I’m so disappointed in this film. The premise, 80s aesthetic and music should have been enough for me to love this, but I just found this to be such a nothing film, to the point where it was boring, and I really didn’t care for the big reveal and ending. It’s such a bad way to see off a decent trilogy.
Wow! What a wild last half an hour of a film. Credit to Curry Barker for using a 750,000 dollar budget to make this. It shows you don’t need lots of CGI or big-name actors to make your film better. The theme is what I was interested in; it clearly represents toxic relationships, and that it isn’t always physical or verbal, it can also be manipulative, using someone as a crutch when really they need serious help, like how Baron…
Yep, oh yes! From the very first scene, I knew this was going to be a stunner of a film. It’s so different to the previous film but in the best ways possible. Nia DaCosta, you must take a bow. What an absolutely brutal yet stunning visual display. That is how you do a horror film correctly. However, some of the more intimate and emotional aspects from the previous film were sidelined, which were my favourite parts of 28 Years…
I had to watch it again, I had no other choice, it’s that good!
I still agree with everything I said in my previous review, but I can’t believe I neglected to mention the score in this film! In the pool/in the sea, by Kensuke Ushio, is one of the best piano pieces I’ve ever heard in film.
Other than that, congratulations to this film for being the best-rated film in 2025 on Letterboxd.
