The Last Movie Guy

Good Luck, Have Fun, Don’t Die (2025): The AI Apocalypse

If we mix Terminator 2 (1991) with Groundhog Day (1993) and 12 Monkeys (1995), the result would surely be something like Good Luck, Have Fun, Don’t Die (2025). Director Gore Verbinski borrows the Terminator’s mission, the time-loop repetition of Groundhog Day, and the fatalism of 12 Monkeys to craft a sharp satire with a voice of its own. The peculiarity suggested by the title feels like a warning to the viewer who dares to venture into this film. Verbinski opts for a discourse that unsettles, both because of the truths it exposes and the way it delivers them.

Splitsville (2025): When Romantic Comedy Turns Dark

Posted on 1 Day Ago by Hugo Pagan Soto

From its very first sequence, Splitsville makes it clear that it is a comedy willing to take risks without hesitation. The film ventures into the realm of adult comedies that push black humor to the extreme while probing themes that go well beyond the boundaries of the traditional romantic comedy. It quickly becomes evident that this is a movie that may struggle to connect with mainstream audiences, especially those drawn in by the promise of a lighthearted romantic entanglement suggested by its premise.

Marty Supreme (2025): Ambition as a Moral Abyss

Posted on 14 Days Ago by Hugo Pagan Soto

It only takes a few minutes to realize that Marty Mauser is not a trustworthy person. In the opening sequence of Marty Supreme (2025), we see our protagonist working in a shoe store. Through his interaction with a female customer, we discover a storyteller, a swindler, a smooth-talking hustler willing to do anything to sell a pair of shoes, but that is only the tip of the iceberg. This Marty lacks a moral compass; ambition is his only guide.

Eephus (2024): A Love Letter to Baseball

Posted on 20 Days Ago by Hugo Pagan Soto

In sports cinema, epic storytelling is a constant: the historic feat, the underdog’s triumph, the game-winning play in the final minute, narrative devices that form the backbone of films within this subgenre. In the case of Eephus (2024), directed by Carson Lund, the film takes a very different path. Lund opts for a story rooted in the everyday, without glory, yet full of humanity, crafting a baseball movie that is essentially a love letter to the game.

Sentimental Value (2025): Memory, Guilt, and Redemption

Posted on 23 Days Ago by Hugo Pagan Soto

With Sentimental Value (2025), director Joachim Trier portrays life from its most intimate perspective. The narrative unfolds as a chronology of multigenerational trauma, told from multiple viewpoints, with the family home at its center as both nucleus and metaphor. Within that centuries-old house lie roots, memories, attachment, pain, and a structural flaw that feels like a condemnation present since its creation, akin to an original sin.