I adore how Kermode balances highbrow analysis with populist charm. His take on 'Get Out' was masterful—linking Peele’s horror to racial satire without spoon-feeding the audience. And who could forget his joyous ramble about 'Inception,’ where he geeked out over the spinning top ending? Even when I disagree (like his lukewarm take on 'Parasite'), his arguments are so well-structured that I respect them. His reviews are like mini-film essays, packed with history, trivia, and that signature growly enthusiasm.
Mark Kermode's film reviews are legendary for their wit, depth, and occasional rants—like his infamous takedown of 'Sex and the City 2.' One of my favorites is his review of 'The Exorcist,' where he dives into its cultural impact with such passion that you can practically hear his voice crackling with excitement. He doesn’t just critique; he contextualizes, tying the film’s horror to its religious themes and Friedkin’s direction.
Another gem is his analysis of 'Mad Max: Fury Road,' where he champions its practical effects and feminist undertones. Kermode’s love for cinema shines when he gushes about the choreography of chaos in that film. His reviews aren’t just about ratings; they’re love letters (or hate mail) to the art form.
Kermode’s review of 'The Babadook' stuck with me because he treated it as more than a horror flick—he unpacked its metaphor for grief with a sensitivity that’s rare in critics. He’s also hilarious when he’s annoyed, like his rant about the shaky-cam in 'Transformers,' which he compared to 'watching a blender fight a washing machine.'
What makes his reviews stand out is how personal they feel. When he praised 'Paddington 2' as 'a perfect film,' it wasn’t hyperbole; he genuinely moved audiences to see it. His blend of academic insight and cheeky humor makes even his negative reviews entertaining.
2026-01-20 11:12:00
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Framed Before the First Cut
Montsea123
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I was an emergency physician.
After finishing a night shift, I had just walked out of the hospital entrance when a colleague from the hospital called me.
"Dr. Doherty, hurry back. A critically injured patient was just brought in. The chief wants you to return immediately and help with the resuscitation."
I turned around without thinking.
But then a stream of floating comments suddenly appeared in front of my eyes.
[Do not enter the operating room! Do not take part in this resuscitation!]
[The patient is already dead. If you go in, you will be taking the fall for the hospital director's daughter!]
[This patient's family is powerful. You will not only be sentenced to death, your parents will also be forced to jump to their deaths as well!]
My steps stopped cold.
A few seconds later, my heart tightened.
I decided to believe the comments.
I would gamble on it.
My eyes swept quickly across the ground.
I immediately locked onto an uncovered deep shaft on the road.
I gritted my teeth, shut my eyes, and threw myself straight into the opening.
I was the kind of girl everyone called hopelessly lovestruck.
That day was no different from any other. I clung to my boyfriend’s arm, leaned in close, and shamelessly asked for a kiss like I always did.
However, right before my lips touched his, a line of glowing comments drifted across my vision. They floated in the air like a livestream chat.
[Can this side character wake up already? Can she not see the male lead avoided her the entire time? He hated clingy relationships like this.]
[The kind of person who really suits him is the female lead. Someone gentle, patient, and understanding.]
[Once the real female lead shows up, this annoying clingy girlfriend is definitely getting dumped.]
My body froze.
I slowly loosened my arms from around his neck.
In the next second, he suddenly looked up at me.
“Why’d you stop?”
Jesse is an indie-band producer, a hedonistic ass, and a cynic.
He doesn't believe in the idea of love and romance. For him it was all about clinical sex, small talks over cigarettes, and detached one-night stands. Everything was less about connection and more about hooking-up.
And then he meets K.
The beautiful, mysterious and dangerously alluring K. There was just something about K that pulled him to her.
Challenged and charmed, Jesse goes on to pursue her. They get into an unlikely relationship, that pushes both their emotional, psychological and physical boundaries.
**********************************************
'K.' tells us the story of a young adult in New York, who use dating apps to meet others for fun with no strings attached. It will soon develop to another direction, as the protagonist evolves - both psychologically and emotionally.
Readers said. 'Very funny, I needed cold showers! I dropped my tablet in the bath! Totally original. Outrageous. The goddesses thread is totally original.'
Goddesses - is this what 50 Shades should have been about?
Connie Grimshaw, is now a successful businesswoman in an international consultancy. She reached these dizzy heights by believing her mother - work hard and reject emotional needs. On a business trip, the dam bursts and her libido refuses to be silenced. Her PA (Dee) helps her reconcile her lascivious feelings by using a series of parables from ancient goddesses. This works until the goddesses land her in hilarious, embarrassing and sometimes, dangerous situations as she develops the vamp in herself.
But there are forces at work, which try to mismanage her feelings. Can she defeat the bad boys? Firstly, she has to deal with Greg, the evil misogynist.
Netflix has this incredible mix of films that critics just can't stop raving about, and I've binged enough of them to share my faves. 'The Power of the Dog' absolutely wrecked me—Jane Campion's direction is so precise, and Benedict Cumberbatch’s performance? Chilling. Then there’s 'Roma,' Alfonso Cuarón’s masterpiece that feels like a love letter to his childhood. The black-and-white cinematography alone is worth watching.
On the lighter side, 'The Irishman' might be long, but Scorsese’s mob epic is packed with career-best performances from De Niro and Pacino. And don’t sleep on 'Marriage Story'—it’s raw, real, and Adam Driver’s emotional breakdown scene lives in my head rent-free. For something globally acclaimed, 'Parasite' (though originally a theatrical release) is now on Netflix and remains a flawless blend of suspense and social commentary. I’m still unpacking that one.
The latest issue of 'The Movie Film Quarterly' is packed with some seriously juicy reviews that got me buzzing! One standout was their deep dive into 'Dune: Part Two'—they praised Villeneuve’s world-building but had spicy takes on the pacing, calling it 'a marathon of grandeur that sometimes forgets to breathe.' They also spotlighted 'The Zone of Interest,' dissecting its chilling sound design like it was a horror film (which, honestly, it kinda is).
Another gem was their review of 'Poor Things,' which they described as 'a Frankenstein-meets-Wes Anderson fever dream,' lauding Emma Stone’s unhinged performance. They even threw in a niche pick—'Io Capitano,' a migrant drama they called 'visually poetic but emotionally brutal.' The tone was analytical but never dry, like chatting with a film buff friend who’s just really excited.