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Reviews by: @tylersnerdy_review Flee is easily the best documentary film I have ever seen and for sure in the top five of the best animated movies I’ve seen. It is an absolutely beautiful story of a young gay man forced to flee from his home country. Nominated three times for Best Animated Feature, Best Documentary Feature, and Best International Feature, I’m super sad that it one none of them. It really should have the Documentary award, but as we learned from the Animated feature award, the Academy is a Disney kiss Ass. The simple, hand drawn animation style gives the film a deeper sense of intimate emotions being spilled out onto paper. Something that has been held up inside of Amin for so long and is finally coming out after all of these years. Amin Nawabi, Daniel Karimyar, and Fardin Mijdzadeh work together to give amazing voice to “Amin” and his story. Animation is a great way to do a documentary as it lets the story unfold in a pleasing style I have never really thought of before. It lets the creators use flashbacks and actually show rather than tell what happened in the past. The way they mix their animation and real footage is very nice as well, showing footage I’ve never seen before. This story is one I haven’t heard nearly enough times, but one I’m familiar with. Amin is from Afghanistan, but my Stepdad from Iran has a similar story of being forced to run from his home at a young age because of a revolution. Thankfully for him his family had money and dual citizenship in Germany and were able to run without the obstacles we see from Amin and his family. This film broke me though. Like, I cried so many times I didn’t even realize tears were falling a few times. I was just so invested and engrossed in the horrors we as humans can inflict on other humans. Flee is both a master documentary and a master film at the same time that will just absolutely destroy and move you. Amin’s journey is heartbreaking and all too relevant to the people of Ukraine as they flee their homes now from those playing power games. Please get on Hulu and give Flee a watch if you can. I doubt you’ll regret it. I’m giving it a full on 10/10 and my fourth place spot for the entire year of 2021. -Tyler. By @tylersnerdy_review

Reviews by: @ryan_the_nixon 2022 12A Director: Roger Michell Starring: Jim Broadbent, Helen Mirren, Matthew Goode, Anna Maxwell Martin, Fionn Whitehead, Jack Bandeira, Aimee Kelly, Charlotte Spencer, etc. In 1961, Kempton Bunton, a 60 year old taxi driver, stole Goya's portrait of the Duke of Wellington from the National Gallery in London. He sent ransom notes saying that he would return the painting on condition that the government invested more in care for the elderly. What happened next became the stuff of legend. This was a very charming and fun British comedy. It had a very charming tone, with some great humour that was delivered excellently by Jim Broadbent who was fantastic. The themes of grief and the mistreatment of the elderly were good and well explored. The performances from Jim Broadbent, Helen Mirren and Fionn Whitehead were excellent. The cinematography was great, bringing the setting of the 60's to life very well. The characters were very likeable and charming to watch. With a strong set up and good plot development. As well as a charming and fun final act with some funny plot twists. However, I did have a few issues. There was some pacing issues and underwhelming moments where the robbery of the painting could have been more of a fun or less rushed scene. Plus, for me there lacked the required character depth that the film was trying to achieve but never fully could stick the landing. Mostly due to the underdeveloped plot points and a lack of emotional depth, often playing it safe with the depth that it could have reached. Overall, despite the film missing the mark slightly with the emotional depth. The Duke is a charming, funny and entertaining British comedy. With excellent performances and a fascinating true story about a man who just wanted to do some good in the world. Overall Rating 82/100. By @ryan_the_nixon

Reviews by: @tylersnerdy_review I found Parallel Mothers to be a very divisive movie for me. Madres Paralelas felt like it couldn’t decide what it wanted to be; a story of war and it’s generational effects on a community, or a story about motherly grief, or a story about hospital mistakes, or a love story. It tried to cram it all in and keep going. The synopsis they give you under the title on Amazon is fairly brief and all of that happens in about the first twenty minutes. So then you have to wonder what the rest of the hour and a half is about. I thought I was signing up for a movie about two women who are giving birth at the same time and teaching each other in their room. But this is mostly a story about being switched at birth that starts and ends with the story of generational effects of war. It is nominated twice for Best Original Score and Penelope Cruz for Best Lead Actress. I thought Cruz was really good here and her nomination was well deserved, but winning wasn’t an option. I don’t know about the score though. On its own, I think it is a good score, but when you hear it in the context of the scenes of the movie it makes no sense. It feels like it belongs to a totally different genre of a movie. Milena Smit plays a really good character but they make her very unlikeable at the end after a very late twist and then make her very briefly likable again. Israelel Ejalde is pretty good, but he only gets time in three sections, the start, the middle, and the end. Aitana Sanchez-Gijon and Rossy de Palma play such wildly different characters really well and I felt needed some more time to flesh them out some more. I think this is a good movie to watch because it does have a good story even if it has too many stories. But because of that I can only give it a 7/10. It’s like maybe the Director had a couple messages to get across but didn’t want to make two movies. It’s just too much in one narrative that’s already loaded with the main one. Give it watch and decide for yourself though. -Tyler. By @tylersnerdy_review

Reviews by: @aquel_maldito_cine_ochentado *REMOVABLE DERMIS SUIT* Hidden: The Hidden -1987 Jack Sholder 🇺🇸 🔎 What's it about? A space parasite is jumping from mouth to mouth turning its victims into destroying beasts. 📽 Who made it? Jack Sholder, master of pulp storytelling, creator of: Alone in the Dark (82), aberrant slasher of psychopaths on the run with a desire for blood; A Nightmare on Elm Street 2: Freddy's Revenge (85), an infectious sequel to the New Line hit that soberly reformulates the adventures of the owner of dreams; Two Renegades (89), an excellent buddy-movie with more action than chemistry between its protagonists; Missiles at Dawn (90), a powerful HBO product about a nuclear incident in the middle of the Cold War; 12:01, witness of time (93), successful criminal intrigue with a time loop premise; Generation X (96), failed pilot for the first adaptation of the X-Men; Wishmaster 2: Evil never dies (99), a comforting sequel to one of the 90's horror franchises that deserved better luck; and Arachnid (01), a shameful and pretentious commission for the Z series from the unsuccessful Spanish Fantastic Factory. 💎 What shines? The couple of cops (the ET, Kyle MacLachlan, and the OTO, Michael Nouri), a script that is a ticket for roller coasters, the work of an essential Jim Kouf, the trashy music of Michael Convertino, who prioritizes ingenuity over budget, that it's wildly incorrect, and that it's the perfect double feature companion to The Thing (82). 👑 Why do we like it? Because it is one of the most total films of the eighties: it has explosive action and Verhoeven gore, latex-filled mutant horror, a very well written police intrigue, social criticism (the alien learns human "greatness"), interplanetary humor, a voracious assailant (37 deaths + robberies + 1 assault on a police station), and a whirlwind rhythm that hits you to the seat from the moment the blessed New Line logo appears. By @aquel_maldito_cine_ochentado

Reviews by: @terrordetective Ever wonder if the folks behind Troll 2 made another hilariously awful yet hypnotically entertaining car crash of a horror flick? Behold: Night Killer (1990) As we all know, Troll 2 started life as a low budget indie horror movie called Goblins. American distributors decided to Troll-wash it when they saw an opportunity to trick theatergoers into buying tickets for the unrelated (and significantly worse) Goblins. ‘Night Killler’ was made in the same grand tradition of lies, marketed as ‘Texas Chainsaw Massacre 3’ in Italy even though it has nothing to do with the TCM franchise. Fun. Why they didn’t market it as a NOES movie is beyond me. The lead killer wears a weird melty face rubber mask and has huge finger claws. He doesn’t really look like Freddy, but whatever. Close enough. The movie starts with Claw Hand attacking a woman named Melanie Beck (Tara Buckman). She escapes with amnesia, only to be pestered by some weirdo with bug eyes and a fried chicken obsession. Is this the same guy who just attacked her? Is she processing her trauma through role-play? WTF am I watching? Trust me when I saw, you need to see this. It’s the weirdest, funniest, most ridiculous piece of trash you’ll ever witness. By @terrordetective

Reviews by: @tylersnerdy_review I very much enjoyed The Worst Person in the World! This movie was just so great. Nominated twice at the Oscars for Best Original Screenplay and Best International Film. I’m disappointed it didn’t take home either award but I’m happy with the movies that did. Coda and Drive My Car are very deserving movies. Renate Reinsve plays one of the most likable and fun female characters I’ve had the pleasure of watching. I really liked following the journey of her 20’s. Anders Danielsen Lie and Herbert Nordum play the cinema lover’s Jacob or Edward as both have so much pros and cons to them and you feel for Reinsve’s character. The movie is mostly the three of them and quite a few fairly graphic sex scenes. I applaud Reinsve for how often she’s willing to go topless, I felt it was handled well each time. Joachim Trier crafts such a beautiful story that is laid out very well. I really liked the twelve chapter with an epilogue style, and starting the film with a gorgeous shot set in the pivotal turning point of the film is really smart. So when you get to that scene you’re like “oh, that’s why we started there”. The scene that gives us the poster is so cool! Running through the streets as everyone is frozen really gets in the head of the character and shows her excitement for the choice she makes. You never know the impact someone will have on your life and we take something with us from every relationship we enter into. We are changed in some way by each person we know and this movie does a good job showing that. Not just romantic relationships, but parents, friends, and romantic partners friends. Whether we learn what we want, or what we don’t want, they teach as something we can use as we move on in life. It also shows the pressure we put on people to have children in a dying world or how someone in a relationship is often expected to set aside a dream for the other person. The Worst Person in the World was such a gorgeous film with really good performances and a lot of good messages. I would very highly recommend giving this a watch. I don’t really see what there is to dislike here. I’m giving it a 10/10. Never watched a Norwegian film before, I like the language. -Tyler. By @tylersnerdy_review

Reviews by: @coldculture_films Robert Zemeckis’s 2012 drama ‘Flight’ is an introspective outlook on the life of a renowned airline pilot that is victim to his self-indulgent vices and ego. As a man haunted by the mistakes and transgression of his past, he further gives way to self-destruction hoping to find solace in his hedonistic tendencies. Captain Whip Whitaker (Denzel Washington) is a renowned airline pilot that miraculously saves a flight from crashing. Upon further investigation however it is revealed that Whip was under the influence of alcohol and cocaine which counts as serious negligence since over six deaths were recorded in the near fatal flight. The rest of the film follows Whip as he must combat his current substance abuse and alcoholism as he must clear his name under judicial hearing. Denzel Washington gives an amazing performance as a haunted soul that cannot bear the weight of this investigation under his crumbling mental sanity. Although initially hailed as an American Hero, he is quickly brought under media security due to the allegations of being under the influence. Although achieving great success in his career, it was detrimental to his family life as he has a wife and son who equally resent him. Special mention can be given to John Goodman for his supporting role which bring a sense of well-earned comedic moments to a melancholic script. Zemeckis inserts philosophical undertones in the film as subjects of the existence of God, miracles rebirth and religion are subtly implied through the film. This can be particularly seen through the landing scene of the plane clipping the pitched tower of a church. An outdoor baptism is shown as a service is being held during the event. Zemeckis presents the scenario contrasting religious belief in a miracle of God when compared to man’s ability to perform modern day miracles. However, the film does suffer from a loose romantic coupling that seemed unnecessary with the character of Nicole (Kelly Reilly) a recovering substance addict that finds solace with Whip’s character and current predicament. Flight is a redemptive tale of guilt of a man trying to reclaim his soul that was once lost. Rating: 4.75/5 By @coldculture_films

Reviews by: @augustkellerwrites 2012 is proof that bigger isn't better. Its scope is massive, but 2012 lacks fundamental heart. Ironically, the movie's about global extinction, yet fails to establish a human connection. The tedious first act sets up numerous characters, but they're all rushed, generic, and insincere. Once the numbing action begins, protagonists are often in danger and audiences are meant to feel suspense. However, the repetitiveness is desensitizing, the transparent character arcs are predictable, and emotional investment is nonexistent. Furthermore, the acting is inconsistent because the children are substandard and the adults are either unskilled or disinterested. Meanwhile, 2012's technicals are sloppy. Sound is complex, CGI is heavy, and action is coherently shot, but these are minimum requirements. The editing balances the excessive plotlines, but is bloated with prolonged action and pointless scenes. The production design is unimaginative, cheap, and illogical. Finally, the direction is tone-deaf and in poor taste. Corny humor clashes with forced overdramatics, resulting in emotional whiplash. Plus, there are no respectful looks at the ramifications of the destruction. Melodramatic scenes show characters dying, but the movie moves along without lasting impact. Ultimately, 2012 is an insulting feast of noise and chaos. Writing: 2/10 Direction: 3/10 Cinematography: 6/10 Acting: 4/10 Editing: 5/10 Sound: 7/10 Score/Soundtrack: 5/10 Production Design: 3/10 Casting: 5/10 Effects: 7/10 Overall Score: 4.7/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

