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Reviews by: @the_owlseyes @augustkellerwrites Do I need to write a introduction for a movie like that? No No No Nooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo PLOT "After losing his parents, a priest travels to China, where he inherits a mysterious ability that allows him to turn into a dinosaur. At first horrified by this new power, a hooker convinces him to use it to fight crime. And ninjas" or "I don't know, there's no sanity here". SCRIPT Ahahahaha, doesn't make sense. I've seen worse but this is just bad ahahah. Characters without a clear personality and clear goals. A villain which is dumb and has a stupid motivation. Subplots out of nowhere. Love stories and deaths without a logical reason. It's an enjoyable and despicable mess ahahhah. Script: 1/10 ACTING Ahahahahahahahhahahahahahhahahahahhaah. There're no actors here. Everyone doesn't give a f**k. I can't give you a glimpse of hope. Acting: 1/10 PHOTOGRAPHY It isn't as bad as you think. But it's mildly bad. Light is flat, shadows are randoms and colours aren't relevant. At least it does what's necessary to understand what's happening on the screen. For a movie like that this is a lot. Photography: 2/10 EDITING Doesn't work. Sudden cuts, shitty slow motion and other things like that annhilate your brain to oblivion. Some shots are acceptable but they aren't enough to change my idea about the movie. Editing: 1/10 SPECIAL EFFECTS Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Bad. Special Effects: 1/10 SOUNDTRACK Doesn't make much sense but at least it's consistent with the movie. It's a blend pop, and unknown, music and instrumental. Pop music is harmless but the instrumental is just bad. This is what you can expect from a director who has worked only on music videos before(even though a lot of renowned directors have done it). Below there's a song which isn't about the movie and I don't know why it's there. Figure it out. Soundtrack: 2/10 COSTUMES It's the best section of this movie, because there're good and colourful costumes with some flaws but the worst dino-suit I've ever seen. This is what make it so entertaining. But really, the dino-suit steals the show because it's the cheapest costume you can think about. Lower your expectations. A lot. Costumes: 2/10 CONCLUSION Script: 1/10 Acting: 1/10 Photography: 2/10 Editing: 1/10 Special Effects: 1/10 Soundtrack: 2/10 Costumes: 2/10 AVERAGE: 1,42 Finally, you made it through. Now it's time to watch it. No excuses. Your girl and your life can wait. This movie is necessary for your life. Watch it or die. Ahhhhhh. I'm free finally. Director: Brendan Steere Screenplay: Brendan Steere Cast: Gregory James Cohan, Alyssa Kempinski, Daniel Steere, Aurelio Voltaire, Yang Jiechang, Jesse Turits Soundtrack: Ali Helnwein, Daniel McCormick Cinematography: Jesse Gouldsbury Running Time: 75 minutes Budget: $35000 By @the_owlseyes The VelociPastor is an unfunny joke, self-aware but still inept. Every aspect is tacky and lame. Its premise is a pun that gets stale quickly. Setups and payoffs occur instantly, making them unearned. Characters are basic, dialogue is boring, and the story is pointless. There isn't even much raptor action, so a majority of the movie is generic low-budget filler (including overindulgent side stories that halt the narrative). Lastly, the lead actors are okay (though unconvincing), but many of the minor actors are painfully unnatural. Ultimately, the humor is obvious, the plot is trash, and drama is farcical. Basically, no emotions in The VelociPastor work. Technically, The VelociPastor is incompetent. Locations aren't set, costumes are cheap, and the raptor suit is distractingly bad. The effects are silly makeup or terrible props. The sound is simple, rough, and unequalized. Plus, lighting is overdone, shots are unfocused, and handheld camerawork is chaotic. Really, the only halfway decent aspects are the soundtrack (using inappropriate punk rock songs) and the editing (which has awkward cuts and pacing, but provides split screen montages). Overall, The VelociPastor aims low and still fails. It's annoying, dull, and embarrassing. These amateurs deserve credit for completing the project, but viewers won't find it entertaining. Writing: 0/10 Direction: 1/10 Cinematography: 1/10 Acting: 1/10 Editing: 3/10 Sound: 2/10 Score/Soundtrack: 3/10 Production Design: 0/10 Casting: 1/10 Effects: 0/10 Overall Score: 1.2/10 By @augustkellerwrites

“I have absolutely no pleasure in the stimulants in which I sometimes so madly indulge. It has not been in the pursuit of pleasure that I have periled life and reputation and reason. It has been the desperate attempt to escape from torturing memories, from a sense of insupportable loneliness and a dread of some strange impending doom.” Edgar Allan Poe Sometimes it's hard to feel happy? Just take a look around. We're constantly bombarded by bad news and we find ouserlves in uncomfrotable situations because other people aren't able to respect other people. Our emotions tend to fluctuates between sorrow and pensiveness. Sure, we can put up a smiling face and hold on but it won't be enough. You can hide it so long that your illusion becomes your reality. You can avoid it and negate it till it comes out all at once and you feel destroyed, annhilitade. The only way to come to terms with our demons is by confronting them, directly or indirectly. Directly is a bit hard because it involves a short but drastic jorney which could be traumatic. The other way is better but it requires more time and patience. Fortunately there're some elements which can help easying the process, an aspect which is mostly overlooked and undervalued: passions, interests and hobbies. It doesn't matter what it is but just one of them is enough. Usually the artistic ones are what support us because these allow us to express ourselves in a throughtful and memorable way. Music is one of the best cure for a dismal mind. It's in this contest that Hallow was born. Hallows is a project born from the minds of Dom and Vanee Rolando, two young American of Mauritians origins. They are a Darkwave and Post-Punk band who's set in the Emerald City, Seattle. They have always been interested in music from a young age. They've always used to attend to shows from various genres, which helped building their knowledge which would have been present in their works. Their nous, coming together to create something new, wasn't so unexpected, in fact music could be considered their compass and their source of happiness. Most of their spare time is dedicated to it and for them it has been a relevant aspect in their life. They've started making music not only for them but for the listener, to give him solace. The main themes of their works are sadness and melancholia, because they value human vulnerability over everything. This makes them two empathic people who are down to earth. This is remarkable. Especially in an industry where money and fame are the means which propell it. Hallows is heavily influenced by Mogwai, Massive Attack, Slowdive, Lust for You and Traitrs, which are more relevant in the album we're going to analyse. But there's more to it because their tastes are pretty varied and manifold. Dom is, currently, a fan of Stones from the sky by Neurosis, Idioteque by Radiohead and Roads by Portishead. Vanee, on the other hand, prefers Candy Walls by TR/ST, Guggenheim Wax Museum by Have A Nice Life and Suburban War by Veil of Light. Their inspiration isn't generated only by music but also by a variety of movies and series like Sympathy for Lady Vengeance, The City of Lost Children, Enter the Void, Broadchurch, The Killing and Les Revenants. These are original tastes in my opinion and it seems like they like shows and movies which keep their mind on and