Author: Josiah Teal

The Balconettes: Review. By Josiah Teal.

The Balconettes pays homage to Rear Window quickly. The camera pans across a beautiful French apartment complex, focusing on he lives of the tenants living out among the many balconies overlooking the street below. Noemie Merlant’s promises of Hitchcockean thrills go beyond homage as The Balconettes gives way to a voyeursistic horror comedy, oozing with style. Centering around three lively and nosy friends, Merlant’s epic of apartment life and friendship takes a turn for the grim as some neighbors are more horrifying than they seem.

The premise is simple on paper: three friends navigating love, sex, and spying on neighbors in their French apartment. Sounds like the premise for a Romcom. Yet the Merlant treats audiences to a quirky, dark, and thrilling story of relationships, sex, and violence. The film opens with Denise (Naege Beausson-Diagne) allegedly murdering her husband. Denise’s husband’s slaying is just the beginning of the dark laughs to follow in the first half of The Balconettes. 

Denise tells of her smothering her husband to Nicole (Sanda Codreanu), one of the three “Baclonnettes.” Nicole, a struggling writer looking for a muse, Ruby (Souheila Yacoub), a zany camgirl, and Eilse (director Noemie Merlant), a TV actor with a major film opportunity. As Nicole lusts after a handsome neighbor and listens to Denise’s homicidal hilarity, the story of these friends takes a sudden turn when Elise damages the handsome neighbor’s car.

Our handsome neighbor turns out to be Magnani (Lucas Bravo), an erotic photographer always on the prowl for women to photograph. He seems charming enough, disarming even, but when the girls join him for drinks, terror unfolds. The night of partying over, memories fractured, and Ruby enters her apartment covered in blood. But whose blood is Ruby wearing? And what sinister acts are yet to come?

Each of the three Baclonnettes give stellar performances. The story is a total ensemble piece relying on the seamless chemistry of each woman. Yacoub brings humor and horror to Ruby, balancing the fun-loving, sexual openness with brutal shock in the second half. Yacoub’s transition from playful sexuality to catatonic numbness to uncovering deep trauma drives the key emotional beats of the narrative, allowing for the realness of the wild to take root in the hearts of the audience. Merlant and Codreanu have excellent chemistry, delivering a natural rhythm to the quirky, witty dialogue on display throughout The Balconettes.

Macabre laughs, gender commentary, and sex positivity flow in every scene as Merlant weaves a variety of influences into her feminist feature. From premise to clear homage, Hitchcock influences add suspense and style to The Balconettes, elevating already impressive cinematography. Tarantino influences are present, but merge so seamlessly into the context of French cinema that it’s difficult to tell if stylish dialogue comes straight from Tarantino’s inspiration or from those who inspired Tarantino. Charlie Kaufman and Spike Jonze’s influences play a massive part in the second half as the story turns towards daunting emotions and questions of narrative realities. Yet every influence from classic Hollywood horror to Gen X indie icons is recontextualized through the modern voice of Noemie Merlant.

Second-half twists can be challenging to pull off. It takes a lot of trust from the audience, especially the twists beginning in the 2nd and 3rd acts of The Balconettes. Merlant has crafted a tale of two movies, but the first half of the film is vital to heavy emotions played out in the 3rd act. Some elements in the 3rd act may pull some viewers out of the story; things, at times, get weird for weird’s sake. But trust is key with any twist, and trust is massive with The Balconettes.

However, trusting Noemie Merlant’s vision leads to a cathartic climax to a story much deeper than dark laughs and blood-stained apartments. At its core, The Balconettes is a relevant film addressing relationships, the creative process, female empowerment, an assault on predatory behavior, and a feminist anthem all rolled into a haunting, thrilling, funny, and engaging cinematic experience.  

I Know What You Did Last Summer: The BRWC Review.

