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Nexus Reviews, Imus (2026)

09/04/2026

"WHEN GUNDAM MEETS DEATH NOTE."

Code Geass: Lelouch of the Rebellion is a Japanese animated series that premiered in 2006. It was directed by Goro Taniguchi, written by Ichiro Okouchi, and produced by Sunrise, Mainichi Broadcasting System, and Project Geass. The character designs were done by CLAMP. The series featured fast-paced mecha-battles.

The story revolves around the exiled prince of the Britannian Empire, Lelouch vi Britannia. Amidst the chaos of war between Britannia and Area 11 (formerly Japan), Lelouch meets C.C. and obtains the Power of the Kings called Geass, which allows him to make anyone obey his commands. With this power, Lelouch dons the mask of Zero and wages a rebellion against Britannia, all in order to make the world a better place for his little sister, Nunnally.

Code Geass is an anime that premiered almost twenty years ago, yet the animation holds up to today’s standards. It does not look dated, and the animation itself is as smooth as modern anime. The character designs by CLAMP are reminiscent of their other works, although strangely the characters looked quite thin compared to their previous designs. In any case, the animation is among its features that really stood out. The mecha designs were also unique. They looked humanoid, but the aesthetics were different. And it is fortunate that the mechas looked different from the standard Gundam or other robots because the plot is heavy on war.

The main focus of the series is, of course, its titular character, Lelouch. He can be considered a great Machiavellian character in the way he manipulates all the other characters for his own ends. His Geass to command others is a fearsome ability, but more than that, he is a genius-level intellect capable of making calculated strategies and decisions. He is also a great example of an anti-hero; he may be the main character, but he is by no means morally upright. Yet it is precisely this moral ambiguity that makes him more interesting. Jun Fukuyama, the voice actor of Lelouch, made him more iconic, especially when he activates his Geass: “Lelouch vi Britannia commands you…!”

On the other hand, there is Suzaku, Lelouch’s best friend, who acts as the character foil. He is every bit the opposite of Lelouch, but he is just as interesting. His character backstory and motivations leading to the inevitable clash with Lelouch is a highlight in the series. Another noteworthy character is C.C., the mysterious woman who gave Lelouch his Geass. Only what is shown is known about her, and the tiny bits of her past are not enough to give context to who she really is. But somehow it is this mystery and her relationship with Lelouch that would keep the audience hooked, most likely because many of them would ship them.

The story is told in a fast-paced manner, but not too fast that the audience would get confused. What is impressive about it is how it balances the action and the exposition. Early episodes would feature mecha battles that were resolved within the episode itself. There were even episodes that focused on Lelouch’s daily life at Ashford Academy, with some comedic and romantic elements included.

The inclusion of the psychological and supernatural aspect is what makes the series unique from other mecha anime. The series does not rely on the spectacle of the action; that was only the icing on the cake. The main course is how Lelouch gets over every obstacle thrown at him using his wits and intellect.

Code Geass: Lelouch of the Rebellion still stands strong. The concept of having the power to make others obey absolutely is a fantasy that this anime series is able to explore. The lead character being an anti-hero, bordering on the villainous side, was a breath of fresh air when at the time the "Big 3" ruled the anime world. Code Geass ends on a high note… even when it is a cliffhanger.

09/04/2026

Edgar Allan Poe stars in this murder mystery film… sort of.
The Pale Blue Eye is a 2022 mystery thriller written and directed by Scott Cooper, based on Louis Bayard’s novel. Christian Bale and Harry Melling lead an ensemble cast featuring Gillian Anderson, Lucy Boynton, Charlotte Gainsbourg, Simon McBurney, Toby Jones, Timothy Spall, and Robert Duvall. The film debuted on Netflix and in select theaters.

The plot focuses on a string of cadet murders at the West Point Military Academy. Alarmed, high-ranking officials recruit retired detective Augustus Landor (Bale) to investigate. Landor meets Edgar Allan Poe (Melling), a cadet who assists in the inquiry. As they delve deeper, the pair uncovers a darker motive behind the killings that challenges their very perception of humanity.

