Movie Reviews
Paddington in Peru Bites Off More Than It Can Chew
From the beginning, the Paddington movies have linked their fictional bear, the creation of children’s book author Michael Bond, to themes of migration and sanctuary. This didn’t come out of nowhere. While Paddington Bear is emblematic of Britishness, from his love of marmalade to his duffel coat to his unfailing politeness, he came from South America — more specifically, “darkest Peru,” an origin story that smacks of a colonial era where whole swaths of the world could be consigned to gloom on a map based on their impenetrability to foreign explorers. For the cynical, and I’m usually one of your number, the turning of this beloved icon into a symbol of a welcoming, multicultural U.K. could be read as a way of lightly outrage-proofing a property that’s half a century old and unavoidably musty in patches. And yet, miraculously, what could have been clunky and self-congratulatory was delicate and moving, helped along by the gentleness with which Ben Whishaw voices the computer-animated ursine. Paddington’s arrival on that train platform as a refugee, and his adoption by the Brown family, is placed in a tradition of the country taking care of those in need going back to World War II and the Kindertransport. The Wes Anderson–inflected London of that 2014 first film was a retort to sentiments that would, two years later, lead to the Brexit referendum, but it was also stubbornly aspirational — a fairy-tale version of the city as it could be, open arms and all.
In Paddington in Peru, Paddington has officially become a Brit, having received his passport in the mail. This frees him up to take a trip home, a prospect as low-key worrisome as the fact that the film, the third in the series, is also the first to not be written or directed by Paul King. The whimsical but wry perspective on Britishness that made the first two Paddingtons so watchable threatens to be intolerable when turned outward, like someone going from in-jokes to insult comedy. Paddington in Peru reckons with this possibility by putting very few Peruvians onscreen, even when the movie ventures into the Amazon, spurred by the mysterious disappearance of Paddington’s beloved Aunt Lucy from the Home for Retired Bears. Instead, it keeps its focus on the Browns, now headed up by Emily Mortimer, who replaces Sally Hawkins as matriarch Mary, as they accompany Paddington on a vacation-cum-rescue-expedition involving the legend of El Dorado, a bunch of nuns, and Hunter Cabot (Antonio Banderas), a riverboat captain who turns out to be descendant from a long line of rapacious Spanish gold-seekers. Hunter’s obsession, which manifests in comical visions of his taunting conquistador ancestor, isn’t an especially sharp critique of the colonial legacy the whole swashbuckling adventure owes a debt to. But Paddington in Peru doesn’t feel like it’s aiming for a point so much as it’s just trying to steer clear of potential disaster.
And, even if it’s the weakest of the Paddington movies, it succeeds. The innate sweetness of the series carries it past figurative and literal rapids and into shenanigans involving bear carvings, a bear temple in the mountains, and a secret bear community. (Hunter, exasperated, complains at one point about how “beary” the whole situation is.) While Banderas is entertaining playing multiple roles as Hunter and his many ghostly ancestors, Olivia Colman gives the movie’s standout performance as the Reverend Mother of the bear retirement home from which Aunt Lucy vanished. Colman keeps her face frozen in an expression of maniacal cheerfulness, the hilarious effect of which really can’t be overstated. When the Reverend Mother bursts into song at news of Paddington’s imminent arrival, singing to the camera while nuns dance behind her, it’s like The Sound of Music as enacted by a serial killer, up to and including Colman throwing her guitar into the air in defiance of gravity, like Prince at the Super Bowl. These films have featured terrific comic performances from the likes of Nicole Kidman and Hugh Grant, but Colman brings an unhinged energy to her part that elevates the whole enterprise. (“It’s just a secret room behind an organ,” she chipperly informs Mrs. Bird, played by Julie Walters, insisting to the Browns’ housekeeper there’s nothing at all suspicious about the mysterious hidden space she discovers in the retirement home.)
Obscured by the wilderness and religious-order exploits are Paddington’s own emotions about being back in the place of his birth after adapting to life an ocean away. Mr. Gruber (Jim Broadbent), the antiques store owner, warns the bear that “becoming a citizen of a country, while a wonderful thing, can lead to mixed feelings.” But if Paddington does feel conflicted over where he belongs, or over having lost touch with his family’s beary roots, it’s never explored. The wonderful surprise of the Paddington films is that they’ve been able to deftly touch on some difficult themes by way of adorable children’s stories, all without overplaying their hand. Paddington in Peru suggests that some things are beyond the franchise, no matter how winning its good-hearted animal hero may be, and one of them is considering what it might be like to not whole-heartedly love life in the U.K. after the U.K. has proven itself willing to love you.
