The Moya View

Tag: mvie review

  • Eden: The Garden That Would Not Bloom

    Eden: The Garden That Would Not Bloom

    Ron Howard’s Eden is a fevered meditation on the fragility of paradise, a film that dares to ask whether utopia can survive the weight of human desire. It opens with a promise—a couple fleeing the corrosion of modernity, seeking purity on an island untouched by the world’s noise. Yet what unfolds is not a cleansing,…

  • On Becoming a Guinea Fowl: Whispers Beneath the Mopane Tree 

    On Becoming a Guinea Fowl: Whispers Beneath the Mopane Tree 

    There is a quiet rustling in On Becoming a Guinea Fowl, a noise not of wings but of memories, secrets, and the ancestral silence that coats grief like dust upon roadside shoes. Rungano Nyoni’s latest film opens with a sudden and spectral death—an uncle lying still on an empty Zambian road under a moon that…

  • Riff Raff:  Family Ties and Firefights

    Riff Raff:  Family Ties and Firefights

    If you like your crime capers served with a side of resentment, a dash of dysfunction, and a drizzle of dry gin, Riff Raff might just be your kind of nasty little cocktail. Streaming now on Hulu, it’s a sticky-fingered family reunion that plays out like a poker game with rusty revolvers and too many…

  • Jurassic Park:  Rebirth-  Mutants, Mosasaurs, and Mutadons: A Roaring Return That Almost Finds Its Footing

    Jurassic Park:  Rebirth-  Mutants, Mosasaurs, and Mutadons: A Roaring Return That Almost Finds Its Footing

    It’s hard not to chuckle when the newest entry in the Jurassic franchise opens with a mutated six-limbed T. rex named “Distortus rex”—a name that feels like it was brainstormed after two energy drinks and a midnight viewing of Sharktopus. Jurassic World Rebirth, directed by Gareth Edwards and penned by original Jurassic Park screenwriter David…

  • Chattanooga Film Festival: Old Wounds: **The Body Remembers What the Heart Cannot Say**

    Chattanooga Film Festival: Old Wounds: **The Body Remembers What the Heart Cannot Say**

    In the tremor before a word is spoken, Old Wounds begins—shaky, intimate, already too close. The screen pulses with breath, not score. The light is soft with intent, like the hush before a wound reopens. Director Steven Hugh Nelson does not ask us to suspend disbelief—he quietly informs us we’re already inside the story, that…