From the start, the film embraces a dark, bleak, and distinctly gothic tone. Including Poe further emphasizes this aesthetic. This isn't an average detective story; its uniqueness stems from both its gothic elements and its 1800s setting. The production design meticulously matches the era, and the narrative flow remains easy to follow without becoming overly convoluted.

The film’s true strength, however, lies in its misdirection. Audiences follow Landor and Poe’s investigation toward a pseudo-climax that seems to resolve earlier plot points. Yet, the final act performs a complete 180-degree turn as Poe discovers the harrowing truth. It is a plot twist few could foresee—a grim revelation regarding how low humans will sink to satisfy their selfish desires.

However, beyond the central murders and the closing twist, some segments feel skippable. One could even argue Poe’s inclusion is unnecessary, given the abundance of gothic cinema centered on him.

Christian Bale is as impressive in his performance as always. Clearly there is no doubt about him as one of the most prolific actors today. That showed with his portrayal of Landor who was stoic yet cynical. Harry Melling looked exactly a lot like Edgar Allan Poe. His scenes were highly immersive and he is convincing as Poe.

The film’s power lies in its direction and commitment to its narrative. Despite its flaws, the leads' performances compensate for the lulls. Perhaps this experience is what drove Poe to become a gothic writer? Or perhaps what the "pale blue eye" ignores is exactly what the "tell-tale heart" sees?

08/04/2026

Crazy, Stupid, Love, released in July 2011, is an American romantic comedy directed by Glenn Ficarra and John Requa. It features an ensemble cast including Steve Carell, Julianne Moore, Ryan Gosling, Emma Stone, Marisa Tomei, John Carroll Lynch, and Kevin Bacon. The film centers on a convoluted love story that begins when Cal (Carell) learns that his wife, Emily (Moore), has had an affair. Following their separation, Cal meets Jacob (Gosling) at a bar. Taking pity on Cal’s "lost manhood," Jacob offers to help him rediscover his confidence by teaching him how to seduce women. What ensues is a series of chaotic, interconnected mishaps.

While the film focuses primarily on Cal, it balances two other significant subplots: the blossoming romance between Hannah (Stone) and Jacob, and Cal’s son Robbie’s unrequited crush on his babysitter, Jessica. The film excels at making these storylines feel independent; the audience doesn't mind the lack of initial connection because they are so invested in Cal’s comedic transformation from a timid, middle-aged man to a confident womanizer. In a surprising twist near the end, these plot points collide. This revelation shifts the tone toward high comedy—giving rise to the famous meme of Ryan Gosling’s laughter—and makes the narrative incredibly satisfying by ensuring every character relationship serves a purpose.

The comedy is particularly well-executed. Rather than relying on silly jokes, the film derives humor from placing characters in awkward, organic situations that drive the plot forward. While some portions feel slightly cliché, such tropes are expected—and often welcomed—in this genre.

The performances are impressive across the board. Steve Carell anchors the film with his relatable charm, while Julianne Moore and Emma Stone deliver wonderful performances. Ryan Gosling proves to be a perfect comedic partner for Carell. Notably, this is a film where Stone and Gosling’s characters actually end up together in a satisfying way—unlike a certain later film where they simply exchange a wistful glance from across a bar (wink, wink).

All in all, Crazy, Stupid, Love is a romantic comedy that does not overly complicate or overexaggerate its premise. The theme of believing in love despite the challenges is not lost on the audience because like so many other similar films, it hammers down the message by the climax. It may be another trope, but what it does achieve is putting the characters and by extension the audience that perhaps believing in love is not crazy or stupid after all.

08/04/2026

Ghajini is a 2008 Indian psychological action-thriller directed by A.R. Murugadoss. A remake of the director's own Tamil film of the same name, it stars Aamir Khan, Asin, Jiah Khan, and Pradeep Rawat, with both Asin and Rawat reprising their roles from the original. The story follows Sanjay, a man seeking vengeance against those who murdered his fiancée. However, Sanjay suffers from anterograde amnesia, causing him to lose his memory every fifteen minutes—a condition that makes his mission nearly impossible. Amidst his quest, a medical student discovers the tragic events leading to his condition and the past that was erased from his mind.