(Copy and pasted from my Instagram) Casino Royale - Alright, I just finished watching all five of Daniel Craig’s 007 James Bond movies. I’ve put them off for so long because I’m not the biggest fan of spy movies. But these five films are really good. I probably won’t be watching the movies before this because I just don’t care enough. But I did this because No Time to Die is nominated for a few categories at the Oscars. That being said, Casino Royale is my least favorite of the series. Fight me, sorry, I don’t understand shit about poker and this plot is poker heavy. Like, they’re playing poker to save the world. Craig is good here, I don’t have other Bonds to compare him to on his first outing as the character but it is my least favorite performance of his in the series. Eva Green does give a good performance as Vesper which is good since plot lines involving her appear in every film in the series. Mads Mikkelsen plays a pretty boring villain really well. He’s just the opening salvo of this Spectre organization that holds sway in the series. Judi Dench turns in a fantastic performance as M, making herself one of my favorite characters in the film. Jeffrey Wright’s character is so much fun who quickly becomes my second favorite character. Giancarlo Giannini is also really good here especially considering where they take his character after this movie. Jesper Christensen introduces us to Spectre as Mr. White in a pretty good way, but I’m a bit confused what happens to him at the end of this movie even after seeing all five. The Venice fight scene is super cool even if a little wacky, but the intensity of fighting in a sinking building is a lot of fun. The ending of this still confuses me a bit as well just based on the end of the second movie after what they say at the start of it. But I’ll avoid spoilers for this sixteen year old movie. Casino Royale is a good intro to this series and while it is a well put together movie that’s well acted with good action, it’s just a little boring compared to the others and my least favorite of them all. I’m giving Casino Royale a 7/10, I hope you’ll join me for this journey of reviews and don’t forget to be back here soon for Quantum of Solace, my third place film. -Tyler. Quantum of Solace - Daniel Craig returns two years later, in fantastic year for nerds 2008, as James Bond AKA Agent 007 in the second film of his series, Quantum of Solace which takes place immediately after the first film. Opening with a fun chase through the streets of Italy. I can see that this film is rated the lowest but again, fight me, I liked this movie and it takes my third place spot. Something about this one just really clicked with me. From the overhanging sadness left by Vesper’s betrayal and death, to the furthering of this Spectre plot. I like learning about shadow organizations. Craig gives a performance that’s pretty good here as the haunted Agent scorned by love who can no longer trust anyone. Olga Kurylenko is a delightful addition who becomes a badass on a dead set mission. Mathieu Amalric is the basic eco-terrorist villain of the early 2000’s who plays the role okay. Judi Dench turns in yet another amazing performance as do Jeffrey Wright and Giancarlo Giannini who remain my second and third favorites respectively. Gemma Arterton gets undercut here as Bond’s rebound chick that doesn’t get anything to do. David Harbour is randomly in this and plays the other common early 2000’s character, the shifty American Agent that you can’t tell if you can trust or not. Rory Kinnear is introduced here as a great returning character that I’ve come to like a great deal. Jesper Christensen is back as Mr. White but not for very long, before disappearing until Spectre. Joaquín Cosío does a decent job at the run of the mill South American Dictator villain character, with the added addition that he would just be a puppet. I don’t get how people could hate on a movie with not just a land, but an air, and a sea chase sequence scattered throughout the movie. The fights are better, there’s explosions this time (huge ones too, RIP that sick desert hotel), and Bond gets fleshed out just a tad more. I found Quantum of Solace to be a lot of fun and I’m giving it an 8/10, get mad in the comments. Thanks for joining me in part two of this series, hope to catch you in part three in just a little bit for my second favorite in the series, Skyfall. -Tyler. Skyfall - After four long years of waiting, audiences finally got the return of Daniel Craig as James Bond AKA Agent 007 in 2012’s Skyfall. The third installment of the series is my second favorite also having a theme song I could finally sing along too. I was no joke waiting for this so I could sing with Adele. Sam Mendes directs the first of two movies in a row for this series, and really doesn’t hold back. Giving us a truly fantastic Bond film with lasting impacts on the series. Craig gives his first great performance of the series and turns Bond into a character I really like with this one. Judi Dench gives her best and sadly last performance as M (minus a few lines in the next one). M’s death is the one big spoiler I had for this series going in and I forgot about until I started this. Javier Bardem finally gives us a memorable villain with a decent back story. Not a fan of him with blond hair though. Ralph Fiennes enters the series as a character I went back and forth with a lot in the following two movies. Naomie Harris also enters the series as Eve, and I absolutely love her character. Wish we got to see her in action more but I get why she stops. Ben Whishaw also enters the series here as the fantastic Q. You know a movie is good when it introduces three characters that return in the following two movies. Albert Finney is easily a standout character here as Kincaid, I wish he had joined the film earlier. Rory Kinnear is back with a slightly stepped up role and he does good. I really like the locations visited in this movie. They usually do a good job saying where they are but this starts pretty quickly and never really says where they are in the opening scene but I have deduced that it’s Turkey, most likely Istanbul. But James’s childhood home of Skyfall is gorgeous but poses a lot of questions that I feel we never really get answers to and that contradict something from the previous film. The abandoned (Japanese?) city that Bardem operates out of is super cool but unused. All of that being said, Skyfall is a 9/10 movie. Just absolutely fantastic. Part three really delivers and I hope to catch you in Part four with my fourth ranked film, Spectre. -Tyler. Spectre - After a whole three years of waiting, Sam Mendes finally brings Daniel Craig back as James Bond AKA Agent 007 in 2015’s Spectre. This one is a little disappointing coming off of that Skyfall high and being the same Director. This is my fourth ranked film in the series, so yes, fight me, I like it more than the first one. Craig is back to just being good as he delivers a kind of cold performance. Christoph Waltz joins the series as the head of the Spectre organization who has been making Bond’s life a living hell all this time (kind of undisclosed how long it’s been considering they don’t have smart phones until the next one). Léa Seydoux also joins the series as Bond’s replacement Vesper. I thought she was good here but she falls for James so fast for no reason. Ralph Fiennes is upgraded to M status here and turns in a good performance as we wonder if we like him yet. Naomie Harris and Ben Whishaw are back as Eve and Q and still just as great. Rory Kinnear gets a lot more to do this time and I appreciated that. Jesper Christensen returns as Mr. White one last time which is how we get Seydoux. Dave Bautista gets to be such a cool character that is shockingly boring with literally a single line of dialogue. Andrew Scott plays the most bland, copy and paste villain I’ve seen in a while. And after not being referenced in Skyfall we get a reference to Wright’s character who is finally back in the next one. I will never understand why these types of movies are OBSESSED with putting that god damn sepia filter over South American countries. Mexico is so pretty and the whole opening scene could have been so much better if it wasn’t edited to all hell. They do it again when they reach North Africa. I will give them this, the fight scene on the train is absolutely fantastic and really came out of nowhere. Despite all of that, I still had a lot of fun with this movie and jammed out with Sam Smith in the theme song being the third best theme of the series. I’m giving Spectre a 7/10 to match the first movie. Thanks for reaching part four. Hope to catch you in the final entry for this series with last years No Time to Die. -Tyler. No Time To Die - After a very long six year hiatus, Director Cary Joji Fukunaga brings Daniel Craig back as James Bond AKA Agent 007 one last time to end his tenure as the infamous Ian Fleming character. 2021’s No Time To Die takes the cake as my favorite film in the series as it neatly brings to a close all the ongoing plots of the series. Snatching itself up three Oscar nominations; Billie Eilish’s amazing “No Time To Die” theme song for Best Original Song, Best Visual Effects, and Best Sound. I think it very much deserves to win the song category, the others not so much. Craig delivers one last fantastic performance as Bond as he makes me feel the connection with Léa Seydoux this time. And she is great here, starting off with a great opening scene performance. Rami Malek is a pretty terrifying villain that I was really looking forward to but he ultimately just falls flat sadly. Lashana Lynch is fantastic here as the interim 007 while Bond is retired. Ralph Fiennes, Ben Whishaw, Naomie Harris, and Rory Kinnear all return and are all fantastic with their final performances for the series. Jeffrey Wright finally briefly returns as Felix and I’m so happy with him here. Christoph Waltz also briefly returns making himself a better villain as well. Billy Magnussen was a good addition but I wish we had seen more. Ana de Armas is kick ass in her like, ten minutes of this long ass movie and I’m sad she didn’t stay for more of it. At nearly two hours and fifty minutes this movie will definitely feel long but you won’t care as it whips through with some great action and better performances as the stakes are at their highest. I felt they brought everything to a pretty satisfying and well earned conclusion that book ends Bond’s character development really well. You can really see how much he’s changed from start to end by the end of this movie. The gadgets are fun and provide some good action to offset the fact that the villain plot is pretty basic. But it does bring in some good political talk that’s a little relevant to the recent few weeks of global politics. I really wish I had seen these movies earlier so I could have seen this in theaters but they make for a great binge. 9/10. -Tyler. My final ranking - No Time To Die Skyfall Quantum of Solace Spectre Casino Royale By @tylersnerdy_review

Reviews by: @soyseriefila ¿Dónde la encuentro? Netflix Una de mis comfort series preferidas. Anne es una niña huérfana que por error llega a la vida de Marilla y Matthew Cuthbert, dos hermanos cercanos a la vejez que nunca se casaron ni formaron familia propia. Superado este malentendido, Anne vivirá muchas aventuras en Avonlea y en su querida Green Gables. Vi la serie y leí los libros. Son dos cosas totalmente diferentes (salvo por el inicio de ambos), y por ende podría decir que son incomparables… pero igual me quedo con la serie por todo lo que agregó (no es culpa de los libros ser de principios del siglo XX). Primero que nada, tiene mucho más conflicto, y esto mueve tanto a los personajes como a la historia. Además, toca temas profundos de forma muy bella, como el feminismo, la libertad de expresión, el amor propio, el racismo, el bullying, el prejuicio, la amistad, la solidaridad, ¡y seguramente me estoy olvidando de varios! Los personajes son entrañables, incluso con sus defectos. Anne, Marilla y Matthew son lo más lindo que hay. Es hermoso ver el proceso de cómo se convierten en una familia, y cómo la llegada de Anne a Green Gables les impactó positivamente a los tres. Necesitaría miles de posteos para decir todo lo que me gusta de cada personaje, así que voy a resumir diciendo que los amo a casi todos (Gilbert mi hombrecito 💜). Visualmente es un sueño. Tiene una fotografía, unos planos detalle, unos paisajes, que te enamoran. Te dan ganas de traspasar la pantalla y quedarte ahí para siempre. El soundtrack es todo lo que está bien. Desde melodías alegres hasta otras más melancólicas, pero todas preciosas y súper acertadas para los momentos en los que son utilizadas (o sea, yo lloro escuchando algunas de las melodías, a ese nivel son una maravilla). Finalizo esta reseña deseando tener aunque sea poco de Anne, de su imaginación, su capacidad de expresar lo que piensa y lo que siente, y su fascinación por todo lo que lo rodea. Y deseando que si no viste la serie, ¡que la veas! 🍿 Calificación: 5/5 By @soyseriefila

Reviews by: @tvnerdaran Sergio Leone’s “Once Upon a Time in the West” is easily one of my favourite films of all time. Like his other magnum opus “Once Upon a Time in America”, it is a sprawling, operatic historical epic about love, revenge and betrayal that closely examines the inherent greed and violence deeply ingrained in the American identity. It is also a scathing historical and socio-political commentary on capitalist exploitation with the subplot of Morton’s railroad, and a mournful examination of America’s western expansion/assimilationist policies in the mid 19th century. “Once Upon a Time in the West” revolves around four central characters; Harmonica (played by Charles Bronson), a mysterious gunman with a secret personal vendetta against the main antagonist Frank (played against type by the normally heroic Henry Fonda); Jill McBain (played by Claudia Cardinale), a beautiful young woman who arrives only to find her new family slaughtered and their land being confiscated; and Cheyenne (played by Jason Robards), a charming and roguish bandit who helps Harmonica and Jill in their crusade against Frank. The film gives a distinct theme identifying each of the four main characters, with Ennio Morricone’s sweeping, majestic score successfully capturing the operatic aesthetic that this film aims to achieve. Like “Once Upon a Time in America”, and many of Leone’s other works, the cinematography and camerawork is absolutely sumptuous, carefully juxtaposing sweeping landscapes and gorgeous scenery against the brutal violence committed by its characters. The film, also like much of Leone’s other works, is very sparse on dialogue, instead allowing for Morricone’s score, the sweeping cinematography, and the character’s facial expressions to do all the talking. Leone manages to simultaneously be a visual poet without coming across as pretentious while also engaging the audience with an enticing narrative. Leone also offers a subtle but scathing critique of America’s western expansion, as shown through Morton’s railroad and the exploitation of its workers, as well as the horrific cruelty and sadism of Morton’s top enforcer Frank. The film shows how the greed of the upper-class Morton and the sadistic actions of the mercenary Frank ravage a small town in Utah through the mass exploitation of the town’s workers, and the murderous mayhem that Frank subjects an innocent family to at the beginning of the film. Through Frank’s malicious actions and Morton’s greed, Leone subtly showcases the greed, violence and corruption prevalent in American society as the film’s female protagonist Jill McBain suffers the loss of her newlywed husband‘s family through Morton’s greed and Frank’s murderous sadism. Against the backdrop of Leone’s anti-capitalist critique lies a simpler revenge story of the nameless Harmonica who seeks vengeance against Frank for the death of his older brother when he was a young man. Leone also offers very subtle racial commentary as much of the railroad’s exploited workforce consists of both Native Americans and African-Americans, subtly hinting at the racism present in the Old West, and deconstructing the racist depictions of African and Native Americans in the films of John Ford and John Wayne. The film is Leone’s ultimate statement against westward expansion and American exceptionalism. Frank represents the film’s embodiment of evil, murdering innocent people in pursuit of both his insatiable greed and bloodthirsty sadism, and Harmonica, who bears a strong Native American appearance, is the film’s anti-hero who eventually murders Frank and rids the town of Frank’s morbid influence, marking a rare instance of a Native American character being the heroic protagonist in a mainstream Western. The film also shows a somewhat positive female character in Jill, who fights off Frank and his men and who manages to maintain her husband’s land through sheer will and determinism. She is by far the greatest and most well-written female character to ever appear in a Sergio Leone film. Through all of this, Leone single-handedly deconstructs all of the regressive tropes of the American Western, and instead offers a sprawling statement on the inherent greed, violence and corruption deeply ingrained in the American soul, as well as the ensuing birth of the modern world. It is by far the most political of all of Leone’s films, and one of his very best. By @tvnerdaran

Reviews by: @augustkellerwrites Batman is well made, despite an empty script. Solid acting aside, characters are unmotivated. First, Bruce Wayne is hardly present and woefully underdeveloped. His extreme measures are never properly explained. Eventually, audiences learn about his parents, but that isn't explored. It's too little, too late. Meanwhile, Wayne's romance is forced. They're inexplicably in love, despite sparse quality time or chemistry. Next, the Joker is nonsensical. Nicholson is charismatic, but his plans have weak purpose. Lastly, nobody arcs because there are no themes to progress. Viewers might care because of pop culture influences, but not because Batman has depth or growth. Conversely, Batman has excellent technicals. The cinematography is distinct, utilizing Dutch angles, dramatic shadows, composition, and symbolic movement. The elaborate effects use green screens, matte paintings, pyrotechnics, and miniatures. The main theme song by Elfman remains iconic. Finally, the production design is the highlight because its grungy art deco style perfectly suits the narrative and creates an immersive world. The sets, props, and costumes all have lived-in details that are unique and cohesive. Overall, Burton's attention to the script is lacking, but his filmmaking prevails. Batman is flawed, yet its craft offsets those issues and makes it a worthy experience. Writing: 4/10 Direction: 8/10 Cinematography: 8/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 9/10 Effects: 9/10 Overall Score: 7.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylersnerdy_review Infinite Storm is a truly marvelous movie that shows the depths of the power of the human spirit and what makes life worth living. Naomi Watts is fantastic here as Pam, she delivers an amazing performance here, which is good since she is most of this movie. Billy Howle also does such a great job as the guy who is need of saving. Delirious and weak from the frostbite he gives such a good performance. The movie is thankfully pretty short, because boy is it slow. That is my one gripe, but it’s filmed so well and acted so well that you’ll stick with it and be happy for it. Watts’s character has a past that is interesting to try and figure out as the movie goes on, to learn why she climbs this mountain every year adds to the mystery of the movie. I don’t watch too many survival movies, I haven’t seen one since 127 Hours, but I really enjoyed this movie. There really isn’t a whole lot to say about this movie without spoiling anything, and being so short, and being about only two people makes it harder to talk a lot about as well. I would for sure recommend giving it a watch if you have some time to kill. I’m giving Infinite Storm an 8/10, hope to see it at the Oscars next year. -Tyler. By @tylersnerdy_review

