Despite being a huge Star Trek fan, I’ve eschewed all of the newer live-action series and I’ve even decided to skip Picard because of how bad the reviews are and how people kept saying they’re not really Star Trek. I made an exception for Lower Decks which took the franchise in a different direction while still being in keeping with its spirit and now we have this series which is as pure original Star Trek as anyone could imagine. If anything this is a little too faithful as along with the idealism it also brings back a simplicity that is just too childish for my tastes these days. I enjoyed watching this season but I’m not sure I’m up for more.

So this is both a nature documentary and a love story of its two central characters. The two, Katia and Maurice Kraff, died in 1991 but they left behind plenty of footage they shot themselves. This film was made by Sara Dosa, apparently with the encouragement of some of the couple’s friends, to document their remarkable lives and their dedication to their chosen field: the study of volcanoes. It certainly makes for a unique documentary and the images they captured of volcanoes are mesmerizing. Unfortunately I don’t share their love for volcanoes so this isn’t the film for me but I do always enjoy learning about people who choose to live their lives in a way completely unimaginable to anyone else.

This is the middle part of the World of Apu trilogy that began with Pather Panchali. I was dismayed at how the first film existed almost purely to highlight poverty and this is even more so the case here. The life of Apu and especially his mother Sarbajaya is so miserable that this is very painful to watch. Nonetheless as a portrayal of life in India of the period, it is second to none and this particular installment even gives us a look into life in the city. Its depiction of the relationship between mother and son is also considered unusually frank for its era and apparently upset local audiences. It’s not an easy or pleasant film to watch but it is certainly a great one.

So what am I doing watching the fifth installment of a popular action movie franchise? Because it’s that good that’s why. This newest entry of the Predator franchise is perfectly named and given that it takes place in 1719 is technically a prequel to all the others. By now female protagonists of action movies aren’t rare and they even fall into familiar tropes. What blows me away is that the heroine here, Naru, wins not by being stronger, or more skilled, or faster, but by carefully observing what the enemy can do and being smarter. On top of that it makes great use of its historical setting and the action choreography is fantastic. It’s one of the best action movies I’ve watched, absolutely.

This is a Romanian critically acclaimed film that opens with an explicit amateur porn scene so it’s definitely not for the faint hearted. Perhaps even more daunting is a montage in the middle that amounts to director Radu Jude offering his thoughts on a series of loaded words. To me this film certainly makes for a strong artistic statement but I can’t say that I like it all that much. I do appreciate it for providing an excellent window into what modern Romanian society is like and I was even stunned by how similar the Romanian language sounds to French!

I’ve already given up on the MCU and I wouldn’t even be watching this if it weren’t because it was directed by Sam Raimi. I was curious about this being an MCU horror movie and I still have enough affection for Raimi’s early work to see what he could do. As it turns out, this is an extremely Raimi film and you can recognize the director’s characteristic style from his earliest days everywhere in this. The bad news is that this is not at all a good thing as he can’t seem to resist indulging in his old bag of tricks even when it’s wildly inappropriate. The result is visually entertaining but also tonally inconsistent and emotionally dead. It’s not among the worst of the MCU films but it’s not great either.

Elia Kazan and Tennessee Williams are of course the creative team who made A Streetcar Named Desire. This one was made five years later and it’s immediately apparent from its opening scenes that it shares the same DNA. Unfortunately while there are strong scenes in it and there’s no way that the characters in it can be said to be psychologically uninteresting, this is a case of the whole being lesser than the sum of its parts. None of the characters in it are remotely likable and the whole film oozes with filth and nastiness, yet somehow it is mockingly framed as a comedy. I don’t understand the rationale behind many of the creative decisions here and I don’t like the film. Nonetheless I can recognize the genius of Kazan and Williams in it.