their imagination active. All That is True, the latest Hallows album, represents a sharp step up from the previous one, Subtle, which has explored interesting themes like loneliness, longing and sadness. Here Dom and Vanee decided to deal with loss, searching for a purpose and garnering for a loss. Not only the themes, but also the atmospheres are and sound design are more creative and show the growth experienced by the band. It's also more risky and unorthodox, aspects which are the sign of a will to get a deeper understanding of their genre. The album was written during the Seattle protests, caused by the unnjust murder of George Floyd by the hand of Derek Chauvin, Alexander Kueng, Thomas K. Lane, and Tou Thao, Minneapolis Police Officers. They witnessed the brutality and desplicable behaviour during the protests, which has left them scarred and traumatized. All their angst, rebellion and desire for a better future went into their music, rather than being buried in their memories. It served as a cathartic experience, a way to create something good out something bad. Usually a musician would use their music to criticize the governement and the people who created the conditions for this tragedy but they don't. Rather than using their angst to generate angst, they wanted to show us the emotional journey of existing in a merciless world. They wanted to help the people to get out of their dark moments, as they did. An admirable feat which should be praised and recognized. "This release means a lot to us. It represents the culmination of over a year of composing, arranging, and creating. Through this process, we have grown drastically as a band, as artists, and as people. Though this album comes across as more refined than Subtle, it is somewhat more raw. The inspiration behind the album comes from both of us witnessing so much pain this past year but seeing how it is possible to carry on, reaching for a better future." The album start with a bang. Out of Time could be considered the basis of every song which is going to be featured. It's a piece purely instrumental and puts you in the mood. It feels like a warm up. It's also the shortest track of All That is True, which seems intentional, because it explains the title. The idea to use this song, which feels like an ending track, as a prologue seems like a nod to Tenet and the idea of palindrome. Maybe I'm overthinking it but it feels like that for me. All That is True starts with a crescendo which kick off the music. It's a dreamy piece, I think that it would fit well in a series like Dark. It's singed by both Dom and Vanee and their voices are used perfectly, because are consistent with the music. I think that it functions as a way to represent to anger toward the people who denies the truth. But it isn't raging anger, it's more restrained. There's a shade of sadness in how the lyrics is singed. Mourning, I think, is the main theme here. Next is Defeated which starts with a bass and then builds on it. It sounds like a requiem and it fits the song's name. Keyboards have a more relevant roles here. The pace is the same as the previous tracks. After a while the music becomes dreamy and soothing, giving you a sense of comfort and relax. I think that it could be about the acceptance of loss and defeat. Shallow Waters is one of the least hopeful song here. The lyrics describe the condition of a generation without certainties. The lack of destination and purpose is front and center here and I think that it's the perfect following for defeated, because this is how we feel when we are powerless. The use of repetition helps to emphasize the word Destination. The song's title reflects the lyrics because it represents our society's superficiality. In Nothing, Vanee is the main singer. She sings about the feelings which follows the one showed in the previous song: nothing really matters when we have nothing to live for. It's a nihilistic view of reality, an idea which is becoming increasingly relevant recently. It could be considered a defense mechanism to avoid bad feelings like sadness and gloom. Gloomy is how I would describe this song. It isn't supposed to be uplifting but to be a stimulant for our emotional intelligence. It seems like the music is becoming deeper after every song. The Last Wander starts with an uplifting tones, which represents a variation from what come before. This is a turning point and it could represent the first step toward an acceptance of the condition we're in. But it isn't just about acceptance but also about agency, the one you need to change everything. The song's name could represent our last stages of wandering in our melancholic thoughts before what would be our rebirth. The point is that the reading is all about your natural predisposition. Here I see a slightly higher level of optimism which isn't present in the previous tracks, a view which is influenced by the fact that I'm usually optimistic. It would vary a lot if you're pessimistic, realistic or nihilistic. The upbeat tones continues in Our Failures, a song about coming to terms with our sins. The band makes it clear that the best way to get past them is by changing the way we're used to think about it. We have to start seeing them as steps, rather than just slums. Silence reprises the themes of sins touched previously and analyzes it in depth. The idea that the band wants to make clear is that we're nothing without failures and errors. It's a good way to face your past and embrace your future. The title could be about the fact that we tend to avoid talking about our shortcomings and troubles. Her Thirst seems like a step back from the hopeful tones which come before. At first. It realigns with the previous tracks after a while but mantains a sense of underlying sadness. It's like they wanted to represent the fact that even after the first period of acceptance, you aren't truly free of your demons. The title is a bit enigmatic because it doesn't follow the pervious one's theme. It could refer to the thirst of freedom but I don't know why it's only about her. Maybe I'm overthinking it and it was written with another intention. I wonder.... The last song, This Instance Makes Us Forget, starts quietly and, like Out of Time, is dreamy. It's interesting how the first and the last song have two titles which represent time, a sharp detail which makes us understand that this song is where all come together. Is one of the shortest song and it's about the fact that after this experience we're going to forget what happened because we'll be back to our routine and everything will return to the status quo. It's a sad and realistic ending which doesn't leave space for hopeful thoughts. It's riscky because usually we listen to music to feel better. I think that it's the perfect epilogue for an outstanding album. Hallows is an interesting and remarkable band, charcterized by sharp lyrics and a moony style. I like how the band pours his experiences, bad and good, into their songs, because it makes them more truthful. I think that they need to be recognized for what they stand for and their purpose as artists. If you like the darkwave/post-punk genre you'll love them. If you're a newbie and this is your first time with this kind of music, probably you'll get interested in it, because Vanee and Dom know how to get yoiu hooked for their kind of music. You'll be part of an emotional experience which will change you for the better. By @the_owlseyes