Reviews by: @jasmynreviewsstuff ”Big Fat Liar" has to be one of the most underrated and hilarious comedies of the early 2000s. It tells the story of Jason Shephard (Frankie Muniz) who constantly lies to his parents. One day he gets caught by his teacher who makes him hand in a paper that day or go to summer school. After Jason gets hit by famous movie producer Marty Wolf's (Paul Giamatti) limo, he leaves his essay behind which of course his teacher and parents think is a lie. Jason and his best friend Kaylee (Amanda Bynes) decide to go to Hollywood and confront Marty Wolf after they see a trailer for Jason's story that Wolf stole. He is on a mission to prove to his family that he's not just a liar. This movie is SO funny! Paul Giamatti is hilarious as Marty Wolf and the character really makes the movie. He's such a jerk that you can't even feel bad for all the craziness Jason and Kaylee and everyone else who he's mistreated put him through. The best scene is when Jason and Kaylee sneak into Wolf's luxurious house to Duran Duran's "Hungry Like the Wolf," and put blue dye in his pool and orange dye in his shampoo. They also put superglue on his earbuds which he attempts to remove while driving and almost crashes. What's so funny about what they do to Wolf is that Jason isn't even saying don't make "Big Fat Liar." He only wants Wolf to tell his dad that he wrote his paper so he doesn't have to go to summer school. Karma, am I right? Frankie Muniz and Amanda Bynes are really great in these roles. I think they're both super believable even though 2 teens taking a plane across the country to seek revenge is a little bit out there. The supporting cast also has notable actors such as Jaleel White, Sandra Oh, Donald Faison, John Cho and Taran Killam. My favorite scene with Amanda Bynes is when Kaylee has to get Marty's secretary out of the office so Jason can confront him. Noticing Astrid's love of dogs she decides to tell Astrid that she parked on a dog. So funny! The big climax of the movie when every single person who Marty Wolf has wronged bands together to get him to confess to stealing "BFL" (as Wolf hilariously calls it) is so incredibly satisfying. They even go as far as to make Wolf think the helicopter he's on is going to crash and he and the pilot have to jump with a single parachute. Overall, "Big Fat Liar" is such a fun movie to watch. The story is silly but the message it presents about lying and karma is one that we can all heed. Don't be a Marty but also maybe don't be a Jason and dye a man blue. 8/10 By @jasmynreviewsstuff

Reviews by: @wackyfrickeando ✅Ya sabéis que de vez en cuando me dejo caer por producciones de animación. Hoy os traigo #undone que podéis encontrar en #primevideo. ↪Historia #scifi sobre viajes en el tiempo y distorsión de la realidad con un toque diferente y original. ⬆️Lo mejor de esta producción es, sin lugar a dudas, su animación. Mediante la técnica conocida como rotoscopia (grabación de actores reales, dibujado encima de esas grabaciones, y en este caso, animación en 3D y creación de escenarios con pinturas al óleo) han conseguido una espectacularidad visual que sirve para mostrar en imágenes la complejidad del mundo onírico de esta propuesta. Tecnicismos aparte, la trama es compleja y atractiva, mezclando fantasía, misterio y ciencia ficción, sin dejar de lado el dramatismo que confiere la historia de sus personajes al producto final. ⬇️Como puntos negativos, destacaría que pese a la espectacularidad visual, cuesta conectar con la propuesta en sus primeros compases. Y por otra parte, la trama puede resultar compleja ( una ida de olla, vamos) así como un final abierto que te deja con la necesidad de una conclusión más explícita. ❇Hay confirmada una segunda temporada, que aún no se ha iniciado por temas pandémicos... ✴Dato innecesario: la técnica de la rotoscopia se ha utilizado en infinidad de producciones: películas como "A scanner darkly" o los sables láser de "Star wars", en series animadas como "Betty Boop" o "Popeye", en videoclips como "Yellow submarine" o "Take on me" y en videojuegos como "Prince of Persia" o "Another World" Habeis visto 'Undone'? Que os parece su tecnología artística? Os leo como un monigote dibujado a todo color👇🏼👇🏼👇🏼 Saludos y hasta pronto!!!🖖🏼 By @wackyfrickeando

Reviews by: @flix_n_dawn Language: English Genre: Drama Director: Kornél Mundruczó Introduction: Pieces of a Woman is a 2020 Canadian-American drama directed by Kornél Mundruczó and written by Kata Wéber. This is the film adaptation of the stage play of the same name by Mundruczó and Wéber (2018). It had its world premiere on September 4, 2020, at the 77th Venice International Film Festival where Kerby won the Volpi Cup for Best Actress. Kerby was also nominated for the Academy Award, Golden Globe, British Academy of Film and Television Arts Award, Critic’s Choice Award, and Screen Actors Guild for her phenomenal performance in the film. Frame, Score, and Setting The story revolves around a young couple Martha and Sean, who are expecting their first child. The film starts with Sean on the frame on his day at the bridge construction site on September 17th. He leaves early and goes straight to his wife’s office. Martha, slicing the cake and smiling timidly during the baby shower party thrown by her office mates. Then, the couple head to a car dealer (Chris) who happens to be the husband of Martha’s sister (Anita). There they meet Martha’s mom (Elizabeth) who buys the couple a minivan. That scene when the whole family members are present signals a peculiar family relationship. Elizabeth belittles Sean while a cold wall between Martha and her sister (Anita) could not be shrugged off. At home, the couple talks casually until Martha starts to feel the contraction. Following next is the 23-minute single shot home-birth scene that I should say is the most intense, nerve-wracking, devastating, and too painful almost unwatchable opening scene I have seen in recent years. The camera work is flawless especially the tight shot during the birthing scene. The cinematography from the beautiful imagery of seeing the child for the first time to the crushing loss is perfectly framed. I notice Benjamin Loeb shot Sean’s back instead of his face during every heart-rending scene while frequently capturing Martha’s emotion through close-range shots. While most films with intense drama have an equally intense score, Howard Shore stirs the audiences’ emotions through the pianissimo score. It is almost inaudible at some times so it is advisable to wear a headset if you are particularly paying attention to this aspect. The soft piano solo is melancholic making the emotional scene even more agonising. A distinct style in the dynamics of the score could be noticed every time Martha is walking or visiting places because BGM is played louder at those times. Characters and Acting Performances Shia LaBeouf playing Sean is earning through a blue-collar job on a bridge construction company. He has a jarred personality, a dark past, and has been sober for more than 6 years. LaBeouf has shown spot-on performance in portraying his character and handling its dynamics. The speechless blissfulness upon laying his eyes on Yvette (baby) for the first time, agony for not knowing the cause of their baby’s death, burning desire to feel Martha’s affection again, tormenting wailing at the bridge, and self-disgust during Elizabeth’s final deal are palpable. During his darkest hours, the frame shows his back instead of his face not because LaBeouf could not do such a very emotional scene but it is the way of differentiating man and woman’s way of handling despair. As man usually would conceal his tears and so is Sean’s face hidden to the audience. Martha (Vanessa Kirby), is a career woman who came from a middle-class family. She is carefree and strong but had developed remorse against her mother and sister. Kirby’s performance was nothing short of breathtaking. In that single shot how she moans, cries, curses, shouts, and shows confusion are done brutally raw. She essays Martha’s persona as a devastated but resilient, angry but emphatic, strong but broken woman. She exemplifies a woman suffering from postpartum trauma with utmost honesty. Elizabeth Weiss (Ellen Burstyn), a well-off old lady in her early stage of dementia, blatantly shows her dislike for her son-in-law. Being a veteran actress, Burstyn shows the superior internalisation of her character. I have to commend on that astounding monologue as she painfully narrates her past while desperately persuading Martha to stand for herself and give justice to the baby’s death. The rest of the cast though had minimal roles but are able to deliver the performances required of them. Another exceptional performance of the couple happened on the 13th of January. When the couple is on the brink of their relationship, Sean tries to have an intimate moment with Martha. Though Martha did not explicitly refuse, her actions speak otherwise. Thus, manifested sexual assault that leads to physical abuse. That scene is seamlessly framed and precisely acted. Screenplay, Dialogue, and Direction The narrative is presented through 8 significant dates each opening with the bridge Sean is building. The opening scene is presented with astonishing visual storytelling. It is impeccably done that the audience feels the unbearable pain of Martha during contraction, cries for joy upon seeing the baby, and turns frantic as the baby turns blue. However, the opening scene is so outstanding that the rest of the film seems downhill. Just like how it is divided into different dates, the storyline seems fractured and the plot is inconsistent. At some points, the audience would ask questions on how and why things happened (like how Suzzane and Sean ended up with extramarital affairs). The screenplay is so invested in Martha’s characterization that some of the details are neglected. The climax is a bit rushed and the transition of events is rough and incoherent. The dialogues are well-penned and brilliantly executed however, because of some lacking details it turned out to be superficial. I understand that the director and the writer had a similar story in the past but I think the plot is a bit ambitious. It tries to tackle postpartum syndrome, despair of losing a child, domestic violence, extra-marital relationship, and coping with the lawsuit but the last theme is not handled properly in the film. I also find some scenes extremely slow and long (like taking and rearing the apple seeds). It could have been better if Weber invested in other much-needed details like focusing on the precedent of the courtroom drama. If ever Mundruczó planned on using the apple for symbolism, I have to say it didn’t pull off. The bridge as an analogy of the couple’s relationship is clever. Despite its shortcomings in the plot, Mundruczó is still able to produce an honest depiction of a family battling for anguish, anger, and grief towards letting go and moving on. Conclusion This movie makes you see and feel the excruciating pain of losing a child through convincing performances, realistic frames, poignant scores, hard-hitting dialogues, solid characterization, and clever direction. As Sushmita Sen (Miss Universe 1994) said that being a mother is the essence of being a woman, I can’t imagine the pain of having that feeling for just a second and losing it seconds after. Pieces of a Woman is a lucid depiction of a shattered woman and her quest to become whole again. By @flix_n_dawn

Reviews by: @guimondreviews Going into this I really wasn't expecting much at all. I figured this would be a fun, turn your brain off movie that I could watch. For what it's worth, I thought this film did really well. Unhinged follows a woman and her son who get caught up in an altercation while driving, leading to the driver hunting down and trying to kill them. The biggest problem I had with this was just how jarring they made Russell Crowe's character. The things that he does to get into these characters heads, such as getting the rest of their family and friends involved, was just not necessary. They could have made this character less insane and still had him be an effective antagonist that was more within reason. Instead we get this berserk character with a bland backstory of a man who was divorced, and seeks "violence and retribution" (actual quote) because he has nothing left. Despite this, I still had a fairly good time watching. The intensity of Crowe pursuing these 2 and what they would attempt to do to get away/escape further consequences was actually really fun. Crowe's character was also unpredictable at times, adding to the tension of what this woman and son are going through. The ending to this however does lack some creativity and is not the greatest I will say. Now, this movie may in fact just be a giant subtle PSA about road rage and distracted driving, but it's still a fun one. One takeaway that I do appreciate that this film touches on is that our culture is far too often in a hurry and or reliant on being on time, which does lead to road rage and reckless driving. Crowe does play a totally "unhinged" character in this, but I do have to give him some props for really committing to this insane character. Caren Pistorious and Gabriel Bateman do also have effective performances as our main characters in danger. Given its reviews and premise, I was pleasantly surprised to have enjoyed Unhinged, even with some flaws. Even if it comes off a little preachy about safe driving, it was still a really fun ride. Rating 7.9/10 By @guimondreviews

Reviews by: @tylersnerdy_review I finally finished another novel for my 19th Century English Novel class. Instead of reading a novel in two weeks we took a month to read this one with Spring Break near the end, so overall a good five weeks to finish this. I’ve heard a lot about how daunting Dickens is to read because of how realistic and descriptive his stories are, but this read very easily and I was able to understand the whole story as it unfolded. David Copperfield is a masterpiece of a coming of age story. Charles Dickens somehow creates dozens of characters for this novel and makes them all so unique that you remember each of them. This is an absolutely massive novel and if it weren’t for Game of Thrones it would be the longest book I’ve finished. The character of David is one of the most realistic and relatable characters of the 1800’s and there are so many things about him to like. Which makes reading these 800+ pages much easier. It’s insane to think that audiences were reading this novel every month for almost two years before they could finish the whole thing since Dickens published about three or four chapters (or about 40 pages) every month. But doing that made this novel more affordable to the everyday masses. David goes through a lot in his life and all of it adds up to this very satisfying and earned ending with seeds blooming that were planted far earlier in the novel. Everyone gets a conclusion to their story and every story (and there are many in here) gets a conclusion. This novel won’t be for everyone, you have to be willing to commit to the length and stick with it. But reaching the end makes it all worth it. Charles Dickens’s “David Copperfield” gets a big 10/10 (5/5 stars) from me, I suppose it’s time to figure out what Dickens novel I want to read next. -Tyler. By @tylernerdy_review

Reviews by: @dylanandhismovies In the middle of my Breaking Bad binge, I decided to take a break and see what’s on tv... this is what I found. And was it a horrible decision? Yes it was. I literally regret every second of it. It’s probably a movie where I was more interested in the commercials than I was interested in the movie itself. And I should preface, I don’t care about the first Pacific Rim either; it was way too long and it was a bit too corny for my liking. But what the actual fuck was this movie? I legitimately find it hard to say any nice things about this. I guess my only positives are that I like the Jager designs; they each feel pretty unique in comparison to the last movie. And I like the actors John Boyega and Charlie Day. I don’t like their characters or anything, I like their other work. Oh and I guess the movie isn’t over two hours long so... yay? So my negatives... where do I start? I mean even though it’s not over two hours long, it felt like it; maybe the commercials didn’t help with that at all, but it felt like a total drag of a movie. It doesn’t flow AT ALL. It feels like a million things were thrown at the wall to see if something sticks. Like you have Idris Elba’s character’s son who is like the new leader of like this kid’s jager team or whatever, and then Charlie Day is now the villain, and Scott Eastwood is there too... doing stuff! There are fights! And they are pretty similar to Michael Bay’s Transformers fights; where it’s just semi-blurry computer generated effects smashing together like they’re action figures. They feed these actors some of the most non-funny and uncool lines... and maybe this wouldn’t be a problem if Steven S. DeKnight knew he was making a stupid movie, but it’s kinda clear that everyone (maybe minus Charlie Day) was taking this movie pretty seriously. And when it was time for Boyega’s big speech before the climax, I couldn’t help but laugh. I genuinely think that a Pacific Rim movie can legitimately work, but in my opinion, it needs some sense of self-awareness of its sheer ridiculousness. I guess my only other real complaint is that the music used in the movie was weirdly inconsistent; I feel like it couldn’t decide whether it wanted to be overbearing (like Tenet) or very subtle and purely complimentary. It was a really weird contrast between the two that kinda took me out of the movie. Overall though, I have nothing genuinely nice to say about this one. I like what DeKnight did for Daredevil on Netflix, and I will always love him for that, but this is a steaming shitpile of a movie. It doesn’t help that I watched it on tv (with commercials) and it didn’t help that I wasn’t a fan of the first one either. But after everything is said and done, I cannot really give this a higher rating than 1.8 out of 10. It just sucked on every aspect. I would rather watch ten Kissing Booth movies than this. So uh, did you watch this one? I hope not. Thanks for reading folks! By @dylanandhismovies