Reboots are tricky, almost as tricky as a legacy sequel. But attempting them both is beyond challenging. The horror genre is no stranger to many reboots and legacy sequels, and the slasher sub-genre even more so. 2025’s I Know What You Did Last Summer seeks to bring back the hook-wielding carnage of 1997 as a new group of good-looking 20-somethings is getting stalked for their sins. Director Jennifer Kaytin Robinson of Do Revenge helms the film, hoping to bring a fresh take to a horror audience basking in a renaissance of terror, as the release of films like Thanksgiving, X, and the revival of Scream signaled a glorious return of the slashers. But how does the 2025 version of Southport hold up to the original? And where does I Know What You Did Last Summer fit into the growing number of legacy sequels? 

The setup is familiar and perfect. Danica (Madelyn Cline), Ava (Chase Sui Wonders), Milo (Jonah Hauer-King), Teddy (Tyrig Withers), and their old friend Stevie (Sarah Pidgeon) are out celebrating Danica & Teddy’s engagement and taking in the fireworks. Just as in 1997, a horrible accident occurs, a man is dead, and now the friends must decide: come clean or cover it up. The coverup is seamless, no one could ever know, they all swear never to tell, and they all return to their everyday lives. One year later, Danica receives an envelope bearing the infamous words, “I Know What You Did Last Summer.”

Danica and her friends are stricken with panic at the note. Who could know? Who would do something like this? What follows is a series of gruesome murders, a meta-who-done-it story arc, and the return of a few legacy characters. New and old characters join the fray as the latest killer prepares to unleash an array of nautical-themed weapons across the silver screen. While I Know What You Did Last Summer carries plenty of nostalgia for the original and sequel, zoomerisms and young-millennial lingo ground the story firmly in the 2020s. But beyond mentions of Google and healing crystals, Robinson’s cast of hopeful scream queens leads the film towards its best moments.

Balancing the new cast with classic characters is one of the biggest challenges of the reboot-legacy sequel hybrid. The new cast must be as compelling as the originals while sharing the screen with the originals. Madelyn Cline and Chase Sui Wonders are standouts, even including legacy performances from Freddy Prince Jr., Jennifer Love Hewitt, and a surprise cameo or two. Cline’s charisma is unmatched, transforming Danica from a slasher-movie bestie to a mesmerizing character. Wonders plays Ava with logic and empathy, making her one of the most compelling characters of the franchise and elevating the relationship with her and Danica. Other members of the friend group are rather one-note. As with the original films, the killer’s identity and motivations seem to serve plot convenience rather than a cathartic climax.

I Know What You Did Last Summer has always had a mystery element. However, 2025’s version verges on a meta-level more comparable to Scream, or rather, 2022’s Scream and its sequel, Scream VI. Characters comment on the killings from 1997, a minor character has a murder podcast, and legacy characters share plenty of “how I survived moments” ripped straight from Neve Campbell’s Sidney Prescott (so much so that a Courtney Cox cameo would not feel out of place). While moments of the 2025 film work well within the meta commentary on horror and Internet culture, other scenes feel like I Know What You Did Last Summer, attempting to be a Scream film. Eli Roth’s Thanksgiving and even 2025’s Heart Eyes have worked as movies spiritually guided by Wes Craven and Ghostface. Still, I Know What You Did Last Summer becomes disjointed as it attempts to emulate its predecessors in the horror canon.

The premise of I Know What You Did Last Summer has always been the selling point. It’s terrifying, claustrophobic, voyeuristic, and a premise worthy of exploration. The premise, combined with magnetic performances from Cline and Wonders, gives the reboot/legacy sequel more positives than some may expect. Kills bring some tension to the story. Legacy characters are a welcome sight, offering more than just nostalgia but development in the narrative. Some of the more prominent twists feel organic to the story on screen, but will be predictable to the horror aficionados. In terms of legacy, I Know What You Did Last Summer continues the franchise but, more so, brings to attention the growing presence of the “Scream-esque meta-slasher” as a nanogenre in the expanding horror landscape. While 2025’s version of the Southport murders is not a strong entry into the horror renaissance, Cline and Wonders leave the experience as legitimate scream queens. 

Jurassic World Rebirth – The BRWC Review.

