Train Dreams (2025): On the one hand, it’s easy to dismiss Train Dreams as an existentially elaborate version of The Notebook. Any movie commenting on the banality of existence, which at the same time manages to evoke the richness of beings and being is bound to come close to being either trite, or pedantic. There are a few moments of this in Clin Bentley’s movie, but as he did in Sing Sing, he finds the truth in the essence of his story and characters. In many ways, this has been compared to Days of Heaven (1978), as it touches not only on similar themes, but also on the familiar visuals. But what makes Train Dreams absolutely striking is that, in spite of the harshness of its tale, it is just an antidote to the present we live in. And that’s paradoxical, because it doesn’t eschew commentary on community, immigration and environmental exploitation, but it finds the poetry in bringing this commentary across. I guess I’m just a sucker for all this, a beautiful, introspective movie about the richness and ephemeral nature of life. 9
28 Years Later: Bone Temple (2026): I didn’t know what to expect of this rapid-fire follow up to last year’s 28YL. It’s still Alex Garland writing it, but Nia DaCosta replaces Danny Boyle at the helm. I felt good about revisiting the universe, but thought the first movie didn’t have any real highpoints. Well, this one starts off with a bang, a phenomenal opening fifteen minute salvo of spectacle and gore leaving almost no room to go but downhill. Yet, somehow, it doesn’t taper significantly, giving a sense that with a tighter finale, it could have been one for the history books. Jack O’Connell’s Sir Jimmy Crystal turns out to be as diabolical as he was set up to be and his band of following Jimmies – think Station Eleven but in a universe with no hope and meaning – are a blast to watch. So is Ralph Fiennes in a turn for the ages, as Dr. Ian Kelson becomes both an endearing Dr. Frankenstein and a spectacular Old Nick. Chi Lewis-Parry is also back as Samson, the appendage bearing Alpha zombie whose journey is familiar, but well executed, in the “is there any humanity left in these zombies” kind of way. I’ll leave the rest to you, but I think it’s safe to say Bone Temple is the best in the series since the first one, stacked with memorable moments and legendary music. 8
Wake Up Dead Man: A Knives Out Mystery (2025): Rian Johnson is just so consistently entertaining in his Knives Out movies that there isn’t much to complain about. They are the sleuthing equivalent of the Bourne series. You already know the recipe: a handful of well known actors come together to play a handful of potential criminals. In betwixt them is Daniel Craig’s Benoit Blanc and his Poirot-esque skills always lead to dramatic unravels. Josh O’Connor, Josh Brolin, Glenn Close and Jeremy Renner are just some of the actors rounding out the cast. As always, it is easy to fall for O’Connor’s charm, as he is poised to become a household name in mainstream American cinema in the years to come. What Wake Up Dead Man is concerned, it crosses politics and faith and greed in a manner that is conducive to a juicy plot. As with the previous iterations in the series, I had a really good time. 8
Sorry, Baby (2025): I’ve been wondering for some time what Eva Victor’s movie is about, ever since I saw its gorgeous feline-featuring poster. But there was a part of me that sensed the story it tells harbours darkness and so it is. Victor also plays the lead, Agnes, a young professor who lives a mostly solitary life, as she is visited by her closest friend from university. Their energy is one of an infectious friendship and their bond is evidently strong, even as it is challenged by their post-uni places in life. It quickly becomes evident that Agnes is processing some sort of trauma, which turns out to be (spoiler alert) of the sexual abuse kind. I found the portrayal to be sensitive and nuanced, highlighting the kind of dissonance one might feel when something terrible that “only happens to other people” suddenly happens to you. In a way, like Train Dreams, the movie feels the need to offer its struggling character “an out”, a moment suspended from the natural course of events allowing a path back to life and acceptance. It’s touching, but self-conscious. That said, Sorry, Baby sticks the landing and leaves room for hope. 8
Caliu: Nothing Else, What Else Can I Do? (2025): I saw this one a few months back, but failed to gather my thoughts about it at the time. On the one hand, Simona Constantin’s movie is about the travails of Gheorghe Anghel “Caliu” and his band, currently known as Taraf of Caliu, previously as Taraf of Haidouks. On the other, it is an important work of representation for the Roma community. Folk music is still popular throughout Romania but the “taraf”, a small ensemble of musicians, has been through its ups and downs. Caliu came to fame in communist Romania and has had some amazing collaborations over the years with well known musicians from around the world. A change of guard led to a sort of rebranding, with Caliu himself taking centre stage (which he pretty much did regardless). The movie, shot over several years, with Constantin and her team embedded alongside the musicians, looks at both the turmoil and the success. There are many seams of this story that could be pulled apart and analysed, but the (mostly) fly on the wall approach leaves them to the viewer’s imagination. The marginalized existence of the Romani people in Romanian society is ebbing to the fore more and more as topic, with self-representation marking an important cornerstone that’s still in the making. As an (almost) neutral perceiver, Constantin’s camera tells a bit of this story, but there’s a lot more to tell. And the one thing that’s missing here, is letting music do some of the talking. 7
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