Reviews by: @thereviewofeverything Starring: Dylan O'Brien, Thomas Brodie-Sangster, Kaya Scodelario, Ki Hong Lee, Rose Salazar, Giancarlo Esposito, Nathalie Emmanuel, Dexter Darden, Will Poulter, Aidan Gillen and Jacob Lofland. Thomas and his friends return to the last city remaining to retrieve Minho and defeat WCKD once and for all. THIS. MOVIE. BROKE ME 😭 I don't even know where to start. The beginning was a lil iffy, felt like something pulled out of F&F. But once they got back to the city everything started to pick up and it was so good. I liked the whole heist theme to it, dystopian Ocean's Eleven? Don't mind if I do. (I mean, it wasn't really that heisty but anyway) I'm thrilled that this movie was better than the last one, considering how much I didn't enjoy it. I was a little nervous for this one but it was fantastic. Teresa in this movie didn't bother me so much, I much preferred her as a villain-ish. And the return of Will Poulter - yay! All right, the bit I'm itching to talk about. NEWT 😭 WHY?? HE WAS MY FAVOURITE 😭 But for real, the way he died was painful, man! He begged Thomas to kill him! He grabbed the gun and tried to shoot himself. Then I thought he stabbed Thomas but instead himself! And the build up to his death, knowing he wasn't going to make it, screaming at him to take the note...Thomas Brodie-Sangster was flawless in the role. When he got sick, I thought he'd come close to death and then be saved but this was better. Even after he died, I didn't believe it. But when Teresa died I got sad. Not bc of her, bc I knew that meant Newt was really dead. I was bawling my eyes out. Especially when Thomas found the note and they wrote his name on the wall. Everytime I watch the death I cry 😭 It might not have been the perfect movie but it was for sure the perfect ending to the trilogy, as bittersweet as it was. The rock with the kids' names on it was so upsetting - all the dead children :( Guess who's crying to sleep tonight? 1st movie was great, plot and mystery wise, but this one pulled on my heartstrings so much 7.5/10 By @thereviewofeverything

Reviews by: @the_owlseyes “The world is a dangerous place to live, not because of the people who are evil, but because of the people who don't do anything about it.” Albert Einstein PLOT "In a dystopian America dominated by Nazi Germany and Imperial Japan, a young woman discovers a mysterious film that may hold the key to toppling the totalitarian regimes" or "What If...? World War II" SCRIPT The concept is bold and the execution is even bolder. I think that this series will reasonate with every generation because it shows the fact that with or without the war our world is still doomed by power hungry oligarchs and greed. Only the goodness of the people can change it. The shows exposes every aspect of the life in a world where the axes has won the Second World War and it's hard not to feel for John Smith, an army officer splitted between the love for his family and the need to change his reality. There're a lot of particularly touching moments where the audience is shaken to the bones. The sci-fi side of this series isn't prominent but it's well handled. All of it works till the last season, where the politically correct takes central stage and ruins the experience. Overall it isn't a bad series but it loses itself in the last season and the finale is anti-climatic. I consider myself half satisfied because the third outing of this show isn't at the same level as the previous ones. Considering what made it worse, it's kinda ironic. Destroyed by the people who are explictly condemned in this show. Such a pity. Script: 8/10 ACTING Rufus Sewell delivers a top notch performance as well as minor actors like Luke Kleintank, Rupert Evans, Joel de la Fuente, Chelah Horsdal and Brennan Brown. I didn't like Alexa Davalos because she felt a bit motionless sometimes, DJ Qualls, Quinn Lord and the off putting accent fo Bella Heathcote. Overall it's good but I don't consider it too good. It respects the audience expectation, that's all. Acting: 7/10 PHOTOGRAPHY I like the fact that the "dystopian" universe has a grey color grading and our reality has warmer colours to counteroppose the two universes. There're also a lot of cool shots of a Nazi New York and San Francisco which are kind of threatning. I think that this is probably one of the best aspects of this show. There's also a great care for lights and shadows which are always used in an interesting and eye pleasing way. Photography: 8/10 EDITING Mostly uninspired and boring. I consider it stale. Sometimes it shines but it's just for a few seconds. I've expected more from a series produced by Ridley Scott. Editing: 5/ SPECIAL EFFECTS There's just a few of them and most of them aren't even perceptible. Sometimes they look a bit unfinished but overall they works. I don't think that there is much to say because this isn't a series which relies on CGI spectacle. Special Effects: 6/10 SOUNDTRACK It's good but not impressive. Henry Jackman has made a good work ut I don't consider it its best, mostly because it tends to be kinda repetitive, especially in the last season. The integration of period's music doesn't save this section from being a low 6. Soundtrack: 6/10 COSTUMES There's a particular care about them in order to represents the dystopian 60s as believable as possible. The American Nazi and Japanese's uniform are gorgeous. Even though the show nails them, it isn't enough to consider the costumes above decent, because they don't have ay kind of relevance for the plot. Costumes: 7/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 8/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,71 An interesting series which will always resonate with us. A flawed must watch. Director: David Semel Screenplay: Frank Spotnitz Cast: Alexa Davalos, Rupert Evans, Luke Kleintank, DJ Qualls, Joel de la Fuente, Cary-Hiroyuki Tagawa, Rufus Sewell, Brennan Brown, Callum Keith Rennie, Bella Heathcote, Chelah Horsdal, Michael Gaston, Jason O'Mara. Frances Turner Soundtrack: Henry Jackman, Dominic Lewis Cinematography: James Hawkinson, Gonzalo Amat Running Time: 55 min By @the_owlseyes

Reviews by: @miscellaneous_media_reviews Cowboy Bebop is an anime tv series directed by Shinichiro Watanabe and released in 1998. The series is made up of only one season consisting of 26 episodes. This neo noir space western follows the dysfunctional crew of bounty hunters aboard the Bebop. These being Spike Spiegel, Faye Valentine, Jet Black, Radical Edward, and Ein the Corgi. The show follows their many misadventures across the galaxy as they struggle to make ends meet and survive the hazards of their day to day lives. I had heard about Cowboy Bebop in passing for years but knew virtually nothing about it aside from the name itself. I discovered it had been added to Netflix while browsing recently, and I decided to check it out. I was hooked within the first 46 seconds of the first episode, and the series didn’t let me go until the very end. I loved Cowboy Bebop, and it has quickly become one of my all time favorite shows. The overall story and structure of Cowboy Bebop is one I particularly like. The show is very episodic and has very little real plot at all. In fact, only 5 episodes out of the show’s 26 actually focus on the plot. The story mainly focuses on the conflict between Spike and the series’ main antagonist Vicious. The other 21 episodes are almost entirely standalone adventures. While certain plot threads do carry over from episode to episode, each one largely exists on its own. Not a lot changes in the grand scheme of things; they very much are just adventures that the crew go on. With the end of each episode seeing the setting return to the status quo. While some people may be turned off by the lack of a focused narrative I think Bebop excels without the heavy presence of one. It does so because each episode is fun and memorable. For a show with 21 episodic sessions you wouldn't be wrong to assume that many of these episodes would be boring, repetitive, or just unnecessary. In other words, “filler”. That’s certainly the case in most episodic adventure series. Even some of my favorites such as The Mandalorian and Star Wars: The Clone Wars fall victim to bad or just forgettable episodes. Cowboy Bebop completely bucks this trend. Every single episode in this series is memorable, fun, or impactful in some way. I honestly do not think this show has a single bad episode. There are obviously some that are better than others, and they aren’t all masterpieces, but I would be lying if I said any of these episodes were bad. At no point was I wishing an episode would hurry up and end because I was bored or not enjoying myself. The world of Cowboy Bebop is one of the richest, most detailed, and most lovingly crafted ones I have seen in any media. This futuristic dystopian galaxy is full of life and personality. From the shattered and nearly barren Earth, to the advanced cities of Mars, each location is full of beautiful world building. The concept of a distant future where humanity has scattered across the stars is full of creative potential, and the show fully capitalizes on it. Despite this being a more advanced society, humanity is contained to fractured pockets of civilization across several planets with no one governing body. This creates a sense of lawlessness, and is part of why the show’s setting is often described as a futuristic wild west. The aesthetics and look of the setting actually have many similarities to the one seen in the Blade Runner films. However, the world of Cowboy Bebop has an entirely different personality and tone. It’s one that is filled with much more levity and is much more animated. However, these bright and colorful settings clash with the darker, more down to earth parts of the world. That being the ordinary people inhabiting it. While many of these characters are larger than life, they still deal with realistic issues. Such as loss, debt, and their sense of identity. Cowboy Bebop manages to perfectly craft a fun and creative world that still resembles our own under its vibrant exterior. It’s this setting along with the simple premise of the show that make these episodes work. Despite most of the episodes following a relatively similar formula, each encounter is different and memorable. The diverse set of characters, the incredible setting, the crazy fun scenarios, the dynamics between the main cast, and their own struggles keep the show, and these episodes, engaging and entertaining at all times. The show perfectly balances its tone which flawlessly integrates crazy action, comedy, and even silliness with heavy, mature, and emotional subject matter. While episodes can contain both levity and seriousness the shift or inclusion of both never feels disjointed. Many of the episodes themselves are simply fun action adventures with not much to say under the surface. The audience just gets to enjoy watching these characters and whatever they might be doing. Other episodes can be very dark and existential, with deep mature themes. Both of these types of episodes and tones fit into the show perfectly. This is a real world similar to our own, and the characters' relatable issues help to enforce that. Their lives are filled with ups and downs, excitement and boredom, much like our own. This allows for us to enjoy the fun of a crazy dogfight in space, but we also get to sit in silence with the characters as they drift in space smoking a cigarette. Bebop is not afraid to be very slow and rely on its atmosphere and aesthetic. It’s clear that the crew of the Bebop has a mostly mundane life, with the episodes showing the moments of excitement for them. If there are no bounties for them to go after they don’t have much to do but sit around. The show isn’t afraid to just let these characters do nothing and let an episode breathe. Because of the incredible atmosphere and the characters themselves the show is never boring in these moments. This is also aided by the phenomenal score. The tone works because of the setting, characters, and score. And as a result this consistent tone works to improve each episode and it’s story. The characters are one of the main aspects that make the whole show come together. Without them it simply wouldn’t work. These characters are fully realized people that we learn more about as the show goes on, as they reveal more of their pasts and personalities. The audience spends so much time with each character that they are fleshed out to an incredible extent. This creates a strong bond between them and the audience. Each one is likeable and relatable in their own way. They’re also very different from one another. They have different beliefs, personalities, attitudes, pasts, etc. It creates entertaining and realistic conflicts that are completely believable. It also allows the characters to form complex bonds with one another that are also very realistic. Not only are the characters relatable, they're incredibly fun to watch. They’re larger than life with tons of charisma and big personalities. Each one is iconic due to their signature look, identity, and the performances behind them. The incredible characters are helped greatly by superb voice acting. I watched the english dub of the show, and the performances by Steve Blum, Wendee Lee, Beau Billingslea, and Melissa Fahn are all perfect. They bring the characters to life and make them stand out even more. Their writing and voice acting mixed with the excellent character design creates an iconic, loveable, and entertaining cast of characters. The animation is also top tier, and is some of the best 2D animation I’ve seen. There is some 3D animation mixed in but for the most part it is entirely 2D. The art style is incredible; the detail present in each character, object, and background is outstanding. The animation itself is incredibly smooth and at no point looks cheap or rushed. I kept waiting to find a “budget episode” somewhere in the 26 but I never did. Each episode is dripping with artistic personality, detail, and flair. The animation and art style go hand in hand to create something iconic and gorgeous to look at. The cinematography is also excellent. The breathtaking animation is made even better somehow by the great shots and framing of each scene. It keeps the show fresh and engaging by never presenting anything that I would consider boring or standard. One aspect of the animation I really love is how much detail is put into the simplest parts of each character. Like the way they carry themselves, sit, or lay down. Small details like this help to add to the overall experience, and show the love and care put into the show. This detailed and unique world is perfectly painted by the animation. It brings this universe to life and creates the iconic and artistic settings throughout the series. The animation also creates great action scenes that are well shot and choreographed. Action is unbelievably smooth and always looks satisfying and cool. Cowboy Bebop has some of the most consistently great animation I’ve ever seen, and certainly for a tv show. Then there’s the score. The score of Cowboy Bebop is one of the best scores I’ve ever heard, and it’s one of the most praised aspects of the show. There’s no denying that without Yoko Kanno’s unbelievable score, this show wouldn’t be what it is. The score implements mostly jazz, with some western music, and the occasional licensed song. The score elevates each and every single moment of the show. The score works with the animation to fully establish the amazing atmosphere and vibe of the show. The music manages to perfectly compliment crazy fun action, and quiet, reflective, emotional scenes. The score is a core piece to Cowboy Bebop that makes it what it is. It helps it to transcend any particular genre and turn into something unique and completely unlike anything else. Cowboy Bebop tells an incredibly emotional journey that often remains hidden under the surface. The many fun, light hearted episodes allow us to become attached to these characters, and have fun right alongside them. So when the show decides to get darker and focus on its more mature themes and concepts it hits so much harder. Spike, Jet, and Faye are world weary tragic characters, and their story is one filled with tragedy and heartbreak. When the plot kicks in it hits hard. It’s short but ultimately very sweet, and it can be surprisingly simple in terms of the events that occur. But thematically it’s very intricate. I didn’t even realize how attached I was to this world and these characters until the show began to wrap up. The episodic nature of each episode punctuated with the message, “see you space cowboy...” adds this sense of continuation to the show. Like it will always be there, with everything mostly returning to normal at the end of the day. So when the story begins to reach its end and the status quo is permanently changed it’s incredibly emotional. I wasn’t ready for the show to end, and I wasn’t ready to see the stories of these characters end. The finale of Cowboy Bebop is one of the most emotional ones I’ve seen in any show. This show is both heartbreaking and beautiful at the same time. Cowboy Bebop is unlike anything I’ve ever seen, and it hit me way harder than I thought it would. In my opinion Cowboy Bebop is a masterpiece. Objective Score: 10/10 Personal Score: 10/10 By @miscellaneous_media_reviews