Reviews by: @the_owlseyes @augustkellerwrites Children's animation is just incredible. They're able to craft wonderful world, a world better than the one we live in. Fantasy has always been used as a way to escape from reality, especially when you're young, because it presents a world where beauty is everywhere and where the stakes are low and good and bad are clear. This movie has built its iconic role in history because it exploited the need of fantasy in a bleak world which was struck by 9/11. Harry Potter started like that, a story which gives us hopes and comfort. Everyone wanted to be part of his world. PLOT "An orphaned boy enrolls in a school of wizardry, where he learns the truth about himself, his family and the terrible evil that haunts the magical world" or "A lovable tale of friendship and self discovery". SCRIPT It's a simple script which slowly introduces us to a magical word through the eyes of a kid with an obscure past. The movie deals with themes like friendship, loss, school and I think, the fame of child actors. The characters doesn't have a particularly interesting arch, especially Harry, who falls in the boring Chosen One trope. I think that the best character here is Hermione because he's the only one who grows a bit. The villain is pretty generic and has boring motivations. There're a lot of unanswered questions about the Wizarding world and it could be a bit weird to get some dynamics which are better explained in the book. Some situations seems pretty coincidental and I think that the Slytherin are unjustly discriminated because of just one character, which is a douchebag without a real reason. There's also to consider the fact that the Headmaster and the teachers seem to enjoy the fact the school isn't a safe place. Sure, it's intended to be like that but this is a bit unrealistic. The villain, Voldemort, is pretty generic and doesn't have a real motiviation. He's just there to bother the people in the school and get his ass kicked by a kid. I think that overall is a good script, even though it isn't the best ever adapted on the big screen. Script: 6/10 ACTING I'll be honest. The kids are cute but don't do a very good job, except Emma Watson, who does its best. I'm not saying that Harry has been miscasted but his acting seems fake. I can't say the same for the adults who deliver a good performance, especially Richard Harris and Alan RIckman. Without the adults this movie wouldn't be what it is because they carry it on their shoulders with ease and charisma. I think that Richard Harris is perfectly casted as Dumbledore because he brings a certain aura of wisdom, knowledge and righteousness to his character. It's a movie with two polarizing quality of acting but it works, as long as you consider the big picture. Acting: 6/10 PHOTOGRAPHY Not particularly remarkable. The light is mostly flat and particularly bright, because the movie wants to represent a fantasy and light hearted world. There're a few good shots but overall it isn't particularly impressive movie. Photography: 6/10 EDITING It isn't particularly interesting because it doesn't make something interesting with that. Sometimes the shots which follow the owls are beautiful but I don't think that's enough to say that it isn't mediocre. And I don't appreciate the slow motion here because it's without any kind of purpose and it's boring to look at. It isn't bad but it's trite and unimaginative. Editing: 6/10 SPECIAL EFFECTS This movie has two sides: a bad cgi, which doesn't hold up, and an impressing make-up. The cgi is dated but there're movies who has achieved more with less. Yes, it doesn't hurt the experience as the one present in other movies but it's highly noticeable. The make-up is outstanding and, in general, the practical effects are pretty remarkable. I'm pretty conflicted, because it's hard to give a vote here. Special Effects: 7/10 SOUNDTRACK Is one of the most iconic and it has been made by John Williams, who has worked on Star Wars. Here Williams defines what will be the main theme of the whole saga and the foundations for all the other composer which will handle the other movies. It gives goosebumps from the first note and it helps at building the tone and style of the movie, which feels like a fairy tale. I think that you should've heard it at least one time in your life because it's haerd to miss. Soundtrack: 9/10 COSTUMES Kids costumes aren't particularly interesting because they are like british school uniforms or London's suburbs clothes. This isn't the same with the adults which are defined by their costumes and I would that these're original. I like a lot Dumbledore and Hagrid costume because define their wisdom and spartanity. A praise is directed particularly toward the whole movie for defining the Wizarding World clothing by taking inspiration from the medieval era. Costumes: 7/10 CONCLUSION Script: 6/10 Acting: 6/10 Photography: 6/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 9/10 Costumes: 7/10 AVERAGE: 6,71 It's a beautiful movie which takes a kid for a ride and it's enjoyable for an adult. It's a bit flawed but there're a lot of good ideas and it delivers one of the best adaptation of a fantasy book since The Lord of the Rings. It's a movie you need to see, because it determined an era and still resounds today in other movies. Director: Chris Columbus Screenplay: Steve Kloves Cast: Daniel Radcliffe, Rupert Grint, Emma Watson, John Cleese, Robbie Coltrane, Warwick Davis, Richard Griffiths, Richard Harris, Ian Hart, John Hurt, Alan Rickman, Fiona Shaw, Maggie Smith, Julie Walters Soundtrack: John Williams Cinematography: John Seale Running Time: 152 minutes Budget: $125 million By @the_owlseyes Harry Potter and The Sorcerer's Stone is great in some ways and messy in others. On the positive, it creates an ambitious, fantastical world. The settings, wardrobes, and props all carry ample weight in producing a magical atmosphere. Meanwhile, the iconic music sets an adventurous and mystical tone. Lastly, the casting is excellent. Most of the adults are extremely talented (namely Alan Rickman) and the children, despite their novice here, all became quite respected in their own rights. Together, this establishes a foundation for the franchise to build on. On the other hand, The Sorcerer's Stone's most glaring flaw is its inconsistent acting. The children are decent for their age, but that is faint praise. Plus, they are center stage so their shortcomings are more noticeable. Next, the writing is cliché. Because the emotional beats are rushed, the plot corniness stands out and rings slightly hollow. Finally, while the special effects are elaborate and occasionally strong, there is plenty of CGI that aged poorly. Unfortunately, this holds that aspect back from being an outright strength. In the end, The Sorcerer's Stone is a very competent film that falls a bit short of its lofty notoriety. Writing: 6/10 Direction: 6/10 Cinematography: 7/10 Acting: 5/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 8/10 Effects: 7/10 Overall Score: 7.0/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @the_owlseyes Economy and equality have never been able to live with each other. On one hand we have something which is focused only on profit and doesn't care about ethics, on the other an idea which would help people be less poor and reduce economic disequality. Just a few people care about the second one. We're to a point where you can be rich only if you're born like that and your ethics are hardly bright. And, when a member of a poor family is able to become rich by sacrificing his moral, we all critize him for being selfish and a person who doesn't deserve it. He won't ever be part of the rich class, a part of our society which is extremely elitist and ruthless, because it will try to make him fall. He will be framed as a selfish tycoon who acts against the rules, when every major player does that. It's sad, very sad. Something has to change. Now. PLOT "Set in 1980's and 90's Bombay, it follows the life of Harshad Mehta, a stockbroker who took the stock market to dizzying heights and his catastrophic downfall" or " The Wolf of Wall Street of India". SCRIPT