25 July 2025.
SORRY, BABY **
Coming out of Sundance with an array of enthusiastic reviews, this film reminded me of the far better 1994 work “Oleanna”, based on the play by the great playwright David Mamet. Directed by Mamet himself, it was a brilliant precursor to the hazards of the MeToo movement, as it closed in on a showdown between a college professor and his female student. Try to find that one.
This film, written and directed by, and also starring Eva Victor in the lead role, is unfortunately neither as well-written nor as convincing as Mamet’s study of a professor/student connection, but this time in reverse. It’s also the nonbinary Victor’s first feature film and is semi-autobiographical.
Do intelligent university students or professors actually have such banal conversations? Cannot a woman simply say no, and walk out of an uncomfortable situation? Must she stay hours until it comes to an unforced, but obvious fruition? Thank goodness we only see the house from outside, going from daylight to dusk, then dark. It’s intriguing and probably the best part of the film. But the entire cinematography is terribly bland and the acting so obvious.
Sorry, I’m not convinced of the tragedy of the situation, just the dullness of it. But apparently many bow down to an indie film showing the trauma of another poor damsel devastated by an experience she could have avoided. By saying NO.
Ah, you’re now probably intrigued or indignant. And may want to see the film. Let me know what you think.
THE FANTASTIC FOUR: FIRST STEPS ***
A Marvel-ous Return: The Fantastic Four Soar in Style!
The Fantastic Four are back—and better than ever! This bold reboot is a blend of heart, humour, and high-stakes heroism that breathes new life into Marvel’s first family. From the visuals to the refreshingly grounded character dynamics, every moment feels like a love letter to longtime fans and a fine introduction for new ones.
The chemistry among the cast is electric, capturing both the camaraderie and complexity that make the team so beloved. Reed (Pedro Pascal) is brilliant yet vulnerable, Sue (Vanessa Kirby) is strong and sharp-witted, Johnny brings fire—literally and figuratively—and Ben’s humanity shines through the Thing’s rocky exterior.
A standout addition is the Silver Surfer, who not only steals scenes with her cosmic power and ethereal presence but shreds across galaxies with surfing skills that are as stylish as they are awe-inspiring. She’s sleek, mysterious and effortlessly cool.
What’s especially clever is the film’s embrace of Disneyfication—but in the best way. Gone is the excess fluff of past iterations; instead, the story is set against a stylized 1950s backdrop that celebrates a time when people were thoughtful, respectful and filled with a warm glow of post-war optimism. It adds depth, charm and a nostalgic glow that makes this reboot feel both fresh and timeless.
Packed with epic action, witty dialogue and a surprising emotional core, Fantastic Four isn’t just a superhero blockbuster—it’s a cosmic celebration of hope, heart, and heroism.
(Reviewed by Dirk)
I am not in full agreement with Dirk. I would give the film ** stars. For me, its visuals (in IMAX 3D) were too subdued and lacklustre, and the comparison idea of sacrificing one little baby to the loss of the whole world was simply preposterous. However, we wouldn’t then have the lucrative next installment….
But then, I’m not a Marvel enthusiast. (Neptune)
Superb **** Very Good *** Good ** Mediocre * Miserable – no stars
By Neptune
Neptune Ravar Ingwersen reviews film extensively for publications in Switzerland. She views 4 to 8 films a week and her aim is to sort the wheat from the chaff for readers.
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