Reviews by: @augustkellerwrites Run Lola Run rocks. From start to finish, the film is packed with energy, artistry, and style. The script is quite unique: a straightforward narrative told in three parallel timelines, with minor differences that create butterfly effects. The brilliance here is that the story is extremely catchy and entertaining on a surface level, yet allows for plenty of deeper meaning about cause-and-effect, existentialism, and destiny. The acting excellently unites this combination of excitement and depth by bringing ample doses of urgency and emotion. Specifically, Franka Potente (Lola) is an absolute force as she sprints, screams, and takes control. Still, the true gems of Run Lola Run are in its filmmaking. The movie is blazing because its camerawork is exhaustive (using overheads, arcs, and radical movements), its soundtrack is rhythmic, and its editing is utterly electric. Run Lola Run especially optimizes the editing medium with jump cuts, inserts, and longer emotional takes. Plus, effects have variety, sound is surreal, and production includes symbolism. Overall, Run Lola Run is a potent shot of adrenalin that will thrust viewers to the edge of their seats and leave them with food for thought. Tom Tykwer's vision bursts to life in a wonderful marriage of style and substance. Writing: 9/10 Direction: 10/10 Cinematography: 9/10 Acting: 9/10 Editing: 10/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 9.0/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @kieranatthemovies The way this film is shot is stunning. Every frame is like a painting. It’s beautifully written and performed, although I can appreciate it won’t be for everybody. Both Zendaya’s and Washington’s acting is so powerful and emotive, even the scenes of nothing but silence are full of tension and escalating pressure, I couldn’t remove my eyes from it. The writing is great, the conversations drenched in emotion and the true emotions of the arguments are presented artfully and accurately. Levinson’s direction is fantastic. The music communicates the emotions of the characters so well. It’s not just backing noise, it’s the embodiment of the two characters and what they are going through and when the music stops we are left with these two people who we learn so much about in such a short period that we can tell exactly what they are thinking. I love the setting. The house itself is beautiful, but the use of doorways, windows and mirrors to show the barriers between the two characters is superb. I’ve always been a fan of physical barriers showing the emotional ones between characters. Admittedly I’ve been both of the characters in this film at times and can relate and empathise with them equally which is maybe why I enjoyed it as well as it allowing for some self reflection. This film makes you want to feel something. At times you may think “this is just two people talking”. It is, but the subject matter and the pure emotion is riveting. The performances really drive the movie and I expected as much from two actors who’ve really come into their own. An emotional dive into the fragility and intensity in a passionate relationship filled with insecurity, pain and powerful love. I highly recommend. “I know when nothing is something.” Rating: 9/10 Where to watch: @netflixuk Runtime: 1h 45mins By @kieranatthemovies

Equally educational and entertaining, Inside Out evokes deep feelings while examining the importance of those feelings. Centered around emotional personifications in a young girl's head, the film follows her adjustment to moving across the country. Joy is the lead protagonist, but she learns plenty about the value of Sadness. Meanwhile, Inside Out depicts abstract concepts like memories, imagination, and the subconscious as literal objects and locations. This is both uniquely fun and substantially informative. Also, the voice acting clearly portrays each emotional state. Undoubtedly, Inside Out will captivate with its plot and linger with its messages. On a technical level, Inside Out is proficient. The Pixar animation is premium, with vivid textures and detail. The production design is also a highlight because its literal representations of the mental world are distinctively whimsical yet instructive. The cinematography isn't overtly stylish but conveys meaning through POVs, lighting, and colors. Furthermore, sound has dramatic silence at climactic moments, editing cleanly weaves between internal and external realities, and the soundtrack reflects the delicately bittersweet mood. Plus, the direction smoothly redefines difficult emotions with a positive tone. Overall, Inside Out is an artful presentation and an enlightening experience. Writing: 10/10 Direction: 9/10 Cinematography: 8/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 10/10 Casting: 8/10 Effects: 10/10 Overall Score: 8.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews

Reviews by: @augustkellerwrites Batman Begins is exceptional because it's centered around relatable drama, humanizing the outlandish character. Begins explores Bruce Wayne's radical choices. Instead of leaning on his trauma, the film builds off that, showing growth from vengeance to idealism. Viewers see Gotham's corruption, Wayne's disillusionment, and the reasoning behind his decisions. Supporting characters establish genuine relationships with Wayne. Each one has purpose, perspective, and motivation. Even the villain has twisted logic. Plus, this is all tied together through themes of fear. Collectively, this emotion drives the experience, making the cheesiness forgivable and the developments enthralling. Meanwhile, the filmmaking is extensive. The visuals aren't artistic, but motion, color, and focus create a grand environment. The editing blends timelines, and the sound is complex yet controlled. Together, they give hallucination sequences an abstract punctuation. The evocative music perfectly matches the tone. The production design is realistic, yet distinctly stunning. Finally, the effects are tangible, utilizing miniatures, stunts, and pyrotechnics for potent action. Overall, Nolan orchestrated an extravagant journey that is grounded in a sentimental mood and an authentic atmosphere. Batman Begins strikes hearts while captivating minds, making it the best Batman origin movie. Writing: 9/10 Direction: 10/10 Cinematography: 8/10 Acting: 8/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 9/10 Effects: 9/10 Overall Score: 8.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylersnerdy_review A24 does it yet again. Another masterpiece horror film full of tension that’ll keep you on the edge of your seat. This one is a bit more of a slow burn than their others which is why it starts with a flash forward. Seeing how everything unfolds into the crime scene at the start is so much fun. X is a stunning piece from Director Ti West that’ll make you just as sick as it keeps you engrossed. You never get what you sign up for when it comes to A24 horror the same goes for this one. But just keep in mind when the first sex scene comes on that you signed on for a movie designed to be like an old slasher film about a group of people making a porno. This movie will try to make you uncomfortable for many more things than just the sex. Prepare your mind for the usual creepy vibes and graphic violence, but not as much as a mind melter as normal. Mia Goth is fantastic as both main characters, I could not for the life of me tell that she way playing the old lady as well. Jenna Ortega is having such a great year, this being her third movie of 2022 and it’s only March. And for good reason, she’s so good. Brittany Snow is so great here, but don’t expect to see the same Snow from the Pitch Perfect Trilogy. Kid Cudi is turning himself into quite the actor and I am here for it, he’s really good at it. Martin Henderson, and Owen Campbell are good here too with some great scenes but get the short end of the stick. Stephen Ure also goes through some intense makeup but not as much as Goth. His character never ceased to give me the creeps when on screen. Now, I must do my duty as a cinephile because most people won’t expect this from A24 but please stay until the end of the credits. I won’t say much but I’m excited to see this story continue later this year in prequel movie Pearl. Much like Matrix two and three X and Pearl were filmed back to back reusing sets. X will take you on a journey despite never leaving the farm once they arrive. X will not be for everyone, but if you already know what to expect from A24 then you will love this. I’m giving X a full 10/10 putting right under The Batman. I love this movie so much and I hope more people discover it. -Tyler. By @tylersnerdy_review

Reviews by: @nontispoileroilfinale L'altra sera ho visto questo film natalizio, una commedia romantica con Nina Dovrev. La vita amorosa della trentenne Natalie è disastrosa, tanto che la donna per lavoro scrive una rubrica sui pessimi appuntamenti organizzati tramite siti d'incontro. Ma, Natalie crede ancora nell'amore e le sue speranze si riaccendono quando su un'app incontra Josh Lin, bello e simpatico. Il suo film preferito è Love Actually, mentre quello di Natalie è Die Hard. Ma nonostante siano diversi, per la giovane donna scocca la scintilla e decide di andare a fargli una visita a sorpresa per Natale. Ma arrivata, Natalie scopre di essere stata ingannata. È un film davvero molto semplice e anche un po' scontato ma secondo me è davvero perfetto per passare una spensierata serata in attesa del Natale! C'è una storia d'amore molto dolce e anche se con molta ingenuità, il film vuole trasmettere di andare oltre le apparenze e di non cercare di cambiare noi stessi per gli altri. È ovviamente, tutto a sfondo Natalizio, tra neve, alberi di Natale e regali! Lo consiglio. È disponibile su Netflix! By @nontispoileroilfinale

Reviews by: @augustkellerwrites Cars is weaker Pixar, but still adequate. A stranded bigshot humbled in a small town is a common story, yet Cars executes well. First, Lightning McQueen's character arc is believable and touching, softening his cliche. His romance with Sally is contrived, but the characters are purposeful enough to make it forgivable. Next, the humor is occasionally childish, yet also lands at a decent rate. Plus, the supporting characters are deepened by emotional undertones. Finally, the ending is surprising and suits the overall message, elevating the film. It may not meet the groundbreaking reputation that Pixar has established, but Cars does plenty right. Meanwhile, Cars has sturdy Pixar filmmaking. The music is generally generic but possesses catchy soundtrack choices. The cinematography is basic yet pretty, sweeping across landscapes and emphasizing jokes. The production has the recognizable Pixar look. The sound during races is invigorating. The editing is a highlight because it builds excitement and uses montages for emotional moments. Lastly, the effects of Pixar are a given to be well ahead of the curve. Even as this film approaches twenty years of age, it still has noticeable detail and glorious shine. Ultimately, Cars isn't a must-see, but it's still enjoyable for fans of the genre. Writing: 7/10 Direction: 7/10 Cinematography: 7/10 Acting: 6/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 8/10 Effects: 9/10 Overall Score: 7.6/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylernerdy_review What a goddamn rollercoaster that was. Star Wars: The Book of Boba Fett just wrapped it’s first (and maybe only) season on Disney+. Somehow taking a two episode detour from Boba himself to somewhat set up The Mandalorian season 3 and still managing to stick the landing with the hour long finale. That finale was truly incredible and I can not wait to see what they do with future Star Wars shows. The Book of Boba Fett delivers on amazing SW action while vastly expanding the canon of one of the franchises most mysterious and popular characters. Temura Morrison is an absolute legend and brings amazing Māori representation to the table to bring this character to life in ways we’ve never seen before. Ming-Na Wen continues the impressive representation by working perfectly with Morison to further the story of Master Assassin Fennec Shand. While being an episode shorter than both seasons of Mando they still managed to tell a lot of story in that time (mostly because the episodes were longer). And yes, Boba is gone for a whole episode and appears briefly in the one after that, I still think they handled the finale so well that it no longer matters. The issue is, this is a spin off of Mando and if it was still under his title people would be mad if he didn’t appear until episode 5. These shows are tied together deeply and one story can not be told without the other. I absolutely loved seeing my guy Cad Bane return after his Bad Batch appearance and now in live action, and comic favorite Black Krrsantan introduced as well. A small set up for the Ahsoka show and more Luke also makes me love this even more. Rosario Dawson really understands her character. Pedro Pascal is still just as great as Din Djarin and Grogu somehow gets even better. So many fan favorites return and we are introduced to some fun new characters that I hope to see more of. There is a mid credit scene so don’t exit until you see it. Very very short but very very interesting, excited to see where it leads. The future of Star Wars is looking very bright and I’m beyond excited to see where the Kenobi show takes us in a few months. Star Wars: The Book of Boba Fett gets a resounding 9/10 from me! -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Raiders of the Lost Ark is one of the greatest adventure films ever. It combines prime entertainment with purposeful substance. Clearly, Indiana Jones is a movie character icon, but the plot is equally significant to the film’s success. The search for the Ark has mystery, excitement, romance, action, and thematic weight. Furthermore, Jones evolves from a practical cynic into a believer in powers beyond his understanding. The bittersweet ending underscores this by denying Jones' desires but providing an emotional need instead. Plus, Ford is the perfect embodiment of Jones’ larger than life persona. Ford is Indiana Jones, and Jones is Harrison Ford. Meanwhile, Raiders is driven by its filmmaking. The cinematography uses dramatic composition, lighting, and movement to intensify adventure and meaning. The editing is energetic during action and efficient during exposition. The exaggerated sound heightens combat and supernatural elements. The legendary music and production design are critical to Indiana's iconic pop culture status. Also, the effects are complex and tangible, making the film a genuine thrill ride. Lastly, the direction unites these ingredients into an irresistible journey that's truly lightning in a bottle. Ultimately, the universal love for Raiders of the Lost Ark is undeniably justified. Writing: 9/10 Direction: 10/10 Cinematography: 9/10 Acting: 8/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 10/10 Effects: 10/10 Overall Score: 9.5/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylernerdy_review So I finally made it around to watching The Ice Age Adventures of Buck Wild over on Disney+ and I wish I hadn’t. I was so excited, the trailers looked pretty decent, and I absolutely adore the Ice Age franchise. I figured it couldn’t be too bad, even if no one asked for a stand alone movie for the opossums and the weasel. I feel like I was tricked, the animation didn’t look this bad in the trailers but as soon as it starts you can see the horrible quality of it. There’s no detail anywhere and the world just feels empty. And not just because there aren’t many creatures in it, but also because only a few of those creatures even get a voice. The world is just so devoid of life and you get an uncanny valley feeling from the voices we do get as only one voice from the old movies returns. I feel like no one told Simon Pegg that he didn’t need to do this movie. Everyone puts on bad impressions of the other actors. Vincent Tong and Aaron Harris are the only ones that do a decent job doing impressions, their Crash and Eddie are the best part of the movie. Utkarsh Ambudkar is such a great actor and I feel bad that he has to be associated with this movie. Justina Machado is a somewhat decent new character but I couldn’t find myself caring about her. Sean Kenin, Dominique Jennings, Jake Green, and Skyler Stone are just not good here. No offense to these actors, I’m sure they’re fine in other stuff but this was not it, the impressions were just not good. What sucks is that there’s a lot of pretty funny jokes and a great message for kids but every bad choice that could have been made was made. Again, I tried so hard to like this but I just couldn’t bring myself to enjoy any of it. I’m gonna be a bit nice and give it a 4/10 just for the few things I was able to like in it. If you like this franchise please avoid this movie, it’ll kill the dream of a future movie. -Tyler. By @tylernerdy_review