On paper, Jurassic World Rebirth has more than potential. Bringing back Jurassic Park screenwriter, David Koepp, is a great start. Steven Spielberg is an Executive Producer, and audiences see that big Amblin Entertainment logo in the opening credits, another great start. Director Gareth Edwards found massive success with Rogue One: A Star Wars Story. The cast features franchise phenom Scarlett Johansson, Oscar-winner Mahershala Ali, and rising star Jonathan Bailey, fresh off Wicked and reeling from the success of Bridgerton. Everything on paper spells success. Yet as with each Jurassic Park sequel, the question remains: Can this film recapture the magic of the original? Serving as a standalone sequel to Jurassic World: Dominion, Rebirth picks up a few years after the previous series, as a new group of survivors discovers the destructive power of when “life finds a way.” 

As the original 2nd Jurassic Park opened in 2015, the company responsible had a secret island, an island where they stored all the creatures too dangerous for the original park. Dinosaurs that were gene-spliced and altered to more alien-like qualities than anything seen in John Hammond’s original. However, as dinosaurs throughout the planet begin dying off, this secret island is one of the few places where dinosaurs continue to thrive. Thus, Zora (Scarlett Johansson), hired by a major pharmaceutical company to extract three samples of dinosaur DNA, Zora and her team must brave the dangerous dinosaurs in the pursuit of creating a miracle drug (and making a lot of money in the process).

Dr. Henry Loomis (Jonathan Bailey), Captain Duncan Kincaid (Mahershala Ali), and a few other mercenaries join Zora on her expedition as they sail into the world of the once extinct. Yet the mission becomes more complicated when the team rescues a family off the coast of Cape Town. Now the team must save the family, extract the samples, and survive the terrors of these newer, bigger creatures. But as with any Jurassic Park film, survival is easier said than done when facing a sprinting (or in this case, swimming) T. rex.

Jonathan Bailey delivers the strongest performance in Rebirth, but it’s no surprise, as Dr. Loomis has by far the most material to work with. Not only is Bailey a skilled performer, but Loomis is a character who believes killing a dinosaur is a sin, that the miracle drug should belong to the people, not corporations, and has a light connection to the previous films. The best moment of Rebirth comes as Bailey delivers an excellent monologue on intelligence and evolutionary survival, harking back to the core themes of the source material. Beyond Bailey, performances lack the color and characterization to pop off the screen. Rupert Friend plays an evil corporate lapdog, Johannson plays a mercenary who values money but ultimately develops a good heart, and Ali plays a ship Captain who does not want children to die (a very reasonable character trait).

Moments of Rebirth attempt to flesh out the characters. The stranded family gives the narrative some heart. Johannson and Ali have a conversation that attempts to create a backstory, and Loomis’s love for dinosaurs gives a few glimpses of hope. But too much of the narrative lacks the imaginative environment of the original or even stronger moments in the sequels. Dino fights are few, chase sequences are rare, tension is non-existent, and a Spielbergian sense of wonder only appears when the original theme music glides into the score. Dinosaur themeselves look more alien than dinosaurs and beg the question: how many more bigger, badder dinosaurs do we need? And in a film that zooms in on each and every Easter Egg, why are the dinosaurs the least familiar part of Rebirth?

1993’s Jurassic Park asked some central philosophical questions: “You were so busy asking whether you could, you never stopped to think if you should”, the idea of playing God and respecting the natural order, “Life finds a way.” The biggest question Rebirth asks of its audience is, “Should a major corporation have access to life-saving drugs, or should you give the drug to everyone, ensuring the survival of millions?” Critiquing late-stage Capitalism is a solid theme for a film; it’s a theme prevalent throughout each of the Jurassic Park films. Yet, making this the essential question of Rebirth foregoes the conversation at the core of Jurassic Park: the respect humans must have for nature.   

