Movie Reviews
Jamie David Langland’s ‘THE CELLAR’ (2025) – Movie Review – PopHorror
Psychological thrillers have to be my least favorite genre of all time. Rarely does a movie get by on just dialogue before I give up. The Cellar started out as such, and I was getting ready to lose interest. As I got further, I learned to appreciate the film. It’s a tough call, but I was fully entertained by the story. I really should learn a lesson and sit through these types of films more often.
Let’s get into the review to find out my real feelings.
Synopsis
A young girl wakes up in a dim underground cell, with no memory of how she got there. As she fights to escape, sinister secrets resurface, blurring the line between reality and her own buried traumas.
The Rundown
This is what turns me off to psychological thrillers. The lines between reality and horror don’t quite fit in my humble opinion. Whether it hides behind a horror facade or just outright rushes a story to fit into a 90-minute film. The stories require a lot more time to explain without confusion. Everything becomes complex and a think piece instead of just plain enjoyment.
The Cellar is the film that made me second-guess all the movies I have ever written about, where I say there’s no love in reality, so horror movies are an escape for me. I like to be entertained, not just a lack of understanding. The film does move slowly, and sometimes it confuses you, but in the end, you can piece together the story. It becomes simplified as the movie progresses. It brings a sense of clarity.

Hello Darkness
The dark setting also gave the movie more “pop”. You would think a dark cellar is redundant; however, the film definitely becomes more interesting and eerie as we look past the characters and experience flashbacks. The film has almost a Silent Hill vibe when it comes to explanation. That isn’t a bad thing at all, seeing as I have a Silent Hill tattoo and a small obsession with the games.
This is honestly what I picked up on after about 20 minutes of the movie. It is almost as if the film is hard to piece together on purpose. The film is like a tapeworm slowly creeping into your brain. It stays there and takes over your mindfulness. The film makes you feel a certain level of paranoia because, of course, this story could easily be reality. We have always had a way of looking at extreme religious intent and walking away quietly due to their stature in the community.
In The End
I didn’t find too many problems with The Cellar. The director passed the test on the film. Though I was about to give up hope as usual, I am extremely glad I gave it a longer shot than most. I would have missed out on a great film if I had told myself it wasn’t my interest, and being ready to talk down the entire film. I can’t argue about the significance, and Jamie David Langland’s directorial debut is outstanding. I look forward to seeing more films under their name as time progresses.
Movie Reviews
Movie Review: THE YETI
Movie Reviews
Movie Review – Modern Whore (2025)
Modern Whore, 2025.
Directed by Nicole Bazuin.
Starring Andrea Werhun.
SYNOPSIS:
Modern Whore follows Andrea Werhun as she portrays her past roles as escort Mary Ann, stripper Sophia, and her OnlyFans presence – all part of her Toronto sex work journey.
Writer/director Nicole Bazuin makes her feature debut with Modern Whore, a hybrid documentary detailing the experiences of Andrea Werhun based on her memoir of the same name. Bazuin and Werhun make an insightful and funny adaptation of Werhun’s life as a former sex worker in Toronto, examining the hows and whys of the industry and her participation in it.
Modern Whore takes an interesting approach to the way it tells Werhun’s story as half of it is a documentary of Werhun relaying her experiences and speaking with family, friends and colleagues while the other half is scripted with Werhun and others acting out the stories. It is unconventional, but its uniqueness makes Werhun’s story entertaining with a tight and witty script by her and Bazuin.
The scripted portions display Werhun’s fun personality with the cast and material – after all, literally telling and acting in her own story makes for a great performance as she opens herself up to some of her most vulnerable moments knowing the stigma against sex workers whether they are/were escorts or OnlyFans creators. There’s plenty of light self-awareness along with quirky fourth-wall breaking humour as she recounts her stories or that of her clients skewed perspectives of their interactions. It is also not afraid to shy away from the more difficult subject matter of being a sex worker like meeting with really sketchy clients or some taking it too far, looking at the impact it has and the little support system in place.