Reviews by: @cine_contigo REFLECTION (spoilers) "How pretty I am!" is a problem of appearances. It is competitiveness. It is that need to be envy and adore you. Basically it is, that all women want to be like you. It's satisfying when we see Renee confident and happy. But... to what extent is the message that the film wants to convey to us healthy? Well, Renee takes an attitude when she looks the most beautiful of all, meeting some beauty requirements. To me, this reflects how toxic the beauty industry is and the damage it can do to those who fall victim to its influence. We live surrounded by pressures and anxieties generated by a culture that reminds us daily that in order to be "real" women and feel good about ourselves, we must be slim, beautiful, stylish, confident, powerfully sexy... But what about if you don't follow these beauty canons? And if your attitude is not typical of a "goddess"? Would you be less of a woman? Less real? I don't think this film is about the power of attitude, rather it doesn't stop us from talking about stereotypes and the magnificent and expected applause from the public: How beautiful you are! 👏👏 Jane and Vivian, the protagonist's best friends, are, on the other hand, women who, despite not following beauty standards, are happy with themselves. They embrace their complexes and their beauty just as they are. They accept each other and, above all, they are human and humble. In the last scenes, Renee treats them less in front of some boys and encourages them to pretend, which they decide to be above all themselves. 🤍 By @cine_contigo

Reviews by: @augustkellerwrites The Fallout is important. It highlights an urgent (yet neglected) topic responsibly. Nothing is glamorized, sanitized, or insincere. Covering the psychological effects of school shootings, the film focuses on the resulting emotional journeys rather than the violent incident. Subjects of mental health, communication, coping, and support are authentically addressed. This material isn't flashy, but the experience is thoroughly captivating and enlightening. Central to that is the delicate acting of the entire cast (especially Ortega). Nobody is overdramatic, everyone is layered and conflicted, and everything is genuine and natural. Truly, the emotional impact cannot be overstated. Meanwhile, the filmmaking of The Fallout is grounded, yet lightly artistic. The music is primarily silent, allowing feelings to breathe. The cinematography uses spacing and motion to reflect mental states. The gentle editing emphasizes the acting, yet is stylistic at turning points. The realistic sound carries weight because climatic moments occur offscreen. Lastly, the direction unites the film into a cohesive, bittersweet journey of nuance. Each beat is perfectly placed and each aspect is masterfully measured. The Fallout covers significant ground, but maintains a heartfelt focus. Viewers may not be ready for where it's going, but everyone will grow from the experience. Writing: 10/10 Direction: 9/10 Cinematography: 9/10 Acting: 9/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 7/10 Casting: 7/10 Effects: 6/10 Overall Score: 8.4/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylersnerdy_review Last night I finally made it around to watching some more Oscars movies for this year. The Eyes of Tammy Faye is nominated for just two Oscars this year, those being; Jessica Chastain for Best Lead Actress, and Best Makeup and Hairstyling. I think Chastain very much deserves this award, she acted the goddamn house down and the way they transformed her throughout the movie is enough to convince me they deserve the other award too. Andrew Garfield had an amazing 2021, from this to Tick…Tick… BOOM and Spider-Man. But he is really good here, Garfield is a truly talented actor. Cherry Jones is also pretty good here, but I think they could have leaned into her side of the story a bit more. Vincent D’Onofrio is somehow just as imposing here as he is as Kingpin, he really dominated each scene he was in. Mark Wystrach doesn’t get enough time to shine but plays a pretty important role in the film. This movie deals with a lot in its fairly short time and I think it hurts a little for it. The pacing flies through time so fast that we see both of Tammy’s kids get born and then we see one again when she is ten and then never see the other one again. They don’t spend much time exploring Garfield’s character’s sexuality issue which makes it feel like it’s not important. But for many people, struggling to find a place with God while being Queer is a huge issue. I didn’t know much about Tammy Faye and Jim Bakker before starting this movie which really helped with how I thought of it. I didn’t know all the information of the scandal that needed to be crammed in here so I can’t judge it for what didn’t make it. But it is filmed pretty well and full of amazing performances. I really think that Chastain gave everything she had to this role and deserves that award, there were a lot of strong performances this year in this category but no one else changed themselves as much as she did. She truly is the standout of the film and they do such a good job making her a relatable and endearing character. The Eyes of Tammy Faye gets a big 9/10 from me and a pretty high spot on my 2021 list. I would highly recommend this to anyone, even people who are like me and not very religious. -Tyler. By @tylersnerdy_review

Reviews by: @tylersnerdy_review On Thursday Ubisoft launched one of their largest and best expansions yet for the Assassin’s Creed brand, Assassin’s Creed Valhalla gets much bigger thanks to the Dawn of Ragnarök expansion. Assassin’s Creed Valhalla: Dawn of Ragnarök once more takes the player into the eye of Odin/Havi as he travels to the realm of Svartalfheim after his favorite son Baldr has gone missing. There he finds Surtr and his wife Sinmara have invaded the realm of the Dwarves searching for powerful souls to power an ancient Eleven weapon. Dawn of Ragnarök truly expands upon the AC story by pulling the threads of the Norse Gods laid out in the main game. If you like the Thor movies and think you know about Norse mythology think again, this expansion is HEAVY on mythology and it is the true stuff not the stuff seen in the Marvel films. They pack a lot to do in this relatively small map. Bigger than the expansions but still pretty small for an open world game. The world is lush and gorgeous as Svartalfheim is being ravaged not just by the soldiers of Muspelheim but also by the giants of Jotunheim as the two join forces to cover the green world of the Dwarves in fire and ice. Adding new powers to Odin by allowing him to steal the powers of the raven, fire, teleportation, rebirth, and winter. Allowing the player to fly let’s them explore like never before, teleporting adds new ways to assassinate enemies, and the others bring new and fun ways to the fighting mechanics. They also add five new armor sets, one of which is by far the coolest in any AC game, and they make you work for it. You find it just inside of one of four shelters but it is cursed and you must find five runes to bless it making it an amazing piece of armor. They also add another level of superiority to armor and weapons, now above Mystic is Divine, which allows you to ignore fall damage in the dream world. My one gripe is that I really didn’t like playing as Odin, he’s a massive asshole and multiple times told people how little he cares for them, the only thing he cares for is getting his son back. They set up the next expansion very well and I can not wait to see what they do next. 250 hours in now! This is a 9/10. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites The Adam Project is a waste of time. Its sci-fi premise of a time traveler teaming up with his younger self is fun, but that positive is overshadowed by formulaic MacGuffins, empty drama, and forced quippy dialogue. Likewise, Ryan Reynolds shows vulnerabilities, yet mostly plays his typical sarcastic self. That snarky humor can work in the right situations, but becomes grating when overused. Furthermore, Garner, Saldana, and Ruffalo all provide some emotion, but their smaller roles come with strained comedy as well. Overall, The Adam Project has some heart and creativity, but not nearly enough for audiences to actually care. Meanwhile, The Adam Project's filmmaking is generic. The cinematography has moments of lighting, focus, and framing, but is mostly unimaginative. Similarly, the editing is never interesting and the sound is rarely elevated. The music uses recognizable songs, but they aren't related to the material on screen. Plus, the production design is painfully unoriginal and the excessive CGI is cheap (making the film look like a Syfy original). Clearly, the priority of The Adam Project was its famous cast, since that's the only reason the film is relevant. Ultimately, it might have glimmers of potential, but The Adam Project does nothing worth watching. Writing: 3/10 Direction: 4/10 Cinematography: 5/10 Acting: 4/10 Editing: 5/10 Sound: 6/10 Score/Soundtrack: 5/10 Production Design: 3/10 Casting: 8/10 Effects: 5/10 Overall Score: 4.8/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylernerdy_review CBS aired the season finale to season two of B Positive earlier today. I have never seen a bigger full on 180 degree shift to a show before. From season one mostly following Drew and his dialysis buddies to mostly following Gina and her elderly patients. Even doing a full overhaul on the theme song a few episodes into the season. And I loved every single bit of it. This second season is really good and I think the show finally knows what it wants to be. Season one was good in my opinion but I only gave it a 7, it never felt like it knew where it was going to me. The show has direction now and I want to follow that road. Annaleigh Ashford was the true scene stealer of the first season and now that the show runners make it obvious it’s her show now, I couldn’t be happier. Her character becomes a whole new person upon accepting a whole new set of responsibilities. Thomas Middleditch is still really good as well and works best when he’s opposite Ashford, although I do find it disappointing that we left his entire family and most of the dialysis content behind. What remains is Darryl Stephens, and David Anthony Higgins who were the best parts of those scenes. I’m so glad to have more of them here. Linda Lavin is the standout of the retirement crew and she has such a strong screen chemistry with Ashford. Kether Donohue also gets more screen time this season and I hope to see that go up more next season. Jim Beaver, Hector Elizondo, Jane Seymour, Anna Maria Horsford, and Ben Vereen all do such great jobs playing such different people. Vereen gets a storyline deeply personal to me because of how scary it is and how many people I know affected by it, Alzheimer’s is such a scary disease. Being called B Positive feels a little weird with how little the show has to do with the plot of the first season, almost like maybe it should be shifted to just Be Positive. I think this show continues to have so much potential and I hope more people continue to discover it. I have high hopes for its future and I can’t wait to see season three! Go give this show a watch if you haven’t yet, I’m upping my score to an 8/10! They’re really going somewhere now, they have my full support. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites After Yang sneaks thought into small moments. Although the narrative is straightforward, it examines complex themes. Set in the not-too-distant future, an android helps a family raise their child. The android suddenly malfunctions and the family struggles to get him working again. Along the way, their relationships evolve, they learn about the android's personal life, and their understandings of existence deepen. Existentialism, significance, and love are delicately considered, feeling genuine yet rich. Despite announcing very little, After Yang evokes powerful emotions that will have viewers contemplating what really matters. True to science fiction, the film is philosophical, psychological, and dramatic. Meanwhile, After Yang's filmmaking is equally poised. The effects are sleek and supportive, adding fantastical touches to the subdued atmosphere. The music is tranquil and ambient, harmonizing the tone. The production blends naturalistic with futuristic, creating a relatable and optimistic world. The sound is peacefully environmental with dashes of technological. Plus, the cinematography is still and picturesque, subtly emphasizing simplicity. The visuals also utilize spacing, colors, and focus to suggest meaning. Lastly, the editing pairs calm pacing with abstract repetition, signifying importance. Overall, After Yang is a carefully crafted, substantial journey. It requires patience, but this film strikes a chord. Writing: 9/10 Direction: 10/10 Cinematography: 9/10 Acting: 9/10 Editing: 10/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 9/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @warlioncomics So one of the many issues that people have been talking about since HoxPox is Krakoan amnesty, which can be understood from a governmental perspective but how about the people. Are we convinced that Scott Summers who hated having Sebastian Shaw on Krakoa for his involvement with the Sentinels creation is peacefully living with him and the people who made Scott & his family’s lives hell (Sinister & Apocalypse) We didn’t get to see anything about that issue except with Lost and Cortez but the issue became complicated with the book focusing on Onslaught and him manipulating everyone who was resurrected since Lost’s arrival on the island Assuming that Wanda becomes a mutant again then will everyone suddenly live peacefully with her (looking at the fker called Exodus) What about Selene , Cassandra Nova (who is the only mutant mentioned in the human crimes against mutants although other mutants were involved in most of these crimes like Shaw and his involvement with the sentinels , Magneto killing quicksilver in front of Wanda making her say the 3 famous words -not including the stories and characters that led the house of M event to happen because that’s complicated & we don’t want to focus on that side discussion in this post ) Speaking of Lost and how Way of X played with the ideas of mutants crimes against mutants and mental manipulation Whoever read Age of Xman don’t you see a lot of parallels to the current era (regardless of age of x-man being a bad event or not that’s actually true) We just have some parallels opposing one another in the execution for instance the anti-romantic relationships in age of X-man vs the Krakoan orgy (beside the existence of the poly relationship that we don’t mention, the Marvel pride issue indicated that a lot of poly relationships are happening on Krakoa and so did Sinister secret 5) Mental manipulation by the Brain Bros (Xavier & Nate) Losing control of people (The 5 and everyone going against the council one way or another & Nate’s reality rifts that caused people to remember their old lives or made them go against him by falling in love or doing anything against Nate’s rules) By @warlioncomics

Reviews by: @augustkellerwrites Moonlight is what drama is supposed to be. It's vulnerable, honest, and important. Through brilliant writing and acting, Moonlight calls attention to several social issues without ever feeling sanctimonious. This is because it treats its characters and audience with thorough respect. Although its protagonist is a young, black, poor, gay man, Moonlight never defines him by those labels. He's always a human first. That also goes for the drug dealers, drug addicts, and bullies. Nobody is dehumanized and, instead, their stories are used to highlight social constructs that deserve scrutiny. Ideas of masculinity, identity, isolation, and acceptance are delicately explored here. Meanwhile, the filmmaking of Moonlight masterfully emphasizes its narrative. Fusing objectivity with surrealism, the film blends realities into an explosive experience. The cinematography combines steady and chaotic movement, natural and exaggerated lighting, and shallow focus. This produces an isolated atmosphere and reinforces drama. The editing is often fluid, yet stylistically fragmented during intense moments. The sound is symbolically muted, furthering feelings of disconnection. The music is elegant with contemporary punches. Lastly, the tone is extremely melancholy, creating an aura of palpable loneliness. Overall, Moonlight is an emotional force that will leave viewers with plenty to contemplate. Writing: 10/10 Direction: 10/10 Cinematography: 10/10 Acting: 10/10 Editing: 10/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 9.3/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylersnerdy_review I got out and saw Marry Me, and I think I’ve found the film that rounds out my top three rom coms. I absolutely adored this movie. It’s an absurd idea that’s handled shockingly well. Had you told me even three years ago that Jennifer Lopez and Owen Wilson would be the main characters of a rom com I would have laughed at you and most likely called you insane. And yet there I was being completely invested in their story. I wasn’t expecting to legitimately cry multiple times. Lopez looks truly stunning and they put her in some jaw dropping outfits. Wilson kinda just feels like his Mobius character from Loki but I can’t fault that, it’s a great character. Maluma is alright, they used him way more than I wanted wanted them to. John Bradley does not get as big a role in this as he did in last weeks Moonfall but I thought he was great in both. Nothing but love for my fav GoT character Samwell Tarly. Sarah Silverman plays a delightful character that should have been used more. Chloe Coleman is a great child actor and I’m very excited to see which direction her career goes in. Jameela Jamil and Utkarsh Ambudkar randomly appear in one scene at different points in the movie but are brought back for such a great gag in the credits. Michelle Buteau is someone I love seeing and I hope she gets more staring roles in the future. She doesn’t get much time to shine in this. Both of the main original songs here, “Marry Me” and “On My Way To You” are absolute god damn bangers and I will protest award shows next year if one of them isn’t nominated for something somewhere (looking at you Best Original Song at the Oscars). Lopez and Wilson will be such a delight to watch together that you’ll dread the coming scene where they have to go separate ways before coming back together. But this movie must get that and doesn’t split them until very late and fixes it quickly without making it feel rushed. I’m truly happy this didn’t disappoint! A very big 8/10 on Marry Me from me. -Tyler. By @tylersnerdy_review