Beyond lacking the philosophical depth of Jurassic Park, Rebirth lacks the fun of not only the original film but of a summer blockbuster. Moments of nostalgia feel like forced fan service, and moments of innovation extend merely in concept, not execution. Jonathan Bailey is charming, and hearing the theme music feels like a treat for the movie lover’s soul. But nothing in Rebirth merits the joys of the original or the engagement to stand on its own glories. Rebirth may not come close to the magic of the 1993 original, but if anything, it doubles down on how perfect Jurassic Park is as a piece of cinematic history. That after six sequels, audiences are still willing to pack the house for just a glimmer of what they saw when Steven Spielberg brought Alan Grant, Ellie Sattler, and Ian Malcolm to Isla Nublar. 

If You Should Leave Before Me: Review.

After 27 years together, Mark (Shane P. Allen) and Joshua (John Wilcox) have seen it all and had every minor argument. They bicker over coffee, Mark being a little uptight and Joshua being more of a free spirit, but it’s all done with love. Yet, dealing with a recent tragedy pushes the couple into a new line of work, guiding the recently deceased. Premiering at the Raindance Film Festival, If You Should Leave Before Me blends genres ranging from indie drama to absurdist comedy, all while posing the big questions about life, death, and everything after.

Living in the memories of their shared home, Mark and Joshua’s lives as guides are chaotic and quirky. Doors suddenly appear throughout the house, leading them to their next “client,” the baggage that comes with them. From a “discount Narina” forest in a closet to the stacks of dishes in a big pink storage room, each new door opens the couple to new challenges, not just with the deceased but within themselves. But mingled within helping those with trauma find solace lurks something darker, hidden deep within Mark’s own acceptance of mortality.

If You Should Leave Before Me is a showcase for Shane P. Allen and John Wilcox. They are the constant throughout the narrative, guiding each spirit into the next. Wilcox goes for it in each scene, whether it’s committing to domestic bliss of coffee consumption, trekking through a cardboard forest, or an impromptu battle to the death (or second death), Wilcox is giving it everything. Allen contrasts’ Wilcox’s high energy ‘ with a more anxiety-ridden, subtle performance completely in tune with his character. Seeing the character’s relationship unfold in such a silly, strange, yet still dark world makes the performances even stronger and accentuates the film’s creative premise.

The Andersons know how to balance the sad with the silly. If You Should Leave Before Me is the unique film that can have a Nazi shoot a Kung-fu assassin just before hitting the most significant character beat of the story. But within all of the wild cardboard cars, breaking plates, and Christmas tree welding fights, the story is about death and acceptance. It’s a heavy theme, but one The Andersons tackle with grace and forgiveness. Not every character beat and adventure aligns with the core themes, but all make characters a little richer in the overall narrative.

Premise and performances take If You Should Leave Before Me far. The genre blending is creative and showcases clear inspiration from Everything Everywhere All at Once, especially in the second half. It’s weird, charming, and sweet in all the right places. Runtime is a killer and does drag a bit in the middle. A clean 90-minute version could enhance overall engagement without compromising characterization. However, massive fans of the film may appreciate the extra 30 minutes of Mark & Joshua’s adventures. If You Should Leave Before Me is not for everyone, but it’s something for indie fans to admire. Creativity and indie innovation combined with a passion for filmmaking radiate through every scene, making it a solid watch for the Raindance Film Festival experience. 

KPop Demon Hunters: Review.

The latest film by Sony Pictures Animation, KPop Demon Hunters, sends audiences through a gorgeous world of stylized action and moving character arcs, all set to the blissful sound of Korean Pop. Combining elements of K-pop, idol culture, anime, and a touch of Across the Spider-Verse, directors Chris Appelhans and Maggie Kang introduce audiences to one of the greatest fictional bands in recent memory.

HUNTR/X is the hottest KPop group on the charts, singing and dancing to arenas of screaming fans by night and slaying demons between sets. By way of HUNTR/X’s lush sound, Kpop Demonhunters flaunts flawless animation and rich themes that radiate from the opening bars to the closing credits.

