film | The Last Movie Guy

Send Help (2026): Horror Meets Corporate Ambition

Since 2009, when he made Drag Me to Hell, Sam Raimi had not stepped so firmly back into the territory of horror. With Send Help (2026), he returns to his roots and crafts a film that uses terror as a vehicle to deliver a harsh critique of the inhuman ferocity of the modern corporate world. As is customary with Raimi, the story is built from very simple premises that require little exposition for the audience to enter the world the protagonists must inhabit.

Perfect Days (2023): The Poetry of Ordinary Life

Posted on February 27 by Hugo Pagan Soto

Wim Wenders has a special gift for capturing the human soul in images. Perfect Days (2023) is a visual poem that confirms the German director’s unique ability to explore the depths of the human spirit. From the ordinary, he constructs a story that transcends the triviality of endless repetitive days. He paints pauses and silences with eloquence, creating a mirror in which we see our own reflection and are compelled to reflect deeply.

Crime 101 (2026): An Old School Caper

Posted on February 24 by Hugo Pagan Soto

It is easy for audiences to connect with films built around crime stories. That binary contrast between good and evil, embodied by police officers and criminals respectively, places the viewer in a comfort zone. The brain only has to choose between two options and let our ideas and assumptions do the rest. In the case of Crime 101 (2026), the film adheres closely to the established rules of the crime-thriller genre. We are presented with the classic cops-versus-robbers story.

Safety Last! (1923): An Eternal Classic

Posted on February 20 by Hugo Pagan Soto

Even if you are not a cinema lover, you have surely seen at some point in your life the image of a man hanging from a clock high up on a building. That man is Harold Lloyd, and the image comes from the film Safety Last! (1923). This is one of the most important films in cinema history, one that forever changed the rules of the game. Alongside Buster Keaton and Charlie Chaplin, Lloyd’s figure is one of the most representative of Hollywood’s silent era.

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

Posted on February 18 by Hugo Pagan Soto

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.