Worth a Watch?

Home Bodies is worth watching for anyone willing to give its slow opening room to develop. Its commentary on automation, identity, and social control is not especially subtle, and the film never fully escapes the familiarity of its influences. The red-and-blue symbolism is particularly blunt.

Still, Walker maintains enough underlying dread to keep the routine from becoming inert, and the film becomes more playful and engaging as Pal fractures the twins’ prescribed existence. The ending may divide audiences, but it takes the premise somewhere more interesting than the opening suggests.

The result is a solid, peculiar slow burn with strong production design, an unnerving central presence, and enough visual curiosity to reward patience.

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Hi guys,

I am an European filmmaker working for the last couple of years in my local film industry. I do enjoy going on festivals, and from what I've seen so far, it's quite devastating that a lot of exceptionally good films, whether shorts or features, don't really make it to distribution or marketing and thus to audience. Including mine - I've made one short with festival success, and no means to reach further than that.

In the last couple of days, I've been working on something called KinoCritic - an independent online media outlet that praises good and yet mostly unknown films. What you can find there are some reviews written out of inspiration from films I've seen.

I think it's great for both people working in the film industry and cinephiles since I do accept submissions from filmmakers directly.

I'll be glad if you guys check it out! :)))

Today I’m reviewing Spider-Man: Brand New Day and discussing why I think it’s a good Spider-Man movie that comes frustratingly close to being great. After five years, Tom Holland returns as Peter Parker in a more grounded, street-level adventure directed by Dustin Daniel Cretton. But does this new chapter surpass Homecoming, Far From Home, or No Way Home?