The film's three-hour runtime is extensive, especially given the basic plot. However, the narrative is split into two distinct storylines. The first is set in the present, following Sanjay on a violent killing spree against those responsible for the death of his fiancée, Kalpana. The film meticulously depicts Sanjay’s daily routine as he navigates life with amnesia; his tattoos and the notes scattered throughout his home emphasize his desperate need to remember. This builds strong suspense, as neither the character nor the audience initially knows the identity of the titular antagonist, Ghajini.

The second storyline, presented via flashbacks, explores Sanjay and Kalpana’s relationship. The shift in atmosphere is instant, as the flashbacks are brighter and more colorful. This visual change mirrors the tonal shift: their romance is interspersed with light, comedic elements typical of a rom-com. While the story is somewhat cliché, it remains engaging and entertaining, featuring trademark Bollywood musical numbers.

Because these two storylines feel like entirely different movies—one a gritty thriller and the other a romantic comedy—the three-hour runtime feels slightly unearned. Trimming a significant portion of the film to just over two hours would likely have improved the pacing.

Aamir Khan’s performance is unquestionable; he stands out by effectively portraying two different versions of the same man. His "past" Sanjay is sweet and confident, while his "present" version is a mindless berserker fueled by rage. Asin is captivating as Kalpana, playing a character the audience genuinely mourns. While Ghajini works well as a mastermind, he offers little physical challenge to Sanjay in the end. The action scenes are gritty and visceral, focusing primarily on hand-to-hand combat rather than fi****ms.

Ultimately, Ghajini goes to great lengths to tell its story, bolstered by strong production and performances. However, the bloated runtime and clashing genres do it few favors—especially for a remake. Perhaps a better Amir Khan film is on its way just a year later?

03/04/2026

People believed that a man could fly. But could a single man inspire hope?

Superman (2025) is the first theatrical entry in the DCU (DC Universe), written and directed by James Gunn. The film stars David Corenswet, Rachel Brosnahan, Nicholas Hoult, Edi Gathegi, Anthony Carrigan, Nathan Fillion, and Isabela Merced. In this iteration, Superman must face the machinations of his archenemy, Lex Luthor, who will stop at nothing to kill him. Superman also has to navigate the public’s deteriorating trust when the true purpose behind his arrival on Earth is revealed.

The first thing that sets this film apart from previous entries is how bright and colorful it is. While this review won't focus on comparing all Superman movies—especially those by Zack Snyder—it is impossible to deny how much James Gunn’s approach differs. This Superman is no longer somber; he even appears more vulnerable than Henry Cavill’s version. The plot is straightforward, beginning in media res. It doesn't waste time reintroducing Superman’s origin; instead, the film uses opening exposition and then dives straight into the action.

The film is packed with moments and stands as the most action-heavy Superman film to date. The pacing is relentless, which can be a double-edged sword. Tension rises steadily as Superman’s struggles pile up, offering only a brief pause before the third act for a sweet moment between Clark and Pa Kent. This leads into a climax featuring one of the most satisfying beatdowns Superman has ever delivered on the big screen. There is also a touching, yet humorous moment involving the "Justice Gang." Every major character has a purpose; none feel like tokens, and even minor characters, like a street vendor, leave a lasting impression. Krypto the Superdog’s inclusion is also welcome—he may be annoying at first, but he becomes essential to the story.

David Corenswet is the new Superman, and he is clearly here to stay. His portrayal is unique because he isn’t the strongest version we've seen on screen, yet he brings a sense of humanity to a character often viewed as godlike. Rachel Brosnahan is an interesting Lois Lane; she frequently clashes with both Clark Kent and Superman, even as her love for them shines through. Meanwhile, Nicholas Hoult delivers a chilling version of Lex Luthor—a mastermind willing to go to any lengths to kill his rival. This is arguably the most "evil genius" version of Lex ever seen in live action.

