In the house of God, a man who does not believe in God unravels the mystery of a priest’s death. During Good Friday services, a priest was stabbed to death in a small room where no one was supposed to be able to enter. There was only one entrance and exit. There were witnesses. And—logically speaking—the crime was impossible. Benoît Blanc, the famous detective with flowing white hair, steps into the darkness of the Gothic cathedral. His partner is a young priest struggling with a crisis of faith. Only these two “heretics” can reach the truth hidden within this locked room. The final installment of the trilogy was crafted by director Rian Johnson. This is not merely a mystery, but a profound and beautiful exploration of human confession and forgiveness.

Leonardo DiCaprio takes on the role of a bumbling, troubled father who rises to the occasion for his daughter. Ideology, lineage, and passwords become irrelevant as DiCaprio commits fully to this unconventional love story. Sean Penn contributes a powerful villainous performance, intensifying the film's conflict. Over two decades in development, Paul Thomas Anderson revitalizes 1950s VistaVision technology, achieving an ambitious work that captures the California landscape with grainy, textured visuals. Johnny Greenwood’s avant-garde score heightens tension, complemented by a riveting car chase that draws viewers in. Anderson’s tenth film is both thoroughly entertaining and visually striking, presenting a memorable father-daughter narrative.

The film made over 160 million yen in its first five days and went on to draw 470,000 viewers, earning more than 700 million yen in total. For an indie animated movie to grow from limited screenings to a nationwide release and reach this level of success is extremely rare. This is easily one of the biggest commercial hits in recent years for a director coming from indie animation. While some fans of the original manga had mixed feelings about the bold changes, the film was widely praised for its impressive craftsmanship, setting the stage for its cultural impact.

Their voices are their weapons. Tonight, once again, three K-pop girls battle demons. Did you know that the idols who shine on stage are hunting demons behind the scenes? This animated film dropped on Netflix in June 2025. Within weeks, it shot into the Top 10 in 93 countries and broke the platform’s all-time viewership record. After winning major awards like the Golden Globes and the Annie Awards, it’s worth exploring what makes the film so appealing.

Guillermo del Toro's dream project, which he has worked on for over 30 years, finally arrives as the Netflix Original Horror Gothic Drama ‘Frankenstein’. The film stands out for its stunning Baroque-inspired art direction and costumes. Jacob Elordi gives a powerful performance as the monster. The story deepens through its two-part structure. This review examines how the film explores “the emotion beyond rage.”

The new installment in the horror franchise, Final Dead Blood, returns after 14 years and brilliantly delivers on series fans' expectations. While the series appeared to have concluded with the previous film, Final Dead Bridge, this chapter makes an unexpected comeback based on a concept by Jon Watts, director of the Spider-Man trilogy. Notably, the film's most distinctive feature is its innovative concept: “three generations battling death.” Where past entries depicted young survivors of isolated accidents succumbing one after another, this film shifts the scale, presenting the franchise's most expansive story to date. It follows an entire family line, starting with the 1968 tragedy, trapped in a curse of death. Importantly, the grotesque death scenes are still present—more extreme than ever—and the visual quality, thanks to Warner Bros. and New Line Cinema's generous budget and the perfect balance of CGI and practical effects, overwhelms the viewer.

The live-action version of Kengo Hanazawa's manga “Under Ninja” tells the story of a secret ninja organization in modern Japan and the rebels who break away from it. Directed by Yuichi Fukuda, the film stands out for its strong action scenes and the cast's passionate performances. However, Fukuda's trademark comedy style clashes with the manga's original tone, disrupting the film's overall balance and introducing challenges that influence how the story unfolds.

After watching ‘Avatar: Fire and Ash,’ I felt like I was seeing a repeat of the previous film. The movie is long—over three hours—and most of the new ideas show up early on. The rest felt like I’d seen it all before.

Superman is the first film in the new DC Universe, marking a big shift from the old DC Extended Universe. Director James Gunn offers a bold new take, blending his talent for character-building—seen in Guardians of the Galaxy and The Suicide Squad—with sharp observations about today's world. The film is fast-paced, matching the visual style popular on platforms like TikTok. Its message, “kindness is the new punk,” challenges viewers worn out by superhero movies to consider: What truly defines Superman?

Director Shigeyasu Yaguchi, known for youth comedies like “Water Boys,” surprises fans with the horror film “Dollhouse.” Attracting Masami Nagasawa with its unique script, the film blends genuine scares with Yaguchi’s trademark humor. The 110-minute runtime delivers a sharp mix of eerie Japanese doll imagery and compelling mystery, earning the Grand Prix at the 45th Porto International Film Festival.