The characters are handled well, especially the protagonist, to the point that it's hard to take sides. I like the fact that it starts like The Wolf of Wall Street but during the last episodes it does something which this ovie wasn't able to do it: it deal with the corruption present in the economic system. This turns the series on its head and it shift from a biographical drama of rise and fall to a strong critic toward the trading world, economy and politcs. All the characters arch are strongly linked to this themes. And the ending is tragic, because Harshad satisfies his complex arch: born as in idealistic poor, becomes a cynic rich and dies as an alone hero who has exposed the filth present in the economic system. What makes it even sadder is the fact that his story didn't change anything: banks and hedge funds are still in control of the market and do whatever they want, mistreating the retailers and misusing their investors moneys. Wow. Script: 9/10 ACTING All the actors do their best to create a wonderful show. I like how Pratik Gandhi acting because he's bale to portray his character in different stages of his life and he's particularly good at conveying all the emotions needed to emphatize with Harshad. He's the on ewho carries this show and the one who deserves more praise than the others. I also liked Shreya Dhanwanthary as Sucheta Dalal, because she's able to portray her as the bold and strong minded woman that she is. The other players do a fine job and are able to stand in the same frame as Pratik Gandhi without being eclipsed by him. Acting: 8/10 PHOTOGRAPHY Light isn't used in a boring way and it's interesting how it dwindles time after time, to represent how Harshad is being corrupted by the economic system. The series is also able to use shadows in an interesting way, to amplify the drama of some scenes. Even though the colours doesn't have a deep meaning and sometimes light is flat, the show delivers good visuals but it isn't enough to say that it's remarkable. Photography: 6/10 EDITING It's amazing and I like how inventive it is. Most of the shot are memorable because slow motion is used cleverly, the framing jumps between an old and a recent one, the close ups are grat because they help to flesh out the characters and jump cuts give it a comedic tone when it's needed. It remembers me The Wolf of Wall Street a bit but he differentiates a bit and is able to forge his own style. It isn't the best editing I've ever seen and it isn't even the most original but it works well here. Editing: 8/10 SPECIAL EFFECTS There isn't a lot of cgi, which is used only in a subtle way. Nonetheless some practical effects are used to age the characters and I think that it's well done, even though it goes beyond simple makeup. Special Effects: 6/10 SOUNDTRACK It's good and it has different variants which fits different situations. As costumes, it evolves in function of Harshad, growing and falling with him. I think that the opening credits are what put this series on the level of american and british series, because it's pretty remarkable. I like how it amps up during trading moments, especially when Harshad is a jobber. You feel the adrenaline and caos present in the Bombay Stock Exhange and it's almost comical. I didn't expect this level of music. Soundtrack: 7/10 COSTUMES 80's and 90's indian clothes are on point and fit the characters purpose and role. I like how Harshad costumes evolve during his carreer and downfall, to denote ow he passed from being a poor and simple unemployed guy to a questionable tycoon. This kind of evolution of present in all the other characters which evolve in function of him, like Sucheta, Ashwin and Bhushan. Costumes: 7/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 6/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 7/10 AVERAGE: 7,28 It's an impressive series which tells a story that needs to be told. The subversive script, which does something new and unexpected, the acting and how the show is shot, elevate the series to high level of quality. You have to see it because this is one of the most influential series ever created and its relevance is remarkable. Director: Hansal Mehta, Jai Mehta Screenplay: Sumit Purohit, Saurav Dey Cast: Pratik Gandhi, Shreya Dhanwanthary, Hemant Kher, Nikhil Dwivedi Soundtrack: Achint Thakkar Cinematography: Pratham Mehta By @the_owlseyes

Reviews by: @the_owlseyes It's hard to tell what's right, especially when we want to set right the relationship with someone who wronged us. We're poisoned by the need to avenge ourself and this is what keeps us down and prevents us from getting better by accepting it. Revenge and pride don't bring back what we've lost but it'll let us lose what we have tried to build. It's a concept which works well in a cinematic sense because it gives a character a motivation and something to propell the plot but it doesn't work in real life. I don't know why we're still pushing this kind of message but it seems to be appreciated by the audience. We need to learn a different way to accept our demons. But it isn't this simple. Ask yourself the right questions and look for the best way, not the easiest. PLOT "Inspired by the adventures of Arsène Lupin, gentleman thief Assane Diop sets out to avenge his father for an injustice inflicted by a wealthy family" or "How ro make a 100 years old story relevant again". SCRIPT Here is where the series is both bad and good. As an heist genre show it works well, even though there're a lot of cliches and the structure used is a bit predictable. I like that by the last episode every loose end is resolved in a clever way. I don't like the fact that the characters doesn't have a real arch and it's all about the plot. I'm also not into the fact that the series has to explain every plan after it has been executed: it's like the series considers it's audience dumb and it's a convenient way to show us that the protagonist is sharp. This isssue is noticeable because there're no stakes and tension because we know that everything will be okay in a way or another. I want to add that some plans looks a bit too convoluted and could've been solved in another way, which wouldn't have been cinematic enough. This is both the movie weakness and strength but sincerely a series which forgets about his characters isn't that good. Script: 6/10 ACTING Omar Sy is perfectly casted and carries the series on his shoulder with great charisma, charm and a wide variety of emotions. Everyone else isn't able to outshine him and it shows, even though their acting isn't bad. Sometimes is a bit weird and the quality is mixed but it works well. There isn't a performace which elevates, even though Omar Sy, as I said before, is the MVP and the one who gets the best scenes and lines. Acting: 7/10 PHOTOGRAPHY The light isn't used in an interesting way and most of the time is just flat. Colours aren't used in a meaningful way and there aren't wonderful shots. It feels like a cable program sometimes and I don't like it. I understand that this isn't a million dollar production but the director could have done more. For God's sake, this series is set in Paris and the french director isn't able to give us wonderful shots of one of the best city in the world. Photography: 5/10 EDITING Usually a good heist feature works if there's good editing and this show is characterized by it. This is what makes this series original, an editing style which isn't new but it's pretty effective. Everything is about framing and it's all about the scenes speed and angles. I've seen it in Now You See Me, a movie which has the same director and I think that it's perfect for the show. Other cinematic techniques, like slow motions, tilted camera,...are used sparely. This makes the series a bit repetitive and boring after a while but it doesn't