Reviews by: @soyseriefila Director: Mark Waters ¿Dónde la encuentro? Disney + La doctora Tess Coneman y Anna son madre e hija y no se entienden para nada. Tess está a punto de casarse con su pareja y Anna no tolera siquiera la idea. Pero una noche, con dos galletas de la suerte de por medio, la adolescente y su madre intercambian mágicamente de cuerpos, y no sólo tendrán que trabajar juntas para revertir el efecto, sino que en el camino aprenderán a ponerse en los zapatos de la otra. ¡Comfort movie si las hay! Creo que es de mis favoritas; literal la veíamos mínimo una vez a la semana para la cena porque Disney Channel la pasaba todo el tiempo. Es una película muy divertida, llena de escenas que te hacen estallar, desde el “¿Dónde está mi Anna Banana?”, el “¡Terremotooo!”, Jake enamorado de la Dra Coneman mientras Anna está metida en el cuerpo, todas las escenas con Ryan, ¡la escena del concierto! Sin dudas de mis preferidas. Creo que toda la peli es una joyita (¿o estoy siendo muy nostálgica? Ustedes avisenme). Tengo que admitir que siempre la vi en español y me gusta seguir así (porque ya me se hasta los diálogos). Jamie Lee Curtis es todo lo que está bien. Lo que hace cuando Anna está en el cuerpo de la madre es lo más icónico de la película (a mi parecer). Lindsay Lohan también está excelente, porque de rebelde me encantaba y cuando la madre estaba en el cuerpo de Anna me irritaba. Mención especial para Pei-Pei y la madre, el abuelo y Harry, personajes secundarios muy cómicos y con pequeñas tramas propias. ¡Y no puedo dejar de mencionar las canciones! Anna tiene una banda de rock con sus mejores amigas, así que nos dejan un par de temas que nos quedamos cantando por horas. Y el soundtrack de la peli es perfecto. No me canso de verla. Creo que nadie puede. ¿A ustedes les pasó/pasa? 🍿 Calificación: 4.5/5 By @soyseriefila

Reviews by: @tylersnerdy_review @thefilmobservatory Netflix has to know we all hate watch these stupid ass movies right? They make them for us to make fun of right? Why else would they continue to make these god awful movies. Being tall is literally not a conflict. Every one of these movies follows almost the exact same plot and they’re all so stupid and I couldn’t care less. 1/10. -Tyler. By @tylersnerdy_review Family/Comedy 1/5 SPOILER WARNING (I guess) After tall girl Jodi (Ava Michelle) grows in popularity at her high school, she risks strains in her relationships with those closest to her. When Martin Scorsese said that Marvel movies weren’t cinema, I think we all knew what he meant really was: welcome to the Tall Girl Cinematic Universe (TGCU). Credit where credit is due, I’d recommend watching Cosmonaut Variety Hour’s (CVH) ‘picture show’ videos on the Tall Girl films because, firstly, they’re hilarious and, secondly, I may accidentally riff off of some of their jokes, apologies if so. Anyway, let’s get to it. For those new to the scene, Tall Girl 2 and its predecessor are probably the worst Netflix films I’ve ever seen: naturally, they’re unintentionally enjoyable and I do have fond memories of watching both of them with friends. The nicest thing I can say is that I would definitely place them in the ‘so bad they’re good’ category, rather than just bad and boring to the degree of embarrassment (cough cough, The Rise of Skywalker, cough cough), therefore, I’m not offended or repulsed by Tall Girl 2’s existence, however, I can imagine it feeling grating and mind- numbingly atrocious if viewed by one’s self. This is the rare type of movie I’ll watch where I can excuse people talking over it, cracking jokes and laughing at the wrong moments plainly because it’s the only way to enjoy it and, if you’re ok with this, Tall Girl 2 is kind of a lot of fun. To start off with, I must address the largest problem looming over this franchise, which is that these movies should have never been made in the first place because being tall isn’t a cause for marginalisation averse to how it’s portrayed here, seeming especially pathetic in their lack of concern regarding actual modern social issues. Our protagonist Jodi is privileged, both from being white and wealthy but her problems matter more than others because she’s 6 foot 1 and a half… on a side-note, I find it hilarious that the writers seem unaware of the fact that that’s really not very tall, it’s not short but it’s far from ‘atypical’, yet she’s largely alienated from her classmates at school. Especially when considering the first film’s opening (“You think your life is hard? I’m a high school junior wearing size 13 Nikes. Men’s size 13 Nikes.), it frequently gets to the point where I don’t understand how any ‘professional’ writers could produce these scripts and storylines with a straight face and see no problems in their work, making me wonder if they expected the controversy and criticism, and decided to go along with it because it could increase the talk about it. If so, that’s kind of a genius plan to branch out to multiple target audiences but I doubt that these writers are that smart. My main point here is that the issue with Jodi’s life paling in comparison to some of those of the real world in terms of difficulty and emotional distress means that these films cannot morally be taken seriously. So, what do you get when you have a privileged teenager always complaining about their own troubles and showing no regard for anyone else’s? A selfish and deeply unlikeable protagonist, whom I’m not even sure the writers realised they were ascertaining those qualities, especially in this sequel. Since this is a review of the sequel, I’ll try stop talking about the first so what happens in this movie? Narratively, pretty much nothing. After Jodi’s homecoming speech, which was apparently so moving that another cast member in the play she’s participating in has literally memorised it (pretty creepy, dude), she’s risen in popularity to the dismay of ‘mean girl’ Kimmy (Clara Wilsey). People no longer ask “How’s the weather up there?” (which I’ve never heard a single person say outside of these movies) and her relationship with ‘short boy’ Jack Dunkleman (Griffin Gluck) is going well, despite the fact that she’d repeatedly rejected him because he wasn’t tall enough for her. Swedish exchange student and Jodi’s ex-boyfriend Stig (Luke Eisner) is still kicking around for ‘reasons’, leading me to one of Tall Girl 2’s most farcical problems. There isn’t just a love triangle with Jodi; Dunkleman, Stig, jock-turned-calm and mature young man Schnipper (Rico Paris), and that weird guy who memorised her speech, Tommy (Jan Luis Castellanos) are all suggested to be romantic interests and/or romantically interested in her at some point during this film’s runtime. IT’S A BLOODY LOVE PENTAGON. The writers nearly have nothing up their sleeves for the character other than ideas to either illogically and unnecessarily disrupt her healthy relationships to create ‘drama’ or show how everyone loves her now that she’s embracing her tallness. Now, I say ‘nearly’ because they do bring one other new aspect to the table here: Jodi’s struggling with anxiety but, instead of offering a genuine representation of a teenager’s insecurities and troubles, it’s demonstrated as some kind of Green Goblin second persona chattering away like an evil demon in her head. There’s no subtlety or genuineness to it, not to mention the near-harmfully unrealistic portrayal of panic attacks in this film. Tall Girl 2 is plagued here by the fact that it’s watering down the mental health content side of things to avoid being too dark and honest about how people really struggle with these issues for its younger target audience. It means that, when you get cringe-worthily transparent moments of ‘dialogue’ where the parents are explaining what to do when experiencing a panic attack as if they’re reading off of the NHS website, this could have been a helpful thing to teach children growing up, if it wasn’t for such a flawed and unrealistic representation of these issues that the film never really is that interested in committing honestly towards. Other than that and the stereotypes (everyone in this high school is essentially a walking caricature and Stig is mocked for being Swedish for some strange reason such as when someone literally calls him “IKEA”, yet he doesn’t get offended or upset about it, the film just acts like it’s ok if it’s just teasing), I guess there’s nothing else damaging that Tall Girl 2 manages? There are some iconic lines, with my new favourite being “Kimmy, you did it! […] You saved Jodi’s shoes!”, which takes place during the bully’s moment of redemption, I guess, when she suddenly decides to save them from a fire ritual on a beach (long story). Obviously, the main reason to watch these films is for the ‘Stonkers’ ship: Stig and Dunkleman, or Dunkers as the former likes to call him, make for a strangely wholesome duo, which I and many others are hotly anticipating the potential of it becoming a couple. As roommates, they have multiple bunkbed conversations at night where their faces get so very close that we’re tangibly on the verge of greatness, not to mention their frequent moments of physical affection, and their endearing chemistry. The only problem standing in our dream’s way is that Tall Girl and its sequel aren’t just heteronormative; these films are aggressively straight. Not that they are outwardly homophobic, more-so that they shy away from opportunities to represent LGBTQ+ relationships at every single turn in a manner that feels noticeably strange considering that they are supposedly modern high school movies. While his character arc ends with him being a stereotypical jerk at the end of Tall Girl, Luke Eisner’s Stig is possibly the only salvageable thing in this sequel and I can’t tell whether he really understood the assignment or if he’s unintentionally hilarious. Thanks to Stig, I will never not pronounce Jodi’s name as ‘Yodi’ (as an English speaker) but he’s also slightly notable merely as an unexpectedly fun character. The scene where Jodi and Dunkleman have a ‘romantic’ dinner at the latter’s house and Stig, since he’s already there as his roommate, just decides to dress up and volunteer as their literal waiter was pretty funny and it made the character a strangely wholesome personality. That was until his story ended him up with becoming Jodi’s best friend Fareeda’s (Anjelika Washington) boyfriend, which nobody was ever asking for. As I write this, I’m now remembering how bad parts of Euphoria Season 2 were, since the show tried to pull off a similar ‘side character secretly in love with their best friend’s ex’ storyline, but at least that took time to build up tension surrounding what would explosively happen when the truth came out. Tall Girl 2 hardly concerns itself with any potential conflict here, Fareeda worries that Jodi will be mad but the latter literally doesn’t care when she explains it, instead giving her the ‘as long as you’re happy, I’m happy’ best friend talk. Stig and Fareeda largely lack chemistry and this storyline enforces Tall Girl 2’s weird agenda, mission if you will, to leave all the main characters in happily heterosexual relationships with no variation or complications because… yeah? You know, apart from this new (and contrived) dynamic, it seriously does go that nothing of note really happens in this movie, as sequels are meant to be about change, at least progression, however, Jodi and Dunkleman end up together once again and our protagonist finds the necessary self-empowerment to feel comfortable in her own very tall skin so that all is at peace in her tall world. As for Jodi’s home life, it’s honestly hilarious how tough she monologues that she has it when the only character traits of her parents, Helaine and Richie (Angela Kinsey and Steve Zahn respectively, who both deserve better), are that they are understanding and supportive. Even slightly unhinged beauty pageant sister Harper (Sabrina Carpenter) is still just acts like a friendly and caring sibling towards her, with these aspects making it all the less believable that Jodi feels so neglected and misunderstood in her life. However, the writers have gotten to the point where, whenever these flaws and illogical plot devices blare out, they use her tallness as a get-out-of-jail-free-card to justify why her life is apparently so difficult. These are movies made in the late 2010s-20s that people got paid for. I sometimes have to write it down or say it out loud to begin to fathom the ugly and confusing truth (insert very audible sigh). Anyway, I suppose I should evaluate the components that make up this movie individually, starting with the cinematography. Simply put, it’s bland and uninspired. Even worse though is the jarring and displeasing colour palette, with the heavy use of neon-ish blue and orange, as put by CVH, which makes this American high school look like an English primary school’s playground. Honestly, I think we should start theorising about which alternate sector of the multiverse the TGCU takes place in and whether the creators behind these films are even homo sapiens from this Earth… maybe we’ll get a spinoff show to explain all of that, considering that the existence of these movies affirms that Netflix will greenlight anything and everything (apart from further seasons of their great shows that people like, of course. I lose hope in humanity when I think about the fact that Netflix went ahead with a Tall Girl sequel but wouldn’t allow BoJack Horseman to continue past season 6). Back to the original point, Tall Girl 2’s shot types and camera angles lack creativity and are nothing special, I couldn’t even remember if there was a score until I just checked IMDb now (it says that Mateo Messina composed the music for this film, yet I can’t remember a single motif or moment with any), the soundtrack is cringe-worthy, the script is cheesy with nearly every joke feeling at least 10 years too late, and the performances are pretty awful. The most I can say is that I hope that everyone featuring in this film got a decent pay-check from Netflix to compensate for the hindrances that this may cause their careers, and I probably owe a personal apology to each of them for reinforcing their attachment to this project by referencing their names in this review. In conclusion, it’s been fun to blow off some steam by getting to review one of the worst films I’ve ever seen (not much competition, as I usually try to avoid ones that I’ve heard are particularly bad but still), however, I’m running out of things to say so let’s wrap this up: Tall Girl 2 gets the Little Italy rating and nothing, in a million years, more. I could preach multitudes more tall tales about why this film is egregious and terrible on just about every level but I don’t think it’s worth any more of my time. An anonymous shoutout is in order for those who watched it with me, thanks to you all and I look forward to seeing you for Tall Girl 3 if it happens. Overall, this film doesn’t earn your attention and is a cheesy, surface-level and uninventive take on high school: I would recommend Tall Girl 2 only (and I mean only!) to those watching with friends, who are expecting to be making fun of it the whole way through, in which case, there’s some entertainment value to be had here. Unintentionally speaking. By @thefilmobservatory

