Regina King has been in a lot of movies and TV shows over the years. If anything it’s almost surprising it took her this long to move to directing. But after One Night in Miami it’s clear Regina King can excel at anything. One Night in Miami is a powerful film about one night with Sam Cooke, Malcolm X, Cassius Clay and Jim Brown. Taking place just before and immediately after Clay’s fight with Sonny Liston it sees the four men, all friends (mostly), come to terms with what it means to be black in a society that wants to mold them in its own image.
The four characters create a kind of spectrum of beliefs with Malcolm X on one end and Sam Cooke on the other. It’s the kind of filmmaking Spike Lee used to make in his prime. This could have easily been a bomb. When your main characters are all already larger than life figures it would be simple to let them devolve into caricature. But that never happens. There are moments when you honestly believe you’re watching these legends on-screen.
More to the point they all feel like real people that have lived real lives. Denzel Washington did an amazing job of portraying Malcolm X in Spike Lee’s film over 30 years ago but it always felt like Denzel on the screen. Kingsley Ben-Adir puts so much heart and soul into his version of Malcolm X, from his walk to the way he talks, that you can see the weight of the world on his shoulders. The same can be said for all the characters really, though they should it differently.
This film goes a long way in making legends feel human. That’s important when dealing with big issues like race and society. In the age of streaming, very few films are worth watching multiple times. One Night in Miami will stand the test of time as a classic.
TW: Discussions of Sexual Assault.
I did myself a favour and watched the cult classic Jennifer’s Body (which I highly recommend you do, too). Watching this clever, funny, thought-provoking movie in 2025, it is hard to believe that it was a major flop when it was released in 2009.
‘00s nostalgia spurts throughout the film. From the frosted eyeshadow to the digital cameras, it’s enough to bring a tear to a millennial’s eye. However, not everything about the film is dated. In fact Jennifer’s Body is hailed today as a modern feminist classic.
This is particularly intriguing when remembering how badly the film bombed in 2009. Looking at Rotten Tomatoes scores, Jennifer’s Body has a rather pitiful 46% critic score and an even worse 36% audience score. Was this comedy-horror simply ahead of its time? Many believe so.
In pre-#MeToo 2009, Jennifer’s Body was marketed as a fun, sexy romp aimed at straight men. Sex symbol Megan Fox in the starring role as Jennifer, fresh from her scantily-clad Transformers fame, audience thought they knew what to expect from the actress. And Fox is wrist-achingly beautiful in the film; there is no doubt about that, but many complained she remained disappointingly fully clothed. There was also the promised same-sex kiss between Fox and Amanda Seyfrie,d which was framed more as an uncomfortable, confused, and tragic scene between two childhood friends rather than sexy.
In short, Jennifer’s Body was marketed for the male gaze, even with a female writer (Diablo Cody) and director (Karyn Kusama) instead of what it is, which was a commentary about the treatment of female bodies (the clue was in the title, really).
Many have theorised that the film is essentially a rape-revenge fantasy. The premise is (spoilers!) that Jennifer is kidnapped by an indie boyband after a gig. The group’s plan is to sacrifice young Jennifer to Satan in exchange for fame (obviously). Their plan goes awry when Jennifer lies about being a virgin, when she is not in fact even a “backdoor virgin”. This little lie causes Jennifer to turn into a creature-monster-succubus-type thing. This is a clear commentary on how women are only seen as useful or worthy if their virginity is intact. Also, how the music industry sacrifices young women to the altar of male lust.
Later that night, Jennifer appears at her childhood friend Needy’s (Amanda Seyfried) home drenched in blood and covered in bruises, with a vacant stare. After this, Jennifer begins to indiscriminately kill young men from her school.
I theorise that the film is cleverly inverting the expectation of young women being targeted. Jennifer is indiscriminate in her choosing of victims. A school jock, a sensitive emo guy, and a foreign exchange student walking home alone at night. She lures them to secluded areas with the promise of sex and tears them apart until they look like “lasagne with teeth”.
With Jennifer’s murder spree terrifying the small town, its young men are warned not to go anywhere alone. Johnny Simmon’s character, Chip, is even given mace by his mother to protect him on prom night.
Jennifer’s Body cleverly inverts many of the horror movie tropes. For example, the ‘nerdy girl’, Needy is not a virgin either. Needy and her boyfriend Chip actually have regular, no-consequence sex, which is unusual for a female character in a horror movie.
This cult classic may have died on its initial release but it was resurrected by the dashboards of Tumblr and feminist blogs. Seyfried even teased the possibility of a sequel soon. Suffice to say there is definitely more to Jennifer’s Body than meets the eye!
Indian cinema has long been known for its ability to weave myth, culture, and grandeur into powerful storytelling. The latest addition to this tradition, Hanuman, directed by Prasanth Varma, is an ambitious retelling of one of India’s most beloved mythological characters. A cinematic marvel, Hanuman is a bold attempt to blend ancient epic with modern storytelling techniques, creating an experience that resonates with audiences of all ages.