harm the experience. In the end it's good but not the best. Editing: 7/10 SPECIAL EFFECTS There're a few of them. Sometimes the green screen isn't good and sometimes it's easy to see that there's a stuntman who's performing, especially for fast driving. Overall it isn't harmful and cgi isn't the main attraction here so it's passable and acceptable. Special Effects: 6/10 SOUNDTRACK It's ok but it feels like any other heist movie or series soundtrack. I like the fact that it has some shades of classical music, a thing which becomes more relevant in the last episode. I can say with certainty that the last episode has the best track. Yes, there're also some pop music tracks but I don't find them memorable. It's a soundtrack which isn't impressive but it works just well. Soundtrack: 6/10 COSTUMES Nothing exceptional. I don't fund the disguises particularly interesting, even though they're Lupin's trademarks. Yes, costumes have a relevance in the series but they aren't what's good about it. Overall this is a good section, slightly above average. Costumes: 7/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 5/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,28 An enjoyable series with a good leading actor and a lot of flaws, especially about the script. It isn't about Lupin, as a character, but rather about someone who is inspired by him so don't whine about it. I think that you're going to like it if you've liked Now You See Me but if you don't like the genre, you can skip it. Give it a shot if you want some mindless fun. Director: Louis Leterrier, Marcela Said Screenplay: George Kay, François Uzan Cast: Omar Sy, Ludivine Sagnier, Clotilde Hesme, Vincent Londez, Soufiane Guerrab, Shirine Boutella Soundtrack: Mathieu Lamboley Cinematography: Christophe Nuyens, Martial Schmeltz Running Time: 48 minutes By @the_owlseyes

Reviews by: @the_owlseyes @matts_moviez Sometimes we're impressed by the unexpected. Wait, this is how I start my review usually. I'll do it again. Bo Burnham has win my respect and my appreciation after what he has produced, all by himself. It's incredible on multiple levels. It's extremely actual, the themes are relevant and the music is just awesome. Bo touches every argument which is actual way in an elegant, sharp and funny way. It's simply beautiful how he parodies Youtubers, models, movies, gamers and Jeffrey Bezos. Nothing feels forced or done for a political reason. He's just a person who's espressing is opinions about things which are dear to him and our society. And it feels genuine and true. He's not acting and he's not performing for someone but himself. This has been his way to keep himself active during quarantine and sometimes he cracks, which is just good to see. Sure, most of it is planned but most of the time it feels truthful. He's also extremely competent with the camera and everything has a meaning and a purpose. Nothing is left to the case. I've never felt bored and annoyed while watching it because it offers a large and colourful variety of shots. I could also say the same about how he used is various cameras. I don't want to say a lot as usually so f**k it. It's just the best you can get from an imaginative mind. The music, wow. This what makes the movie special. Well done songs with a likeable jingle and social commentary which is done in a funny way. There's a large variety of it and Bo is able to impress you when you don't expect it. He's even able to make it interestig by changing clothes everytime and he goes all in with it sometimes. He doesn't care, he does what he wants and he has fun. Really, do you want more than that? This movie is a f*****g comedic masterpiece and this is on eof the most entertaining, funny, clever and it's unexpected . When I chose this movie I didn't expect to feel that entertain and the sensation after that is strange. I felt happy but something, deep in me, told me that there was something unsettling about it. I don't think that what I've written here could reflect the experience and the sharpness of the movie. Seriously And I think that you should see it to understand how subversive and innovative it is. Here are other pictures but stop linger on them. Get the f§§k out and enjoy life, now that we can. Reconnect with who you love and have fun. This is the only way to survive this life and be happy. Everything: Bo Burnham Running Time: 87 minutes Ah, right. This movie is an 8,5 but none cares. By @the_owlseyes As the summer comes crashing to a halt, I like everyone else, am both excited and anxious for the upcoming fall season. But the one positive influence in my life since early June was a comedy special. And as the title suggests, it’s no surprise that it is Bo Burnham’s reflective and incredibly introspective special. As I’ve delved deeper into this special, I find new degrees of messages and clever details regarding the mental state of the titular character, Bo himself. Inside is both a satire of the pandemic year, but also a peer into the mind of a creator who isn’t entirely well; bridging the gap between reality, media, and forms of art, Bo does so much in a matter of eight-seven minutes. Everything from the catchy musical numbers to the intentionally passive-aggressive comedy sketches. There’s nothing about this special that is overly pessimistic, nor nauseatingly sentimental. Bo presents everything to the audience, leaving the viewer in the same state of being as Socko in That is How the World Works. What Bo Burnham's Special Meant To Me Along with being my favorite piece of media of this year, Bo Burnham’s special also struck a chord with me, as did it for many viewers who were all too familiar with the isolation and anxiety that came from the pandemic year. This might sound cliche, but so many of his songs felt so relatable to me, and I can’t say that about a majority of some of the films/ television I’ve watched. Like Bo, I’ve experienced my fair share of panic attacks and struggles with anxiety. And I know that I couldn't be the only one who saw themselves in Bo as he sang his heart out in All Eyes On Me. As I’ve stated before, this special means a lot to me just not on a technical level, but to reach me on a personal level isn’t the easiest feat, and Bo has done that almost to perfection with this special. Bo Gave Matts_moviez Courage? And here we are, the reason behind why I never gave this special its own post. So for clarification, I am a bisexual man, which is something that has been sort of a burden on me since I started developing feelings towards the same sex. For a long time, I would deny myself the opportunity of happiness because of my sexuality. But all of that changed after I saw this special. Something inside me changed at that moment, on my second viewing, something that I can’t quite describe. I just knew that it was finally time to explore myself and let my sexuality be heard. And that’s seriously all thanks to this fantastic special, which will always be near and dear to my heart. Bo Burnham: Inside Songs Ranked Welcome to the Internet Goodbye Comedy All Eyes On Me White Woman's Instagram That Funny Feeling Bezos I Problematic Sexting Don't Wanna Know Look Who's Inside Again Shit By @matts_moviez