Superman is a character defined by immense strength and various abilities. While this makes him amazing, it’s also a source of frustration for writers: How do you challenge a character who can solve almost any problem with brute force? The answer here was simple: challenge him internally. In one of the film’s more controversial liberties, it’s revealed that Superman wasn't sent to Earth simply to be its savior, but to potentially repopulate Kryptonians by force. This implies that Superman’s "goodness" is merely a facade meant to soften humanity for a takeover. Lex Luthor successfully capitalizes on this revelation, bringing Superman literally to his knees.

The resolution, though delivered via a speech, is satisfying. Superman’s final words to Lex perfectly sum up why he is Superman, and not SuperKryptonian. He may be an alien physically, but his heart is human. Pa Kent’s quote—"Your choices, Clark. Your actions... that’s what makes you who you are"—is the core of what makes him a true hero.

Superman (2025) may not be everyone’s cup of tea, especially given the lingering attachment to Zack Snyder’s unfinished DC Extended Universe. Even so, this version of Superman restores the light and hope that DC needs. It serves as a perfect starting point for casual fans to see that Superman is a complex character, not a caricature—one that has endured through decades of stories to find his place in the modern era.

03/04/2026

If the mind forgets, does the heart forget, too?

This is the central question posed by the film Eternal Sunshine of the Spotless Mind. Released in 2004, this psychological science fiction romance explores the theme of love in the midst of memory loss. Directed by Michel Gondry and written by Charlie Kaufman, the film features a stellar cast including Jim Carrey, Kate Winslet, Mark Ruffalo, Elijah Wood, Kirsten Dunst, and Tom Wilkinson. The film received several accolades and served as the inspiration for Ariana Grande’s song "eternal sunshine," among others.

The plot revolves around Joel Barish, who meets Clementine Kruczynski and immediately forms a connection with her. Eventually, Joel learns that he and Clementine were actually in a relationship previously, which ended in a breakup so painful that Clementine decided to undergo a procedure to erase all memories of their time together. A devastated Joel chooses to undergo the same procedure, but as the process begins, he realizes how much Clementine truly means to him. It then becomes a race against his own mind as Joel decides whether forgetting the woman he loved or keeping her memory is the right choice.

Watching the film is a surreal experience. It looks hazy, as if the audience is watching a dream—which is fitting, as a significant part of the film takes place within a dream sequence. Even outside of these sequences, the "real" world maintains a dreamlike atmosphere. This was likely intentional, as the filmmakers wanted to keep a consistent tone between scenes. While not a flaw, the non-linear structure requires the audience to pay close attention; otherwise, they may find the progression of scenes confusing.

The production is outstanding, especially the seamless transitions of sets and props during the dream sequences. The clever use of lighting and camera angles ensures a smooth flow between shifting realities.

Jim Carrey delivers a transformative performance. Fans known for his comedic or cartoonish roles will see a different side of him here; he avoids exaggeration, yet maintains a powerful presence. Kate Winslet’s portrayal of Clementine is also laudable, as she essentially plays two versions of the character. The real-world Clementine is somber, stricken by an internal emptiness, while the dream version is upbeat and energetic, yet shrouded in confusion. Together, the two leads drive the emotional weight of the story.

The supporting cast effectively anchors the plot. Despite being high-profile actors, they never overshadow the leads, even when the subplots focus on them. Kirsten Dunst stands out in her role, and it is intriguing to see Elijah Wood portray a character who serves as a functional "villain."

As for the narrative, the film demands the viewer's full attention. The story shifts frequently between reality and dreams, often presenting events out of chronological order.

The film leaves us wondering: can a person truly move on by simply forgetting the one they loved? Or is forgetting merely the absence of thought, while the heart still yearns? Joel sought to forget Clementine, yet he was still drawn to her—and she to him, despite her lack of memory. The ending remains beautifully ambiguous, suggesting that while the future is uncertain, the past memories might be irrelevant compared to the present connection.

