Autor: Paul Erick

Reviving Shirley Chisholm’s historic 1972 candidacy for President of the United States is more than recounting a pioneering achievement — it is confronting the power structure that sought to silence her at every turn. “In Shirley”, John Ridley offers a focused view of this challenge but narrows the scope of the narrative by distancing it from the roots and struggles that shaped the indomitable strength of this singular woman, whose path called for greater depth.

Amid emotional ruins and silences that echo beyond death, “Good Grief” reveals the invisible cracks of an idealized relationship. In Dan Levy’s directorial debut, grief intertwines with bitter revelations, challenging any notion of absolute love. Absence becomes a distorted mirror, reflecting secrets, betrayals, and the daunting task of rebuilding one’s identity without any emotional compass.

Directed by Gina Prince-Bythewood, “The Old Guard” turns immortality into a dilemma burdened with memory, loss, and reinvention. Steering clear of the usual superhero clichés, the film balances action-packed scenes with deep reflections on time, solitude, and the weight of choices. Charlize Theron leads a group of ancient warriors in a battle that spans centuries, certainties, and wounds that time has never healed.

In “Love, Guaranteed”, Rachael Leigh Cook plays an idealistic lawyer who takes on an unlikely case: suing a dating website for failing to deliver on its promise of finding the perfect match. Starring alongside Damon Wayans Jr., the film revives the spirit of classic romantic comedies with charm, subtle humor, and the firm belief that love can blossom in the most unexpected places — even amid clauses, court hearings, and legal citations.

In a land consumed by war, where childhood is crushed by military ambitions and failed ideologies, “Beasts of No Nation” dives into the heart of brutality with unsettling rawness. Driven by relentless visuals, a poignant narration, and powerful performances, the film questions the boundaries of innocence when shaped by violence as an inevitable fate and the absence of choice as the rule.

Defying the worn-out formulas of crime comedy, “Trouble” disarms the viewer with a string of absurdities that never feel gratuitous. Under Jon Holmberg’s precise direction, the plot exposes — with bitter irony and meticulous strangeness — the fragility of institutions that stumble over themselves while struggling to maintain a façade of order, offering a disturbing invitation to distrust the mechanisms that govern everyday life.

A broad-daylight hostage situation in the heart of Amsterdam becomes the starting point for a tense and sharp-edged thriller. In “iHostage”, Bobby Boermans turns a real-life incident into a cinematic experience that challenges viewers to confront the dark contours of urban instability and institutional collapse — without falling back on easy formulas or superficial moralizing.

Amid precisely timed explosions and chases that feel orchestrated by a mad maestro, “6 Underground” discards any hint of subtlety to deliver an unrestrained spectacle of action. With Michael Bay at the helm, the film doesn’t aim to persuade through logic, but through visual impact, turning chaos into aesthetics and absurdity into its dominant language.