Reviews by: @the_owlseyes Sometimes fantasy doesn't need to become reality because it can become a nightmare. I've said enough. PLOT "A young boy is recruited by his imaginary friends Sharkboy and Lavagirl to help save their planet" or "Fantasy could be pretty disturbing" SCRIPT It depends how you want to see it: as a boy's fantasy or disturbed fantasies of an adult mind. The first case work, the other don't. The protagonist as an arch but it isn't interesting. The others are dumbily written. Sharkboy and Lavagirl have generic powers with a generic backstory and a generic personality. There're a lot of cliches and the villains are the worst. Their reason isn't logic and their decision are questionable, not because they're bad, but because they're written ad dumb villains. Parents and adults are portrayed in a biased way and all of them seem like dummies. It feels like an aimless movie because there're no stakes and no tension. At least it isn't the worst script ever written for a movie. Script: 2/10 ACTING Usually kids aren't very good at acting. Here kids are the main stars and the movie suffers a lot cause of it. The worst of them...I don't know. I could say who is the best: Taylor Dooley as Lavagirl. The adults are bad too because they overact as hell and they are not able to raise the movie's quality. Beyond that there's nothing more to say here. Acting: 1/10 PHOTOGRAPHY Thanks to shitty special effects and oversatured colour, this movie is harmful for schizophrenic people. Your eyes will hurt and you are going to bail out of this movie because you don't want to become blind. At least there're great shots and visuals......not. There's nohing like that here. Erase your hope, this movie crashed hard and it could destroy your soul. Photography: 1/10 EDITING It's slightly better than the other sections but it isn't interesting or ground-breaking, it's just mediocre and it helps making this movie a sluggish piece of trash. There's no slow motion, tracking shots or things like that. It's basic, pretty basic. Editing: 3/10 SPECIAL EFFECTS The cgi is blinding. It becomes unbearable after 15 minutes in the movie. The 3-D techinque is just bad, tedious and unnnecessary. I've never seen something as bad as this movie. I consider it worse than Who Killed Captain Alex? because I don't understand how the director was able to f**k it up with that budget. I want to give it 0 but I can't. It's a disgruntled 1 and it's too much. Special Effects: /10 SOUNDTRACK It was bad even before Taylor Lautner started to sing the notorious Dream song. You find it here to ruin your day. Usually I'd say "Enjoy" but now I'll say: don't, don't do it for your own sanity. Soundtrack: 1/10 COSTUMES Just awful. It's a superhero movie and it isn't able to give proper suits to his heroes. It seems more like halloween costumes rather than a $50 million dollar production. It's outrageous how bad they are. Costumes: 1/10 CONCLUSION Script: 2/10 Acting: 1/10 Photography: 1/10 Editing: 3/10 Special Effects: 1/10 Soundtrack: 1/10 Costumes: 1/10 AVERAGE: 1,42 It's a bad movie born with good intentions from a bad idea and a good director. See it to believe it. Director: Robert Rodriguez Screenplay: Robert Rodriguez, Marcel Rodriguez Cast: Taylor Lautner, Taylor Dooley, Cayden Boyd, David Arquette, Kristin Davis, George Lopez Soundtrack: John Debney, Graeme Revell Cinematography: Robert Rodriguez Running Time: 93 minutes Budget: $50 million By @the_owlseyes

“While the Gods are powerful, we learn little about them. It is only in their day of decadence that a strong light beats into heaven” E.M. Forster, Howards End An idea could be reached without intentionality. Most of our ideas don't have a complex process behind them. You could notice it by looking at most of human discoveries. Fire wasn't invented by knowing that knocking two flints would create sparks, it was discovered by chance. I think that a lot of good ideas come from a random process which makes our reality more like an holistic system rather than a causal one. The arts are where mankind is able to pursue random ideas and trasform them into beautiful concepts. It's in visual arts, cinema and music. Music, which takes direct inspiration from reality, isn't so casual. There's always an underlying idea of order. What about chaos? A few artists approached the idea of building their music around chaos and causality. One of them is Anazanaut, a group which has no past, no future and no home. An enigmatic and fascinating band which names is hermetic as its songs. An interesting process which goes against the ordinary process used by artists to find their identity. This is how Ugo Fist, the band's founder, describes it: "Well, it started when I was trying to find a name for my new project that wasn't already used and I was inspired by Jandek, who made his name up to avoid similar issues after his first album got sued for using someone else's name. I played around with a nonsense word generator online until I came up with Anazanaut, searched it on Google and when it came back with zero results, knew I had something. The idea just progressed from there" The band, as Ugo Fist recounts here in a detail, has an interesting origin story which spans decades in the making : "Began as an attempt to wipe the slate clean after a series of disheartening failed creative endeavours undertaken in the years preceding its inauguration. After 35 years of effort involving a motley assortment of associates working within sundry concoctions of bands and one-off collaborations, on May 5th of 2015, after a particularly egregious personal confrontation, it became apparent that it was time to withdraw from active participation in these ventures. I deemed to enter a period of stasis until such time as some inspiration could compel me towards fresh ground for exploration. This event occurred in July of 2015 when I was gifted with the temporary possession of a handmade Japanese prototype “Eleki Ribbon” style Ondes Martenot. With a sound similar to a Theremin, but controlled via the use of a ribbon touch strand, it became the impetus for the inception of an entirely new artistic manifestation. At the time, the intent was to conceive something completely untethered to any prior incarnation and not even announce its existence to anyone familiar with previous works" But what's remarkable is how Ugo got his passion about music. As he tells us: "My great uncle really inspired me. There were a number of musicians on my mom's side of the family, but he was special because he recorded his own original compositions. AND he was into doing old style overdubbing using multiple tape decks, so he'd record himself playing guitar and singing and then add mandolin on top of that and I thought it was just some kind of magic to be able to do that. It kicked off my obsession with getting into home recording gear: cassette decks, reel tp reel, portastudios and eventually computer gear. It all started with him" Another intersting fact is that the randomness of the Band's name is heavily noticeable in the tracks's names, realization and releasing process: "It was decided to utilize nonsense words as identifiers for all album and song titles as well. Numerological elements were also incorporated into releases with song/track lengths limited to a prescribed set of durations, either 8, 22 or 44 minutes, exactly. 8 minute pieces would also only be released in sets of 8 and, to date, there are a total of 8 albums with this configuration. 