Rumi (Adren Cho, with Ejae as Rumi’s singing voice), Mira (May Hong & Audrey Nuna), and Zoey (Ji-young Yoo & Rei Ami) are HUNTR/X. Mira, the principal dancer; Zoey, the lyricist and expert rapper; and Rumi, the lead vocalist, each member is equally skilled on the concert stage as they are in combat. Together, they seek to destroy all demons and seal them away from the lives of the living. Yet just when HUNTR/X is so close to forever banishing the demons from Earth, a new threat emerges: a demon boy band known as “The Saja Boys.” Led by the breathtaking Jinu (Ahn Hyo-seop & Andrew Choi), The Saja Boys are ready to conquer the fandom. Now it’s up to HUNTR/X not only to vanquish the Demon King but to battle Saja Boys for the souls of the world.   

Backstories and nuance flow throughout the leads in Kpop Demon Hunters with ease. Every character moment feels organic to the story. Rumi’s pressure as the leader of HUNTR/X serves as a commentary on Pop stardom as it is a catalyst for her self-acceptance. Cho and Ejae convey internal conflicts beautifully through their inflections, delivering a stellar performance with palpable emotion. As a foil to Rumi, Jinu’s backstory of losing his soul and life as a demon adds complexity to the typical foil-antagonist relationship.

Performances and characters across the narrative give massive characterization to even one-scene characters (with a fun highlight being Daniel Dae Kim as Healer Han). Supporting characters like Mira and Zoey are stars in their own right, giving the film the gravity to build high-stakes emotional payoffs while grounding scenes in personality and humor whenever needed. Each member of HUNTR/X is fleshed out and rooted in the traditions of Shonen anime, as Appelhans and Kang create character arcs worthy of most epic anime climaxes.

In many ways, Appelhans and Kang have hidden a musical within the realms of slaying the demonic. Each track sounds like it’s ripped straight from the charts of South Korea. HUNTR/X and Saja Boys unleash soaring ballads, arena dance-pop favorites, epic diss tracks, and subwoofer-defying trap beats, adding layers to the sonic storytelling of Kpop Demon Hunters. Beyond providingan infectious soundtrack, each track allows the characters and performers to shine as each song aligns with each character beat. 

The songs move the plot, provide character-defining moments, and carry the audience into the action with flair. “Soda Pop” and “Take Down” (which also features a Twice remix during the credits) already sound ready for the Spotify charts. “Free” delivers some of the most significant character moments within a soul-seeking pop ballad. Yet “Golden” is the biggest standout, serving as an epic “love yourself” anthem overlaying the themes of K-pop within the realm of HUNTR/X’s story.

Vibrance and fluidity best describe the seamless animation on display throughout Kpop Demon Hunters. Action sequences often mimic the kinetic long-take style found in classic Kung-fu films or modern anime such as Demon Slayer and Jujutsu Kaisen. The action seamlessly blends with stylish dance sequences, making the combination of BTS-esque movement and Bruce Lee finesse even more impressive. While fight sequences are worthy of a Shonen anime, the environment and character design showcase a level of detail often reserved for the work of Studio Ghibli. Almost every frame can stand on its own as a piece of art, showcasing the love and care Appelhans, Kang, and the entire crew put towards rendering a beautiful, colorful world of demons and fandom.

Kpop Demon Hunters is one of the best films of 2025. Themes of self-acceptance, commentary on idol culture, the story of finding family, and allowing oneself to forgive all elevate an already incredible film to an odyssey that speaks to the communities it represents. All the character arcs feel natural, aligning with the promises laid out in the opening. Fight scenes integrate music with the precision and elegance of a martial artist. It’s a cathartic emotional journey worthy of repeated viewing. Performances are electric, from the speaking to the vocals, giving characters even more range.

Anime fans will find familiar tropes and adrenaline-fueled fight sequences mesmerizing. K-pop fans will fall in love with Kang’s embrace of fandoms and nods to BTS, Black Pink, and Twice. But beyond fandom, Appelhans and Kang have fused genres with care and creativity, making something unique and worthy of praise by any audience. Through the originality of Appelhans, Kang, and the entire team, Kpop Demon Hunters has introduced legions of fans to their new favorite film and new favorite band.