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A native of Rockford, Lisa Dent, heard 2 pm to 6 pm weekdays, began her radio career in Fort Atkinson, Wisconsin in 1981. She has worked at stations in Minneapolis, San Diego, Seattle, and Houston. Dent returned to Chicago in 2002. (Click for more.)
The world of cinema and TV series offers hundreds of premieres every year, but not all of them are worth the time spent. Viewers are increasingly looking not just for entertainment, but for meaning — stories that leave an aftertaste, make them think, or help them experience strong emotions. That is why reviews are becoming an important guide: they help separate truly high-quality content from loud but empty hype. UNN has reviewed the most anticipated premieres and selected films worth watching.
“Kakhovka Object” (war drama)
The film shows war not only as combat operations but also as a test of human dignity, character, and choice. Through the fate of the main character, the viewer sees how difficult it is to make decisions in extreme circumstances when every step can affect the lives of others. The director masterfully combines psychological tension with realistic details, creating an atmosphere of complete immersion. The film is not only about war but also about human responsibility, strength of spirit, and the ability to remain human in the chaos of events.
“Mavka. The True Myth” (romantic fantasy)
The premiere will take place on March 1, 2026. This is a continuation of the Ukrainian fantasy tradition, where national myths and legends come to life on screen. The film reveals Mavka’s inner world, her desire for love and freedom, as well as the conflict between the human and the magical. The animation promises to be bright and detailed, and the story is universal: it touches on the themes of choice, self-discovery, and responsibility for one’s feelings. This film will be a good example of modern Ukrainian animation, capable of captivating both children and adults.
“When Will You Divorce?” (corporate comedy)
A comedy about personal life and work relationships that raises questions about the balance between career and personal feelings. The film humorously shows how easy it is to get confused in one’s own emotions, trying to satisfy the expectations of others. The authors successfully combined light life situations and ironic dialogues, which makes the viewing entertaining but not superficial. This film is for those who appreciate modern humor and recognize themselves or colleagues in the characters.
“Odyssey” (epic adventure drama)
A large-scale adaptation of Odysseus’s travels after the Trojan War. The film shows not only the hero’s physical trials but also his inner transformation: courage, ingenuity, patience, and moral choice in critical moments. The artistic design and the use of modern technologies to create epic landscapes and battle scenes are impressive. The director managed to combine a classic story with a modern cinematic rhythm, which makes “Odyssey” not only spectacular but also emotionally deep.
“Lord of the Universe” (sci-fi, action)
The film transports the viewer into a vibrant magical world where heroes fight for justice, and the line between good and evil constantly shifts. This is a story about courage, self-sacrifice, and responsibility for one’s own destiny and the destiny of others. The combination of special effects, a fantasy world, and an adventure plot makes the film attractive to a wide audience. But the main thing is not the effects, but the internal struggle of the characters, which gives the film depth and meaning.
“Scream 7” (2026)
The return to the famous slasher franchise proved unsuccessful. Despite the direction of series veteran Kevin Williamson and the comeback of Neve Campbell and Courteney Cox, the film received mostly negative reviews from critics.
Thus, 2026 promises to be a landmark year for Ukrainian and world cinema. Even with fewer premieres, there is a tendency towards a deep elaboration of characters, psychological conflicts, and moral issues, which makes modern films and series not only entertainment but also a way of understanding human life and the modern world.
“You Are Space” breaks records: Ukrainian sci-fi attracts over 326,000 viewers10.02.26, 21:04 • 6852 views
Movie Reviews
Movie reviews reveal A Poet and All That’s Left of You dominate March with perfect 100% scores – Art Threat
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Two masterpieces just shattered critical consensus on Rotten Tomatoes. Both A Poet and All That’s Left of You have garnered rare perfect 100% scores from critics, dominating March 2026’s excellence rankings. These dual releases represent a historic moment for international cinema.
🔥 Quick Facts
- A Poet: 100% Rotten Tomatoes score from critics celebrating Simón Mesa Soto‘s Colombian drama
- All That’s Left of You: 100% Certified Fresh multi-generational Palestinian epic by Cherien Dabis
- Release Timeline: Both films expanding dramatically in theaters March 2026 after festival triumphs
- Critical Moment: Rare simultaneous perfect scores elevate international storytelling into mainstream spotlight
A Poet Achieves Unanimous Critical Acclaim
Simón Mesa Soto‘s A Poet stands as one of 2026’s finest achievements. Starring Ubeimar Rios as Oscar Restrepo, a once-promising writer turned tragic failure, the film examines fatherhood’s weight with devastating wit and elegance. The Colombian-Swedish-German co-production premiered at Cannes Film Festival’s Un Certain Regard section last year and has conquered every distribution market since.