22 and 44 minute pieces would all be stand alone releases. The only exceptions to these constraints were the binary themed release, 00110000 00110001, in which all texts were coded in binary, and 20160611, which is a live recording of a 4 hour installation performance enacted on June 11, 2016. Packaging of the releases was then restricted to utilize a predefined template so that each title would appear to be part of an ongoing series" But it wasn't limited to the aspects explained above, because the same level of originality is also present in every track's covers: "Every recording also involved the creation of a graphic image based on multiple overlaid original photographs plus a paragraph of text which would be, in some abstract way, representative of the recording. The three elements are intended to function together as a unity. The texts themselves were written in a style which attempted to deconstruct conventional language and make it often seem incoherent in some way or like a lot of complex words were being used to communicate very little actual information. As it evolved, however, certain meanings and cultural observations began to inexorably impose themselves in these texts as a natural, organic byproduct of their evolution" In terms of the style, its principal realms of focus include ambient, down-tempo and techno electronic music styles with a heavy emphasis on dub production techniques. In addition to various digital based electronic equipment including samplers and virtual synthesizers, real world instruments such as guitar, violin, trumpet, voice and a wide variety of acoustic percussion and noise makers have been incorporated into the arsenal. This also includes some micro-synth devices such as Korg Monotrons and Koassilators. External guitar FX processing footboards have also been a key ingredient in creating the sound. Anazanaut was primarily active from July 2015 until June 2017. Since then, only two additional titles have been released in July of 2020 and January of 2021. While no further work is currently planned, it cannot be said to be officially discontinued and there is always the potential that new releases may be manifest at some future date. Outside of Anazanaut, only a couple of one-off collaborations have been done in the past 6 years. The favourite's bands of Anazanaut are The Monkees, Queen, Public Image Ltd and Throbbing Gristle, because, as Ugo explains: "Each offered me revelations at various stages of my youth from childhood, through adolescence and becoming an adult" Randy Scouse is his favourite song by Monkees because: "It's a song that stuck with me from the first time I heard it as a kid and still seems relevant to me because it's about an LSD trip with the Beatles" Some Day One Day is the favourite piece of Queen, because it makes him misty every time hears that. Careering and Slugbait are his favourite of Throbbing Gristle and Public Image. Their trinity of movies is composed by he Holy Mountain by Alejandro Jodorowsky, Head, The Monkees 1968 feature, and Desperate Living by John Waters, because: "Holy Mountain reflects my sense of spirituality, Head my understanding of popular culture and Desperate Living my sense of humor" He's also into Star Trek and his favourite characters are Picard and Disco. Today we're going to take a look to Dializing Shambelly, Ugo Fist favourite album: "This release, for me, is my favorite of the Anazanaut project and I think it has the most relevance as well in terms of connecting to popular culture. It was recorded right after the US 2016 elections and released shortly after the Cheeto Prez took office, so it is informed by the looming sense of doom that was inherent at the time. The cover on the front even features a heavily mutated image of Dumpo. Each of the tracks incorporates a central found voice. Some are more well known than others including Jacques Cousteau, Bhagwan Shri Rajneesh & Vincent Price. Others are from old religious or instructional records. Themes of spirituality, occultism and self improvement are principal throughout, though there are more humorous elements like pornographic material" The first track of this album is Frigidal. It's a piece where it's present a female voice at the start, which set the tones of the music. I would describe it as a psychedelich but soothing song. Most of it is instrumental. It exudes multiple emotions but it's hard to describe them because this isn't ordinary music. Next is Senami, which is a more dynamic one. There's a voice which says things which are connected to the song's theme. I think that this song would fit perfectly in a cyberpunk movie, because it evokes this vibes. The use of a drum gives to track a certain pace which is constant and never slows down. Beamazed has a voice which tweaked a bit, slowed, to fit the music rythm. It's amazing because there's a variety of sounds and styles which makes it very original. Masouge starts as a dialogue between a man and a woman with different voices. It's hard to describe this songs because there aren't certainties and a they lacks familiarity. This what fascinate me and will fascinate you. Valers starts with a bang and then it's quiet. The song is introducted by a voice who gives some instructions. It makes me feel like we're experiencing a curfew and there's a voice which tells us what to do. It's the kind I imagine used in a futuristic movie to show the enslaved people under awfully programmed machines. it stucks with you. Baptusion is the weirdest one because it's composed only of a vocalised part. It's pretty enigmatic. I think that the band's description of this track could clear a bit this sensation of confusion. The next one is Cavelag. It starts in a storm and it slowly build up into a more soothing and warm music. After a while the vocalised part become extremely pleasing. This songs aren't song you're supposed to hear about with an empty mind. It's more a way to earn new notions and informations. Least but not last there's Washad. Is the one which remembers me shaman's song and it's kinda dreamy. It's a reflection the tossic mindset present in our society and I think that it has a point. This is an interesting band because it's original, quirky and it does more than just music. Ugo Fist wanted to craft something to be remembered and change our society for the best, even though he's losing his faith in it. Check Anazanaut out to adress your certainties and misconception and find your own path in a falling civilization. Change starts with one person and one simple action. Will you be the one who'll start it? All releases are available in the Anazanaut's Bandcamp By @the_owlseyes

Reviews by: @any_left Paul Thomas Anderson's Phantom Thread is a disturbing journey into the psychology of its idiosyncratic lead characters. Set sometime in the late 50s and in London. "the house of Woodcock" feels stuck sometime in the 20s, with no sign of the swinging 60s in sight. Phantom's linear narrative unpacks gradually in a seemingly straightforward manner across its 2 and a bit hour run time. However the beauty of this film lies in what is unsaid, as the sinister subtext bubbles beneath we learn through micro aggressions and actions both overt and clandestine the deeply flawed nature's of our Narcissistic protagonist's. The hilariously titled Renalds Woodcock, exquisitely played by Daniel Day Lewis, is an elite dressmaker and a froidien wet dream. He exerts ultimate control over people, routine and objects in his rigidly structured existence. He sews secrets into the hem's of his dresses, names, mantras, mottos and talisman. His breakfasts must be silent and his muse’s must morph into the exact mould he has chosen for them. Or it’s the chop, not executed by him however, but buy his iron lady of a Sister and the literal linchpin of his empire Cyril, rendered exactly by Leslie manvill. He seems to fit into the tortured male genius stereotype, but he is so, so, much more. Surrounded by seemstreses and Still morning the loss of his mother, he longs to return to her breast and like the C. E. O of a mega corporation who wears nappies at the weekend, longs be laid weak, vulnerable and prostrate. Enter Alma, superiorly portrayed by Vicky Kripes. Another Narcissist, seemingly clutsy and sweet. Upon their initial meeting she sweetly serves him his hungry boy breakfast. Enamoured by her memory as she deftly remembers his exhaustive order. He askes her out for dinner and future toxicity is assured. Alma exerts control in a far more subtle and deadly manner. She will stop at nothing to be the sole possessor of Renalds’s Woodcock. The shroomy yin to his yang she begins a campaign of poisoning in order to fully open him to her will “I want you weak and vulnerable. ” she maniacally