The switches from the scripted scenes to the talking heads or interviews is well paced with the formats complimenting each other. The interviews are interesting and insightful, digging into why someone chooses to enter sex work and the stigma they feel from family or friends. Werhun digs into the different personas she put on, how some were closer to her real self than others, and the necessity for those identities in her work. Much of the conversations revolve around the taboo of sex work and how the discussions are slowly shifting so it is less shameful, but still plenty of work needed to be done towards that front.
Modern Whore showcases great writing from Werhun and Bazuin with plenty of entertaining sequences, not to mention Werhun’s performance. It is insightful, funny and creative with its hybrid format, making it very memorable in several aspects.
Flickering Myth Rating – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★
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Movie Reviews
Little Amélie or the Character of Rain Movie Review: A quiet story that speaks louder than most
The Times of India
Apr 04, 2026, 1:12 PM IST
4.0
Story: A quiet child named Amélie grows up in Japan, barely reacting to the world until a small moment begins to pull her into it. As she slowly becomes aware of people and emotions, she starts to understand life through experiences.Review: Oscar-nominated in the Best Animated Feature category, ‘Little Amélie or The Character of Rain’ is a gentle film that draws you in with its simplicity and honesty. It does not rely on tricks or dramatic moments to grab your attention. The story trusts itself completely and moves at its own pace with quiet confidence. The film feels calm and still, giving each scene time instead of rushing ahead. At times, it may seem like very little is happening, but that is when you realise it wants you to slow down and stay in the moment. Set in Japan, it follows a French family from Belgium with a sense of warmth and care. There are moments when it may feel like the film is holding back, but there is also something real in the way it avoids rushing or explaining everything. Beneath its soft surface, there is a deeply philosophical and thoughtful layer that reflects on life in a simple and honest way.The story follows Amélie (voiced by Loise Charpentier), a young Belgian child growing up in Japan, who spends the early part of her life in a strange, distant state. She barely reacts to the world around her and seems lost in her own space. Her parents, especially her mother, try to reach out to her in simple ways, hoping to see some response. Things begin to change when her grandmother arrives from Belgium and tries to bond with baby Amélie, and the offering of a piece of white Belgian chocolate makes all the difference. Around the same time, we meet Nishio San, the gentle caregiver, who becomes an important part of her daily life. The white Belgian chocolate becomes a turning point in the film, and from that moment, Amélie begins to respond to people and her surroundings, as if she is discovering everything for the first time.The way the film opts to showcase Amélie’s inner world stays with you. It does not explain her thoughts in a clear or direct way. Instead, it lets you sit inside her perspective, even when it feels distant or hard to read. The animation plays a big role here. It has a soft, almost calming quality, like a memory that keeps changing shape. Some moments feel very personal, while there are also sequences that may test your patience. There are stretches where the film stays on a plot point a little longer than expected, and you might find your attention slipping. At the same time, when it works, it really works. It brilliantly captures small feelings that are tough to put into words, and that is not something many films manage to do.The voice performances match this tone well. The actor voicing Amélie keeps things very minimal, which suits the character. There is very little need for long dialogue in this film, as the performance is carried more through tone and the way the moments play out. The voices of her parents and Nishio San bring warmth into the film and give it some emotional grounding. They feel natural, like people you might actually know, rather than characters trying to make a strong impression. Absolutely nothing feels forced in the film, and that helps the film stay believable even when it moves into more abstract spaces.‘Little Amélie or The Character of Rain’ leaves an impression in a quiet and unexpected way. It is thoughtful and gentle, though there are moments where it may feel a bit too soft or even repetitive. The mixed reactions around it make sense because it speaks in a very specific tone and sticks to it. It asks you to meet it halfway, to be patient and open to its rhythm. That may not work for everyone, but if you do connect with it, the film stays with you as a simple and sincere look at how a person slowly begins to understand the world.
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