The ensemble cast includes Rebeca Andrade, Guillermo Cardona, and Humberto Restrepo, delivering layered performances that anchor the film’s four-chapter structure. Critics hailed the film as a triumph of tone, mixing tragicomic observation with genuine emotional devastation. The New York Times called it “The Romance of Misery”, recognizing its ability to find beauty in human failure. The film’s philosophical depth and formal precision explain its unprecedented critical consensus.
| Title | A Poet (Un Poeta) |
| Director | Simón Mesa Soto |
| Lead Actor | Ubeimar Rios as Oscar Restrepo |
| Rotten Tomatoes | 100% Certified Fresh |
| Theatrical Status | Expanding in March 2026 |
All That’s Left of You Shatters Records as Palestinian Saga
Cherien Dabis wrote, directed, and starred in All That’s Left of You, a sweeping three-generational epic set in the Occupied West Bank spanning decades of family trauma and resilience. Featuring Saleh Bakri, Mohammad Bakri, Adam Bakri, and Maria Zreik, the film follows a teenage boy swept into a pivotal protest with consequences that ripple through his family’s future.
Produced by Watermelon Pictures, the film premiered at Sundance Film Festival 2025, where it immediately earned Certified Fresh status and near-universal praise. Filming relocated to Cyprus, Greece, and Jordan after production complications, yet the result feels seamlessly authentic. Critics point to Dabis’s multi-media mastery (she directs, performs, and produces) as essential to the film’s emotional authority. The film’s scope rivals the greatest epics while maintaining intimate character work that defines recent international cinema.
All That’s Left of You arrived in selected theaters on January 9, 2026 and steadily expanded throughout early March. The film’s 100% Rotten Tomatoes score reflects not just critical respect but genuine reverence for Dabis’s artistic vision. This achievement represents Palestinian cinema reaching its greatest artistic and commercial moment.
Why These Two Films Dominate March 2026’s Conversation
Rarity defines these simultaneous perfect scores. A Poet and All That’s Left of You occupy the rare 100% Tomatometer tier reserved for films of historic excellence. The 2026 FilmFare recognized both as front-runners for major awards, acknowledging how they’ve elevated the expectations for drama itself. Industry observers note that achieving perfect critical consensus in today’s fractious landscape represents not consensus but unanimous recognition of artistic achievement.
Both films reflect cinema’s global moment. Simón Mesa Soto‘s Colombian vision and Cherien Dabis‘ Palestinian perspective prove that international storytelling now commands the cultural conversation. Rotten Tomatoes‘ Official Rankings place both films in its exclusive Certified Fresh top tier. March 2026 becomes the month cinema decided: universal critical acclaim belongs to filmmakers willing to transcend borders.
“All That’s Left of You is a sweeping multigenerational epic that captures the thematic breadth of great cinema while exploring what it means to endure generational trauma.”
— Rotten Tomatoes Critics Consensus, Officials
The Future of International Cinema Starts Now
Both films expand to more theaters through March 2026 and beyond. A Poet hits streaming services and digital platforms simultaneously, making it accessible to audiences beyond Select Release cities. All That’s Left of You continues rolling out across regional markets, having already secured international distribution. Industry observers expect both to capture major festival awards at upcoming spring cinema celebrations.
These perfect scores matter beyond accolades. They signal to studios, streamers, and investors that audiences hunger for international voices and authentic storytelling. March 2026 becomes a watershed moment where Colombian drama and Palestinian cinema proved they belong in the conversation with any major market release. The critical paths of A Poet and All That’s Left of You forecast how cinema itself will evolve toward greater global representation.
Where Can Film Lovers Watch These Perfect-Score Masterpieces?
Both films remain available in theatrical releases across the United States and expanding internationally. A Poet plays select theaters with plans to widen release through spring 2026, while All That’s Left of You continues broader theatrical circulation. Check major ticketing platforms for showtimes and streaming availability. International audiences should consult local cinema schedules for release dates and language availability. These 100% Rotten Tomatoes achievements deserve the big screen experience both directors envisioned.
Sources
- Rotten Tomatoes – Official Tomatometer scores and Critics Consensus for both films
- The New York Times – Critical analysis and reviews of A Poet’s artistic achievement
- Watermelon Pictures – Official distribution and production information for All That’s Left of You
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