At its core, Hanuman reimagines the tale of Lord Hanuman, the divine devotee of Lord Rama, known for his strength, loyalty, and courage. The movie isn’t just a retelling of traditional episodes from the Ramayana; it infuses these timeless stories with fresh perspectives, exploring themes of duty, faith, and the triumph of good over evil. While the script takes creative liberties, it stays rooted in the cultural and spiritual essence of Hanuman, making it both an engaging narrative and a respectful homage.
One of the standout features of Hanuman is its visual grandeur. The VFX team has outdone themselves, creating breathtaking battle sequences, celestial landscapes, and larger-than-life depictions of Hanuman’s legendary feats. The use of cutting-edge technology elevates the storytelling, offering audiences a visual feast that rivals global fantasy epics. The cinematography, led by seasoned artist Dasaradhi Sivendra, captures the mythological tone beautifully, blending vibrant palettes with the dark hues of conflict and sacrifice.
Teja Sajja, in the titular role, delivers a performance that is both commanding and heartfelt. His portrayal of Hanuman captures the character’s divine strength and endearing humility, making him an ideal hero. Supporting performances by Amritha Aiyer, Varalaxmi Sarathkumar, and Vinay Rai add depth to the narrative, bringing a spectrum of emotions to the screen.
Director Prasanth Varma deserves applause for his vision and execution. Tackling a subject as revered as Hanuman could have easily resulted in a cautious or overindulgent approach. Instead, Varma strikes a balance, creating a story that is both reverent and relatable. The screenplay moves at a brisk pace, though some moments, particularly the expository sequences, could have benefited from tighter editing.
The film’s music, composed by Gowrahari, Anudeep Dev, and Krishna Saurabh, is an emotional anchor, blending traditional Indian sounds with a modern orchestral touch. The background score heightens the drama and spirituality, particularly during pivotal moments like the crossing of the ocean and the climactic battle sequences.
Hanuman is a cinematic achievement that successfully reimagines a beloved figure for modern audiences. While it occasionally stumbles in pacing and exposition, these are minor flaws in an otherwise spectacular production. For fans of mythology, fantasy, and visually stunning cinema, Hanuman is a must-watch. It is a testament to Indian cinema’s ability to merge tradition and innovation, reminding us why stories of gods and heroes continue to inspire across generations.
Rating: 4.5/5
This film not only celebrates the timeless tale of Hanuman but also sets a new benchmark for mythological storytelling in Indian cinema.
Genre: Action, Adventure, Drama
Duration: 179 minutes
Director: Om Raut
Writer: Om Raut
Stars: Prabhas, Saif Ali Khan, Kriti Sanon, Sunny Singh
Rating: ★★☆☆☆ (2/5)
Netflix’s Adipurush aims to reimagine the Indian epic Ramayana in a modern cinematic style, delivering a tale of righteousness, devotion, and the eternal conflict between good and evil. Helmed by Om Raut, the film follows Raghava (Prabhas) as he embarks on a journey to rescue his wife Janaki (Kriti Sanon) from the clutches of the demon king Lankesh (Saif Ali Khan). With a narrative that spans vast landscapes and incorporates mythological grandeur, the film had immense potential but falters in its execution.
While the premise remains faithful to its legendary source, the execution feels lackluster. The screenplay struggles to balance a modern audience’s expectations with the gravitas of its traditional essence. The dialogues, often stilted, fail to evoke the emotional depth and poetic resonance required for a story of such magnitude.
Prabhas, portraying Raghava, delivers a restrained performance that lacks the heroic intensity one expects from the character. Kriti Sanon as Janaki does her best with limited material, bringing grace to her role, while Saif Ali Khan’s over-the-top portrayal of Lankesh is polarizing, leaning more into theatricality than menace. The supporting cast, including Sunny Singh, adds little to elevate the film.
One of the film’s most significant drawbacks is its visual effects. Despite the high budget, the CGI appears subpar, often detracting from the immersive experience. The underwhelming special effects undermine key battle sequences and fantastical elements, which should have been highlights of the film.
On the brighter side, the musical score by Ajay-Atul manages to shine, offering moments of grandeur and emotional heft. The film’s costume design and some set pieces are visually appealing, hinting at what could have been with more polished execution.
Adipurush is a well-intentioned attempt to bring the epic Ramayana to life for a global audience, but it stumbles in critical areas, including visual effects, pacing, and character depth. While it offers a few moments of spectacle and an engaging musical score, the overall experience feels hollow and unworthy of its mythological roots. Fans of the epic may find some moments of nostalgia, but casual viewers are likely to be left disappointed.
Adipurush is a missed opportunity to create a definitive modern retelling of an Indian classic.