Ultimately, Eternal Sunshine of the Spotless Mind elevates the romantic genre by adding a profound psychological layer. It posits that the mind and heart are often in conflict, yet occasionally in agreement, when it comes to love. Joel makes one thing clear: even when the mind chooses to forget, love finds a way back because the heart remembers.

03/04/2026

“Our love is like the wind. I can’t see it… but I can feel it.”
— Landon Carter

A Walk to Remember is a 2002 romantic drama film based on the novel by Nicholas Sparks. Directed by Adam Shankman, the film stars Shane West and Mandy Moore. The story focuses on Landon Carter, a brash young man who is frequently in trouble, and his growing relationship with Jamie Sullivan, the modest daughter of a local reverend. Together, the two face several challenges, including one that would require a miracle.

Although the film is based on a novel, several changes were made to adapt the story for the screen. One of the major changes was the setting; the film is set in the contemporary 2000s, while the book took place in the 1950s. Whether this was a good decision is subjective, but it did help make the film more relatable to audiences at the time. Many of the plot points relied on modernity, such as the high school social dynamics and the scenes where Landon and Jamie bond over stargazing with telescopes. The film itself has a distinct early-2000s atmosphere that feels nostalgic today.

The plot follows the "bad boy meets good girl" trope in a high school setting, but the story carries a conflict that adds significant emotional weight. It is a romance that is doomed before it even begins. Jamie’s warning, “Do not fall in love with me,” seems simple or even contrived when she first says it, but by the end of the film, the audience understands it in a different light. This specific conflict shapes the entire theme of the movie and leads to the emotional, titular climax where Jamie walks down the aisle as Landon watches—the "walk to remember."

The casting of the two leads is effective. Shane West and Mandy Moore make their characters memorable. Since the story is told from Landon’s perspective, West had a challenging role, yet he successfully portrays Landon's transition from a selfish, arrogant boy to a selfless, loving man. Mandy Moore is equally excellent and particularly stunning during the play scene where she sings "Only Hope." Speaking of music, the film features a great soundtrack, including "Someday We’ll Know" and the ending theme, "Cry." These songs complemented the film and remain memorable on their own.

A Walk to Remember is a definitive early-2000s film that helped shape a generation's view of romance. Near the end of the movie, Jamie’s father reads 1 Corinthians 13:4, which describes the nature of love. In the final scene, Landon makes his own declaration—an iconic quote that perfectly captures the message of their story.🥰

02/04/2026

“What has he endured to reach this point?”
-Boruto Uzumaki

Boruto: Naruto the Movie is a 2015 Japanese animated film directed by Hiroyuki Yamash*ta and co-written by Ukyo Kodachi and Masashi Kishimoto, the author of the Naruto manga series. The film is the second canon theatrical entry following The Last: Naruto the Movie. Set after the original Naruto manga, it follows the story of Boruto, Naruto’s son, who aims to prove himself capable and step away from the shadows of his father.

The story already has an advantage because it was co-written by the author of the manga. The writing was actually stronger in this film than The Last because it is a character driven story. It focused on Boruto’s character development: from a brash, spoiled kid of a hero to a shinobi who learned the value of struggle. The pacing was also tight, it followed a three-act format that maximized the runtime. It only ran for about 90 minutes yet the story felt like a complete anime’ tv arc. There was enough time for narrative exposition while not compromising the fight scenes.

The film did not let any of the original legacy characters down (unlike in the tv series, especially in the case of Naruto and Sasuke). Naruto took a backseat in this movie, but he was in no way treated with disrespect. Sasuke, on the other hand, had a more major role in this movie unlike in The Last where he only had cameo appearances. There are several call backs from the original series that is a treat to long time fans such as the scene when Boruto wore Naruto’s original jacket and put on Sasuke’s forehead protector, and the passing of the torch moment where Naruto powered up Boruto’s Rasengan while flashbacks from the series were presented.

