Felt like a stoned Pulp Fiction mixed with Snatch but through a Tel Aviv lens.

I laughed at the squirrel tattoo story, then five minutes later I was like, ‘oh no, this is gonna get dark.’

BODY plays like a tragicomic spiral — starting as a dark buddy film, drifting into existential farce, and crashing into genuine heartbreak. The tonal shifts are gutsy and not always smooth, but they reflect the characters’ instability. Sabaleh is a walking wound — and the film knows it.

Not a lot of action per se, but the tension in the scenes — especially that confrontation with the father — was explosive. You don’t need flips when the stakes are this personal.

The film does an excellent job of escalating without ever leaving the warehouse — that's not easy. My question is: did you storyboard all the chaos to the minute, or did you leave space for improvisation in scenes of conflict?

Caly blends the emotional depth of a father’s desperation with the structure of a revenge thriller. The narrative unfolds with operatic intensity, but some transitions between emotional beats and action sequences feel abrupt. Still, there’s a boldness in tone that’s commendable.

Bro, this was like Kick-Ass meets The Raid but with actual heart. The fight on the jeep? Sick. But also, I didn’t expect to get hit with all those deep lines about justice and sacrifice. Kinda gave me goosebumps.

I love it when the underdogs turn out to be beasts. Those two bodyguards? Absolute units. The school setting made it feel like a video game level

Ninjas. Bikes. Betrayal. Explosives. And then boom — emotional flashbacks that hurt more than bullets. I didn’t expect to feel stuff in a movie with that much fighting. Respect.

It dances between legacy and betrayal, using the shinobi mythos as a lens to explore modern espionage ethics. It's ambitious, almost operatic in tone, though some melodramatic scenes could’ve used a lighter touch. Still, the fusion of action and reflection is compelling.

Man, the chase scenes were wild! Cars, bikes, explosions — I was hooked. But hey, what happens next? That look Nolan gives at the end... is there a sequel coming?

That hand-to-hand fight between Dallas and Utah? Rough, messy, real — like it actually hurt. I respect when fights don’t look too choreographed.

Kyohei whispering to Sayori in the end... my heart broke. This wasn’t just about ninjas. It was about loss, love, and pushing forward even when everything’s taken from you.

The Knight Owls feel like a grounded, Southeast Asian take on Batman’s legacy. Loved the app, loved the code. It’s street-level justice done with style. Bonus points for not turning them into killers.

The film leans into heavy-handed symbolism, occasionally at the expense of narrative clarity. But it thrives on mood and subtext. The payoff lands — haunting and earned, even if not fully explained.