Movie Reviews
Oscars musical performance reviews including Ariana Grande and Cynthia Erivo
No best song nominee performances? No problem.
The 97th Academy Awards didn’t have the traditional best original song performances in a rare but not unprecedented move. But producers didn’t skip music entirely in this year’s ceremony.
“El Mal” from “Emilia Pérez” nabbed the best original song Oscar over songs recorded by Elton John and Brandi Carlile, H.E.R., Adrian Quesada and Abraham Alexander and Selena Gomez.
And with spotlights turned to “Wicked,” the James Bond franchise and a tribute to the late Quincy Jones, the 2025 Oscars were as heavy as in recent years when it came to uniting music and movies.
Here are the best and worst musical moments from the 2025 Oscars:
Ariana Grande and Cynthia Erivo, ‘Over the Rainbow,’ ‘Home,’ ‘Defying Gravity’
Not only did Ariana Grande and Cynthia Erivo defy gravity during their spectacular opening performance, but defied every conceivable expectation.
Following a brief homage to Los Angeles, still suffering the fallout from devastating wildfires, Grande emerged from a puff of gray smoke, luminous in a sparkly ruby-red gown.
Her hair in a bun, her eyes shaded with glitter and her voice a crystalline wonder, Grande unspooled a graceful rendition of “Over the Rainbow.”
As she waltzed through an ocean of dry ice, her doe eyes capturing the camera’s every twitch, Grande filled the timeless ballad with vocal curlicues that never overpowered.
As she finished the song in front of a backdrop with an illuminated moon and, of course, rainbow, Grande stepped aside for her “Wicked” co-star, the striking Erivo.
In a souffle of a white gown adorned with a sprig of flowers, Erivo beamed her way through “Home,” the tender ballad from “The Wiz,” another offshoot of “The Wizard of Oz.”
Erivo’s Broadway-bred pipes made a lovely match with the “Wiz” classic, but it was the moment when she and new bestie Grande clasped hands and sang the opening lines of “Defying Gravity,” the signature song from “Wicked.”
There is no questioning the authenticity of the friendship between them as they locked eyes while trading verses and Grande sweetly kissed Erivo’s hand as she backed into the shadows to watch her buddy with obvious pride.
Erivo nailed the wallop of a finale of “Defying Gravity” while being raised on a small platform. The audience could barely wait for her voice to close the final note before launching upright to rightfully heap praise on an already classic Oscars performance.
James Bond medley: Lisa, ‘Live and Let Die’; Doja Cat, ‘Diamonds are Forever’; Raye, ‘Skyfall’
As Halle Berry mentioned in her introduction of a tribute to the James Bond franchise and producers Michael G. Wilson and Barbara Broccoli, “every generation has their Bond.”
Such was the sentiment with the complementary medley of three Bond theme songs.
While Blackpink’s Lisa, singer-rapper Doja Cat and upstart British soulstress Raye landed their assignments with pluck and passion, it felt like a moment lost to not have at least one artist associated with some of the most famous Bond songs present.
Instead of Paul McCartney leading a fiery rock version of “Live and Let Die,” we had Lisa slinking through the 1973 hit. While it lacked gravitas, the performance was perfectly watchable.
Doja Cat detoured from her wheelhouse to croon “Diamonds are Forever,” the Shirley Bassey classic from the 1971 Bond movie of the same name, belting the song as lasers slowly rotated behind her. It’s a tough song to tackle, and Doja, in a gown dripping in the song’s namesake, showed viewers her chameleonic abilities.
And while recent best new artist Grammy nominee Raye possesses the vocal chops to adroitly swoop through the song, it’s hard to hear “Skyfall” and not recall Adele’s superior original (which won the best original song Oscar in 2013). Raye brought the song to a powerful close with commendable verve, but the entire production sagged more than soared.
Queen Latifah, ‘Ease on Down the Road’
To suitably salute the legacy of Quincy Jones, the Oscars would have needed a 20-minute segment.
Instead, a reverent Whoopi Goldberg and Oprah Winfrey – stars of “The Color Purple,” which the multifaced Jones co-produced – introduced Queen Latifah for a vivacious, yet all-too-brief homage to Jones with “Ease on Down the Road,” famously performed by Michael Jackson and Diana Ross in “The Wiz,” a film on which Jones worked on the musical adaptation.
Enveloped in a billowing silver cape, Queen Latifah romped through the frisky tune that kept with a vague theme of all things related to “Wicked” on Oscars night. Surrounded by dancers in pleated skirts and prep school blazers, Queen Latifah broke into a few of her own dance moves while an eager Colman Domingo, Grande and Erivo got into the groove in the front row.
Jones, a 28-time Grammy winner who was also the first Black film composer nominated for an Oscar in 1967 for “In Cold Blood,” engineered a brilliant career of skyscraper proportions. His memory deserved more.
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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