The animation was smooth especially in the fight scenes in the climax. However, the way the battles went were way different and far from how Naruto battles were. The climax was grand and big in scale, but if one is to consider that the people fighting were supposed to be ninjas then the fight was too loud and explosive.

The antagonists leave a lot to be desired. Momoshiki and Kinshiki are worthy antagonists based on their powers, but they have a minimal screentime. It also did not help that their motivations were similar to one off villains who only craved power and immortality.

The theme of hard work beats instant results was doubled down in the movie. Boruto was shown to be a capable and talented ninja, but he initially prefers instant results which led him in conflict with the ideals of his father Naruto who aspires the new generation to grow from working hard. Speaking of this conflict, the story presents the contrast between Boruto who grew up in a time of peace and lived a generally good life, unlike Naruto who grew up alone and shunned by his own village. This was a good setup for Boruto to become a character distinct from his father, the movie successfully establishes him as a distinct character with his own unique hurdles.

Had the franchise ended here, it would have been a perfect finale. But with the Boruto manga and anime now expanding the lore further, the message remains clear: Naruto’s era has concluded, and Boruto’s journey has truly begun.

15/04/2025

“The first rule is: you do not talk about Fight Club.”

Fight Club is a 1999 American film directed by David Fincher based on the novel of the same name by Chuck Palahniuk. The film starred Edward Norton, Brad Pitt, and Helena Bonham Carter. The film centers around the unnamed Narrator (Norton), who struggles with his bleak life until he meets Tyler Durden (Pitt), whom he befriends. The Narrator finds himself in constant awe as he gets to know Tyler further and eventually creates the titular Fight Club with him, leading to unimaginable consequences.

The story is structured in a first-person point of view, with the narrator constantly telling the audience of his thoughts. It was effective in establishing the character of the Narrator as well as limiting the perspective available to the audience, which served a greater purpose later on in the film. What the audiences and the film’s fans would agree upon that the film executed well was how it handled its plot twist. Because what seemed to be a man vs. man type of conflict evolved unexpectedly (or expectedly) to man vs. himself. The film transformed from an action thriller to a psychological thriller, an approach uncommon in movies.

Some might argue that the seeds for the plot twist were planted and foreshadowed early in the film, but those were only observable if: one, the audience is really immersed in the film, and two, it is a rewatch. First-time audiences would not be too keen on the blink-and-miss-it details, and therefore they would really be scratching their heads trying to make sense of the plot and how it went from the start to a certain point.

What draws the audience is not the story alone, but the complexity of the characters, which the actors justified in their performances. Norton is a well-known actor for his perfectionist approach to his roles, and this one, where he played the Narrator, was no exception. Arguably, one could say that he carried a lot of weight in the film. Pitt, on the other hand, delivered a performance worthy of praise. He had matched the energy Norton had, and it is no joke that he brought Tyler Durden to life only as he can. Bonham Carter was not to be dismissed either. She has exuded a different kind of aura in her role in the film that wouldn’t work if it was played by a different actress.

The cinematography did the film a lot of favors because it set up the tone for it. The color grading fit the dry and sometimes bleak atmosphere of the film. The camera angle and editing also served the film well. Had they not been executed that well, the film would no doubt fall in on itself because it was important that tiny details be kept hidden until they are ripe for presentation.

As for its detriments, the film has a considerable number of detractors that question the aim of the story. And these are also valid talking points. As much as the plot twist was great, this also came with the question of how it was possible for the Narrator to be a person both capable and incapable of acting the way he did in the film. And most importantly, was there really a sense in the ending? What happens next?

In any case, Fight Club is a film fit for those who want to watch something unique. Even by today’s standards, not many were as good as Fight Club. Like it or hate it, it is one of the films made that left a huge mark in Hollywood because even now, even when it is against the rules, many people, including you, are talking about Fight Club.

Final Rating 8/10

15/04/2025

Celebrating my 4th year on Facebook. Thank you for your continuing support. I could never have made it without you. 🙏🤗🎉

Nexus Reviews

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