Movie Reviews | The Last Movie Guy

The Drama (2026): Love is a Nightmare

There are many ways to break the traditional narrative structure of the romantic comedy, and The Drama, by Norwegian filmmaker Kristoffer Borgli, uses all of them. In a way, I should have been prepared for an unusual story since I was already familiar with Borgli’s previous work, Dream Scenario, where he puts Nicolas Cage through absolute chaos. Now it is Zendaya and Robert Pattinson’s turn to experience another nightmare built around a fractured love story.

Michael (2026): The Impossible Portrait of MJ

Posted on May 7 by Hugo Pagan Soto

You can easily argue that Michael Jackson was, is, and always will be the biggest star in the world of music. You would have more than enough reasons to defend that position. His legend is so monumental that not even the most disturbing scandals away from the stage could bring it down. Approaching a figure of this magnitude in a fictional biographical film is no easy task. Michael (2026), directed by Antoine Fuqua, ventures into those waters. It attempts to put the genie back in the bottle, to humanize a demigod, to touch the myth and make it come alive once again on screen.

Bringing Up Baby (1938): A Classic That Shaped Cinema

Posted on May 6 by Hugo Pagan Soto

There are films so far ahead of their time that only history can grant them the recognition they truly deserve. Bringing Up Baby by Howard Hawks is the perfect example. A box office failure, dismissed by critics and ignored by the Academy, its impact was immediate and severe. Hawks even lost his job at RKO. This was meant to be the first of a six-film deal with the studio, but the financial disaster led to the contract being canceled. For Katharine Hepburn, the situation also became difficult, forcing her to buy out her own contract to leave RKO.

Scarlet Girls (2026): The Power of Uncomfortable Truths

Posted on April 29 by Hugo Pagan Soto

The pen is mightier than the sword, as the immortal phrase by Cardinal Richelieu in Edward Bulwer-Lytton’s play suggests. The same applies to cinema; the power of ideas within cinematic storytelling has a more lasting impact than most mass media. Scarlet Girls (2026) by Paula Cury Melo knows how to wield this weapon to take a firm stance on a polarizing issue. One may agree or disagree with the film’s perspective, but its construction of discourse is powerful and addresses a sensitive topic with rigor and depth.

Lee Cronin’s The Mummy (2026)

Posted on April 24 by Hugo Pagan Soto

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.