The Last Movie Guy

Lee Cronin’s The Mummy (2026)

When a film needs a last name, things usually aren’t pointing in the right direction. Even sticking to the main sagas, mummy stories have spawned more than ten films. If we count remakes, spin-offs, and other adaptations, the number easily goes past twenty. So, it’s no surprise that we now get Lee Cronin’s The Mummy (2026), because otherwise there’d be no way to tell which monster we’re dealing with. Cronin delivers a more graphic story, exploring the mummy legend from a different angle and leaning into a harsher kind of horror with touches of gore.

Point Blank (1967): Anatomy of a Fragmented Revenge

Posted on 3 Days Ago by Hugo Pagan Soto

The images seem disconnected, as if we are trapped inside a nightmare that moves erratically. In Point Blank, John Boorman needs only a single sequence to define the absolute tone of his film. We are inside Walker’s mind, impeccably portrayed by Lee Marvin, where memories blend with the present with a force that distorts reality. Walker’s journey for retribution is dressed in the colors of neo-noir, delivering a powerful psychological thriller.

The President’s Cake (2025): Childhood Under Dictatorship

Posted on 6 Days Ago by Hugo Pagan Soto

There are moments when cinema captures life in such a pristine way that fiction strikes us as if it were reality. The President’s Cake (2025) by Hasan Hadi is the perfect example. The deeper we go into its narrative, the more we realize we are not watching a traditional work of fiction. Everyday life is presented so intimately that we struggle to believe we are witnessing a carefully constructed mise-en-scène.

Faces of Death (2026): A Disturbing Mirror of Our Time

Posted on 11 Days Ago by Hugo Pagan Soto

The first rule of content creation: give the audience what they want.

Faces of Death (2026) is an uncomfortable but necessary film. Daniel Goldhaber confronts us with the idea that nothing is more disturbing than the content we consume daily on social media. No horror imagined by fiction comes close to the micro-videos that flow through our devices, disguised as harmless by the screen’s illusion of distance. Goldhaber accuses us of not being innocent spectators; we are guilty voyeurs.

Outcome (2026): When Criticism Falls Flat

Posted on 12 Days Ago by Hugo Pagan Soto

Hollywood criticizing itself is something we’ve seen many times in cinema. In that sense, Outcome (2026) offers nothing new. Jonah Hill writes and directs a comedy that satirizes the industry by exposing its modern problems and the methods executives use for crisis management. The idea serves as an interesting starting point. Still, its execution is bland, and the film delivers only isolated moments that fail to sustain either the story or the message the director aims to convey.