Reviews by: @augustkellerwrites Although it doesn't live up to its immaculate predecessor, The Dark Knight Rises is a great experience. First, the story brings the trilogy full circle. The villains are connected to Batman Begins and Wayne's long-standing relationships have considerable payoff. The villain's masterplan is somewhat repetitive, but because Wayne has evolved, his perspective is fresh. Meanwhile, this script gives Wayne a concrete character arc, making the ending very satisfying. Furthermore, the acting is significant. Bale is layered, Caine is vulnerable, Hathaway is devious, and Hardy is intimidating. Collectively, this gives TDKR a sturdy emotional base to build on. From there, TDKR has skillful technique. Bane's voice design is famous, the editing synergizes plotlines, and the cinematography uses thematic colors. The effects are primarily real (including an impressive airplane sequence). Plus, the music remains powerful and the production balances realism. Moreover, the direction ignites Batman's fight with Bane. Applying only minimal music, fundamental camerawork, and measured editing, that scene is quietly striking because it's an emotional culmination. Its technical restraint lets the action radiate, heightening its impact. Ultimately, TDKR is a prime example of calculated entertainment. Epic yet mindful, TDKR creates a purposeful journey. Writing: 8/10 Direction: 10/10 Cinematography: 8/10 Acting: 9/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 10/10 Effects: 9/10 Overall Score: 8.8/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @augustkellerwrites Gone Girl is a wild ride of deception. It's not Fincher's most intelligent project, but Gone Girl compensates with sheer entertainment. The story is about a man whose wife mysteriously disappears and the subsequent fallout. While it scrutinizes modern journalism, public opinion, and the legal system, its main focus is on twisted thrills. Ben Affleck believably portrays the layers of an unhappy man who needs to put on a wholesome appearance, while Rosamund Pike brings an extreme dynamic that is impossible to ignore. Thus, this film is emotionally driven by its puzzling plot, but that's supported by digestible themes and strong performances. Plus, Fincher continues his filmmaking excellence. Gone Girl isn't his best work, but there are still plenty of technicals to admire. First, Trent Reznor's music is a perfect fit for Fincher's methodical nature. It never overtakes a scene, but the score is constantly serving the ominous atmosphere and mounting tension. Next, the cinematography is cool and collected like usual, adding in suggestive imagery to emphasize themes and feelings. Lastly, the editing weaves perspectives into an exciting narrative structure and intensifies action sequences with quick, successive blackouts. Ultimately, Gone Girl is a well-rounded production that should entertain most viewers. Writing: 8/10 Direction: 10/10 Cinematography: 9/10 Acting: 8/10 Editing: 10/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 7/10 Casting: 9/10 Effects: 8/10 Overall Score: 8.6/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @ryan_the_nixon Don’t breathe 2 2021 18 director: Rodo Sayagues starring: Stephan Lang, Brendan Sexton, Madelyn Grace, Stephanie Arcila, Rocci Williams, Bobby Schofield, Adam Young, Fiona O’Shaughnessy etc Hiding out for years in an isolated cabin, Norman Nordstrom (Stephan Lang) has taken in and raised a young girl orphaned from a house fire. There Quite existence is shattered when a group of kidnappers show up and take the girl, forcing Norman to leave his safe haven to save her. This was pretty decent, definitely not needed but I still had a fun time with it in places. My first few positives would be the cinematography and gore. The uncomfortable tone built and the great action as well as the building of tension. The film still managed to be visually creative like the first film. Not to the standard of the first instalment, but there were still some very clever uses of Norman’s lack of eyesight incorporated into the visuals. With Water and the use of low-key lighting or darkness. I also thought the use of gore was excellent. The film turned up the gruesome gore and kills up a lot which I really liked. It gave the scenes a lot more impact and made Norman a much more intimidating force. The film still managed a very uncomfortable tone, due to the innocence of Phoenix (Madelyn Grace) the threat of kidnap from the villains and how they behaved was very uncomfortable and intense to watch. The film managed to create a different kind of tension in parts compared to the previous instalment. And the film did manage to build that edge of your seat tension with particular scenes. It wasn’t as consistent but was achieved well at certain points. Finally, the action was great. The kills were brutal and cleverly incorporated with Norman’s blindness. They were Clever, hard hitting and much more brutal this time around. My first few negatives would be the rushed background at the beginning. Lack of character motivation or background. And a lot more lapses in the logic. The film completely rushed how Norman helped Phoenix and it lacked any form of background to their relationship, making it feel very rushed and clunky. And it was oddly explained later which didn’t make sense as it could have been done in the beginning to set up a better relationship. What the first film did so well was let the robbers/kidnappers have good background and motivation for what they were doing. This didn’t have any of that, and whilst I appreciate they wanted to throw you straight into the action. The characters felt one dimensional and rushed. This was once again later explained with the twists, but they felt slightly too late, and the villains still fell very flat in terms of depth and background. There was a lot more lapses in the logic here. The first film felt very grounded and knew the limits of Norman as a character whilst still making it very tense and entertaining. This all went out the window here and there was too many unrealistic scenes or illogical character decisions that didn’t really make sense due to Norman. The film wanted to be bigger and more impactful, but in doing that they sacrificed a lot of the logic. My final few positives would be the interesting dynamic between characters and the dark twists and tone. As well as the great performances and Jumpscares. Plus, the final act was intense. I thought father and daughter dynamic between Norman and Phoenix was interesting. She bought out the more soft and protective side of him, teaching her important life skills, but this was balanced with him being too restrictive and negative towards the outside world. I also thought the film had very dark twists and tone. The twists were completely unexpected and very dark. I commend the film for taking some risks, they were bold and unpredictable and took the film in a completely different and much darker direction. I also thought the Jumpscares were excellent. They weren’t predictable or overused like in a lot of horror films. They were startling and unpredictable and really made a big impact. I also thought the performances were very strong from the two leads. Stephan Lang delivered another powerful and menacing performance here. He was just as intimidating and unpredictable as ever and his performance was great. Madelyn Grace was also fantastic here. For such a young actor she showed a lot of promise. She delivered in the intense and emotional scenes, and she was very charming to watch. Finally, the final act was very intense and was very strong. The dark twist made the stakes and tension extremely high, and the brutal action made for a very strong final act that was very well done. My final few negatives would be some of the dialogue, the unneeded ending and unfocused tone. Some of the dialogue was poor, it was very generic and made the villains seem stupid. With some unintentionally funny lines that made the tone off in places. I also thought the ending was very unneeded. I found it very strange creatively to kill of the main character without much of a satisfying arc or real change in his character apart from a realisation of his actions. It was just a very mediocre ending. My biggest issue with the film was how tonally unfocused it felt. It was constantly switching which character to sympathise or connect with, and it was way to inconsistent. The film didn’t have a clue what to with its characters, constantly shifting between the usual villain and intimidating character, to sympathising with Norman as an antihero and it just didn’t work. Overall, don’t breathe 2 is definitely entertaining. And had its creative and tense moments. And I respect that it took some risks with its twists. But it lacked the high tension and inventiveness of the first film. And it never felt it fully knew what it wanted to do with its characters. It was a serviceable sequel but not in the league of the first film. Overall rating 67/100 By @ryan_the_nixon

Reviews by: @cinemashivers @the_owlseyes While it makes some rash decisions in terms of storytelling by not remaining true to its source material, The Witcher has nonetheless made a strong return with an impressive second season. Henry Cavill proves once again that he was born to play Geralt of Rivia, and this time he is also accompanied by stronger performances from the rest of the cast too. The biggest flaw this season is definitely in its writing and pacing. For some odd reason, the writers decided to make room for abitrary plotlines by rushing through pivotal scenes, ultimately taking the viewers away from the experience. I found myself a bit disappointed with its conclusion. While it featured a visually stunning action sequence and some good plot twists, I couldn't help but feel it was all over the place - another unfortunate effect from its rushed pacing. That said, I fairly enjoyed the majority of this season. The relationship between Geralt and Ciri is evoked brilliantly, and it does a good job at laying down the fundamentals for the future of the series. In contrast to its previous season, the supporting characters this time were much more interesting and entertaining to watch with the inclusion of some fan-favourite characters. For me, when it comes to medieval fantasy worlds with rich lore, I absolutely fall in love with the material. In this case, the soundtrack, cinematography, and visual effects all play a key role in pulling the audience into this magnificent world of the Witcher. The world-building has probably been my favourite part about this series so far. This season was definitely an improvement over its predecessor, both in terms of storytelling and CGI. It's fun and exciting, and it makes you want to watch more. By @cinemashivers “People," Geralt turned his head, "like to invent monsters and monstrosities. Then they seem less monstrous themselves. When they get blind-drunk, cheat, steal, beat their wives, starve an old woman, when they kill a trapped fox with an axe or riddle the last existing unicorn with arrows, they like to think that the Bane entering cottages at daybreak is more monstrous than they are. They feel better then. They find it easier to live” Andrzej Sapkowski, The Last Wish SCRIPT Right off the bat the first season is boring as hell. There's too much worldbuilding and exposition. The fact that they wanted to tell the story on parallel timelines baffles me because it creates a lot of confusion, even though Westworld did it way better. The second season is improvement but the storytelling is still slow and rich of exposition. Fortunately there's an interesting twist but it isn't enough to say that it elevates the show's overall quality. Geralt is an interesting and fascinating character and, I think, the only one who makes this show watchable. Ciri and Jennefer are boring. Jaskier is remarkable but he doesn't have a lot of scenes. The themes are a bit all over the place. The villains aren't interesting or threatning. It's a mild trainwreck in my opinion. Script: 5/10 ACTING Henry Cavill is the show's core and the main reason why this series still airs on netflix. The other actors are decent but unremarkable. They get better during the second season but their performance isn't enough to say that the show's acting is satisfying. I've expected more sincerely. Acting: 6/10 PHOTOGRAPHY Sometimes it's good, sometimes it isn't. This is a mixed bag. Some scenes are great but others are mediocre. I would say that most of the time the light is too bright and the shadows are too dark. Another issue is that colours don't have a real meaning and these're heavily saturated, an aspect which is sooo bad. Photography: 5/10 EDITING This isn't interesting. Apart from fight scenes, most of the series is shot in a boring, redundant way which doesn't help the audience. It doesn't engage the viewers a lot and this is a serious flaw. I've nothing more to say because I'm disappointed. Editing: 5/10 SPECIAL EFFECTS They're acceptable even though they're deeply flawed and, sometimes, offputting. I think that the show should've focused more on representing the monsters in a practical way rather than a digital way, because they don't seem threatning. Sometimes the CGI looks too fake, especially regarding buildings and such. Special Effects: 6/10 SOUNDTRACK It's good. It seems inspired by the videogame's music style and I think that it works well. What elevates it are the moments when Jaskier sings a new song. Beyond that there isn't much to say about it. Soundtrack: 7/10 COSTUMES The costumes seems well done and faithful to the source material. Even though they aren't exceptional, I find them appropriate and fitting for this series. Geralt's suit is the best costume and it's hard to surpass it in terms of quality and details. Costumes: 6/10 CONCLUSION Script: 5/10 Acting: 6/10 Photography: 5/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 5,71 A flawed series which could've been far better in the hands of more capable people. Henry Cavill is the only reason to watch it. Director: Alik Sakharov, Charlotte Brändström Screenplay: Lauren Schmidt Cast: Henry Cavill, Freya Allan, Eamon Farren, Anya Chalotra, Joey Batey, MyAnna Buring, Royce Pierreson, Mimî M. Khayisa, Wilson Mbomio, Anna Shaffer, Mahesh Jadu, Tom Canton, Mecia Simson, Kim Bodnia Soundtrack: Sonya Belousova, Giona Ostinelli Running Time: 50 min By @the_owlseyes

City of God is a sobering dive into economic neglect. In a slum of Rio de Janerio, City of God displays the cycle of violence and normalized crime that comes with extreme poverty. Its brutal honesty is shocking and revealing, creating an emotional whirlwind. Though upsetting, City of God's truthfulness makes it incredibly important. Plus, the film provides space for levity and relatability, diversifying the experience and deepening the heartbreak. Furthermore, the cast of the film is primarily from the area, so their acting is based on genuine experience. Thus, City of God is always authentic and as raw as possible. Despite its significant content, City of God's technicals are its driving force. Handheld camerawork and chaotic framing create lifelike visuals, while color schemes and flashy transitions add an artistic touch. The production and effects are intensely gritty, solidifying the ruthless tone. The lively music evokes the region and juxtaposes the violent horrors. Lastly, the editing is the true gem here because it's extremely energetic, creatively manipulative, and underscores the lifestyle. Overall, City of God is a painful reminder of unthinkable realities and a passionate display of artistry, making it a critical union of entertainment and enlightenment. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 10/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 9/10 Casting: 8/10 Effects: 9/10 Overall Score: 9.4/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews

Reviews by: @ryan_the_nixon @tylersnerdy_review 2022 12A Director: Joe Wright. Starring: Peter Dinklage, Haley Bennett, Kelvin Harrison Jr., Ben Mendelsohn, Monica Dolan, Bashir Salahuddin, Joshua James, Anjana Vasan, etc. Too self conscious to woo Roxanne himself, wordsmith Cyrano De Bergerac helps young Christian nab her heart through love letters. This was a very good film. The set and costume design was excellent. With very likeable leads, and great performances from Peter Dinklage, Haley Bennett and Kelvin Harrison Jr who all had fantastic chemistry with each other. The cinematography was great, with some very well choreographed musical numbers. The script was great, the themes were strong with being proud of who you are, rising above fear and being the bigger person. A lot of the scenes had great intensity. The film had a very charming tone, great plot development and a moving final act that was well executed. I did have a few issues however. I found that there was a lack of character background into how Cyrano and Roxanne that made it more difficult to connect with their relationship, and instead a heavy amount of exposition was relied upon in order to explain their backstories. I found that there was a lack of antagonism throughout that made the stakes not as high as they could have been, and finally a lot of the musical numbers felt very out of place or not needed. Overall, Cyrano perhaps didn't need to be a musical and doesn't fully reach the emotional heights that it wants to. However, it is still a well crafted and visually stunning movie, with brilliant performances from the whole cast and a strong message that will resonate with a lot of people. Overall Score: 79/100. By @ryan_the_nixon I made it out to a theatre thirty minutes away from me because no one was showing this. But I made the drive on Saturday to see Cyrano. Nominated for a single Oscar this year, Best Costume Design, I think it very much deserves to be nominated here but I don’t think it’ll win. There’s just so many other great nominees this year. The costumes didn’t really stand out to me that much but they were good. I think it more so deserved to be nominated for score or something. It can’t be original song since this is a remake, but goddamn the songs in this are so good. I cried for a solid six minutes listing to “Wherever I fall” that song is just so beautiful. Now, I have never seen the original so I can’t compare them, and being a sucker for a musical, I absolutely loved this movie. Peter Dinklage is genuinely so good as Cyrano de Bergerac. He is such a likable character who works off of his costars really well. Haley Bennett is a great Roxanne and her songs with Dinklage are just so pleasing to the ear. Kelvin Harrison Jr is a new face to me but I really liked him as Christian. He and Dinklage work really well together but he also works really well with Bennett. The three of them share a song together that is filmed and edited together so well. Ben Mendelsohn dives so much into this role that I didn’t even realize it was him until about his third scene. He even gets a good song here. Bashir Salahuddin and Monica Dolan don’t get many scenes but I really liked the few that they get. Joe Wright does a great directing job here and I really enjoyed a lot of his work in this. The movie does a great job showing the everyday people that war affects and portrays this romance really well. Cyrano gets a massive 10/10 from me. I’m glad it made it to the Oscars this year but I wish it had been nominated for a bit more. If a theatre near you is playing it, I’d highly recommend going out to give it a watch. I’d say it was worth the thirty minute drive as well. Now I need to try and hunt down the original, just to see how they compare. -Tyler. By @tylersnerdy_review