(trailer review) - The Odyssey

 

Here is something interesting straight away—I don’t actually think I know this story all that well. It’s been a long time since I properly read up on Greek mythology and while I’ve always found it interesting, this particular story feels fresh to me. That said, when you’ve got Christopher Nolan behind it, you already know it’s going to be elevated into something much bigger, or at least, this is how I feel, and honestly? This trailer looks epic.

It looks grand in scale, finely acted by everyone involved, and shot with that kind of precision that just screams big-screen cinema. I genuinely can’t see this being anything less than awards-worthy. And yes, maybe I’m biased because it’s Nolan, but damn… this looks good.

The trailer opens with Tom Holland floating alone in the ocean on a piece of wood, with the line: “Tell me what you remember.” The response: “A wife, a son, and we won the war.” Straight away, it sets the tone. From there it’s flashes of everything—Anne Hathaway, the Trojan Horse with soldiers emerging from it, armies storming in, Jon Bernthal roaring, and Charlize Theron asking question after question until it lands on: “And then what?” Then Matt Damon delivers the simple but powerful line: “Help me go home.”

From the trailer, it looks like his journey back is where all the chaos unfolds, while back home things seem tense, with Robert Pattinson seemingly wanting Anne Hathaway’s character to choose him while she holds out hope for her husband’s return. There are loads of quick shots of battle, despair and survival, but the standout for me was Odysseus and his men fighting what look like giant soldiers, with one literally being launched into a tree hard enough to snap it.

Then you’ve got Anne Hathaway’s delivery of “That world is gone”—which lands perfectly—followed by the line: “No one can stand between me and home, not even the Gods.” That’s the moment the trailer really locks in and I am fully engaged into the story. We then get soldiers charging across beaches, ships battling brutal waters, a whirlpool sequence, what looks like a giant figure moving through the trees (possibly the Cyclops), burning cities, and that final line: "I think it’s asleep.” Naturally, whatever “it” is… moves.

Everything about this looks huge, intense and classic Nolan. And from what I’ve heard about the Trojan Horse sequence already, that’s apparently one of the most tension-filled moments in the whole thing.

Yeah… this looks incredible.

(episode review) [STREAMING] - Daredevil: Born Again - Season 2: Episode 6

  

I’ll be honest—sometimes I like to listen to other critics and pundits after I’ve watched an episode, just to get a different perspective. Not because I can’t form my own opinion, but because I’ve started to notice something about myself: if I really like a show, I can overlook flaws a bit too easily. Moments that might not fully land/work, or questions that should be answered, can get brushed aside because I’m enjoying the experience overall. That’s exactly what happened here.

After listening to a discussion about this episode with John and Shannon (for full disclosure), I started to reflect a bit more critically. One thing that stood out is how much I’ve been relying on the show itself to eventually explain certain plot points, character decisions, or transitions—even when it doesn’t fully do that. Characters sometimes disappear for an episode or two and then reappear and the development feels shallow and while I’ve mostly gone along with it, it’s fair to say those connections aren’t always as strong or clearly developed as they could be.

Now, to be fair, not every criticism they had lands for me. I had no real issue with the therapist and Buck, and Jessica Jones’ introduction worked for me too—it was set up with a small line from Karen, and that was enough in my view. But the broader point does stick: this series could benefit from tightening its narrative threads and being a bit more deliberate in how it connects everything together.

When you look at the bigger picture, it makes sense. This was originally planned as an 18-episode run before being reworked. A lot was clearly cut, reshaped, and refocused to better align with what fans wanted. That likely explains why Season 1 felt like a collection of ideas loosely stitched together. Season 2 is definitely stronger—it has clearer direction, better ideas, and more engaging character dynamics—but those connective gaps are still there and it needs tightening.

That said, when the show hits, it really hits. The core characters remain compelling, the dynamics between them are strong, and the action continues to deliver.

Picking up directly from the previous episode, we see Wilson Fisk grieving over Vanessa’s death—a rare moment of vulnerability for him. But this is still Kingpin, and even in grief, he’s thinking ahead. While a funeral is held, Fisk is already making moves regarding the shipment, showing that his empire doesn’t pause for anything.

Jessica Jones enters the story properly here, crossing paths with Daredevil as she looks for payback. This leads to a warehouse fight involving the AVTF, and it’s exactly the kind of gritty, chaotic action you’d expect when those two characters share the screen.

Elsewhere, Daniel is assigned to feed BB false information to test her loyalty, adding another layer of tension and manipulation behind the scenes.

There’s also growing friction between Matt and Karen, particularly after Daredevil saves Bullseye. Their opposing ideologies are starting to clash more openly, which adds some strong emotional weight to their dynamic.

The episode builds towards unrest outside City Hall, with protesters clashing against the AVTF. What starts as a disturbance escalates quickly, culminating in the death of an AVTF officer and Karen being captured by Officer Powell—raising the stakes significantly heading into the next episode.

Overall, I did enjoy this episode. Seeing Krysten Ritter return as Jessica Jones was a highlight and playing a few notes from her theme qas a nice touch, and it’s interesting to see where she is at this point in her life, so it would be nice to tie these threads together. At this point, we know Luke is coming back, so will Danny Rand?, especially when he gave the Ironfist to Corleen Wing. Also, it would be nice to get Elektra and Clare Temple back. But I do find myself wondering where the story goes from here—especially when it comes to Matt’s path going forward and his evolving dynamic with Fisk now that Vanessa is gone. There’s a lot to like here, but also just enough missing to make you pause and think.

(trailer review) - Clayface

 

So at first, I didn’t even realise the trailer had started—it just sort of crept in. But as it went on, I clocked how unsettling it was getting, with these flashes of this guy (who I’m assuming is the main character), and I’m still not even sure “body horror” fully covers it.

It starts very slow—just a bandaged face staring out. Then quick cuts: a blond-haired man, back to the bandages, then him in a crowd, maybe at a premiere. Then it escalates—someone cutting into his face, injections, masks… all very fragmented and uncomfortable.

As it builds, continuing with shots of the bandages, that’s when it gets mad. His face starts melting while he’s looking in the mirror? In ome shot, he’s running through the street in another, and there are these flashes of him screaming—but his mouth isn’t opening properly, his lips are stretching in a way that just looks wrong. At one point he takes off his sunglasses and his eye is basically sealed shut.

And then that moment—he rubs his hand across his face and just… moves or maybe rubs away all of his features. Wild.

Clayface already looks like it’s going to be something completely different for the superhero genre. It leans hard into horror, and not in a safe way either. Considering Clayface is a villain, it’ll be interesting to see how this plays out, especially when Batman eventually comes into it.

But yeah… this looks crazy.