reviews | The Last Movie Guy

Mortal Kombat II (2026): Built for the fans

Mortal Kombat is one of the most famous video games in history. Its impact has transcended consoles, maintaining a constant presence in popular culture since Midway Games released the first version in 1992. Its graphic violence and the famous fatalities were among the reasons why, years later, the age-rating system for video games in North America was created. The legacy of Mortal Kombat has expanded into a universe that includes films, series, cartoons, and promotional merchandise. In 1995, we saw the first cinematic adaptation, followed by a franchise reboot in 2021. Now we have Mortal Kombat II, which is a direct sequel to the 2021 version.

The Drama (2026): Love is a Nightmare

Posted on 12 Days Ago by Hugo Pagan Soto

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.

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

Posted on 17 Days Ago 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.

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

Posted on April 15 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 April 14 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.