mentions. Initially the inflicted sickness scares Renalds as he hallucinates visions of his late mother. The disturbing image somehow appeals? He’s able to commune once more with his dead mum. Alma sits dutifully by his bedside, both of them emphatically refusing medical help carefully brought forward by Cyril, hmmmmm?? He recovers and is strong again but somehow changed. Asking for Alma's hand in marriage, she controls the proposal by delaying her obvious acceptance, he loves it! As the picture progress we begin to realise that Renalds is aware of the sporadic poisoning. He begins to sicken of Alma as he is want to do with all his former muses. Claiming a lack of order, confidence and organisation, he begins to set in motion the organisatioal machine that is sister Cyril . Alma gleans this lack of control and feels she might be losing him. The hungry boy’s tummy is filled with shrooms once more. Post poisioning we get the impression that Woodcock is beginning to revel in the lack of control as he takes to Alma like a froidien duck to water he whispers “kiss me girl before I’m sick" Alma assuming the port of his mother tends to his sickness, bowl in hand she vultures on his vulnerability. Both are literally, exactly where they were destined to be. Phantom Thread is always on the top of my watch list. Like all P. T. A 's films multiple stories run in parallel, what is said and what is unsaid, what is shown and what is unshown. His protagonist's all have one thing in common a deep inner life and a sense of place in the world of the film. Phantom for me is perhaps the ultimate example of this . I think because of the liner nature of the tape I become more focused on the characters and their wonderfully rich inner live. It's the type of tape that improves with every watch, it will stick in your head like cleavers to a sock. Better the fith time than the first. Director: Paul Thomas Anderson Screenplay: Paul Thomas Anderson Cast: Daniel Day Lewis, Vicky Kripes, Leslie Manville Photography: Paul Thomas Anderson Soundtrack: Jonny Greenwood Running Time: 130 minutes Budget: $35 million By @any_left

Reviews by: @the_owlseyes We all desire something more, something better. We want to have or own home, a good job, a family and a good life. Most of the time we tend to undervalue what we have already and we try so hard to get something better, forgetting about the people who are around us. The fact is that there's already beauty and happiness in our family, or community and our job. It's good to take risks and find something better which could grant us more wealth, because today a lot is about it. What's important is to not lose yourself in the process. This way you'll find a new home and you'll retain what you've started with. Sometimes we wish for life to be like the one portrayed in the movies, when movies show us a life which is more like a dream than an reachable reality. PLOT "A film version of the Broadway musical in which Usnavi, a sympathetic New York bodega owner, saves every penny every day as he imagines and sings about a better life" or "South American empowering movie". SCRIPT Here I'm a bit conflicted. It isn't bad but the plot device used to move everything and everyone is a bit cheap and it seems outdated. I like the fact that the movie take times to let us understand the characters, their motivations and their goals. There isn't a villain but I think that it's the U.S. Government. In fact this movie, not only celebrate the Hispanic culture but also it criticizes how the Americans treat Hispanic people at work and during the everyday life. It isn't subtle and sometimes it feels too cheesy. I like the fact that the movie tries to be as realistic as possible, even though the story is framed as a fairy tale. There're some cliches regarding the love stories and how the movie solve its conflict but these aren't inherently bad. Another flaw is the fact that there're too many characters and most of them aren't used well and aren't explored enough. Sometimes the movies showcases stereotypes and it could be bad if you're of South American origins. Overall I think that it's appreciable but it isn't good enough to say that it's above mediocre. Script: 6/10 ACTING All the actors do a good job and their singing skills are pretty remarkable. I like Anthony Ramos because he's able to convey a wide spectrum of emotions and create a compelling character. There's also Jimmy Smits who helps to elevate the dramatic scenes and create compelling situations. The other actors play their part well but I don't think that they do something exceptional. Overall is a movie well acted and well singed. I an't deny the fact that there're a lot of talented singers here. This is why the movie works as an adaptation of a broadway musical. Acting: 7/10 PHOTOGRAPHY Even though the light is mostly flat and shadows aren't used this much, the colours are bright and the movie shines with them. The chromatic cornucopia on display here is wonderful and extremely eye pleasing. Yes, colours don't have a symbolic meaning but they're the expression of the South American culture which is front and center here. There're also incredible shots of the Washington Heights, which make them seem like a fantastic place where a fantasy story unfolds. Photography: 7/10 EDITING The transitions are amazing and thanks to that the songs are memorable. The dynamism of the soundtrack is reflected here, with a camera which jumps from a character to another and likes to shot great gatherings of people. I could say that most of the shots are cool and just a few are basic. Editing: 8/10 SPECIAL EFFECTS The green screen isn't noticeable but there's one scene where the vfx are a bit bad. Another one feature a spider-man-ish scene which is good to look at and makes the song more interesting. Mediocre effects, nothing more to say about it. Special Effects: 6/10 SOUNDTRACK This is the main strength of the movie. After Hamilton and Moana, Lin-Manuel Miranda has been able to deliver another slur of great songs which integrate perfectly in the motion picture and honour the Broadway play which started Miranda's career. The songs function in different ways but are never used without a reason. These defines characters goals, desires and propells the plot. It isn't just about the songs but the movie makes the singed parts dynamic by letting different actors sing them. There's only a little problem. The soundtrack is highly reminescent of Hamilton, but the movie acknowledge it and there's an easter egg which is easily noticeable. Soundtrack: 9/10 COSTUMES Nothing interesting here. Usual clothes you can find on young adults. Even though one character is a fashion designer, she doesn't have much to do with it. It works but it's just mediocre. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 7/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 9/10 Costumes: 6/10 AVERAGE: 7 An enjoyable movie with great songs ad eye pleasing shots. It could've been better but the script is its weakness and it shows. If you've liked Hamilton and you like musicals, you have to watch. Otherwise give it a try, because it could you get interested in the genre. Director: Jon M. Chu Screenplay: Quiara Alegría Hudes Cast: Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV, Jimmy Smits Soundtrack: Lin-Manuel Miranda Cinematography: Alice Brooks Running Time: 143 minutes Budget: $55 million By @the_owlseyes

Reviews by: @the_owlseyes Could the means justify the ends? Morally and ethically it doesn't, because it would mean hurting someone in name of our personal gain and it's considered selfish. What if there's no other choice? Is it still wrong? There're people who are obliged to become smugglers and thieves because of a toxic economy. There're people who hurts their relatives and partners out of love, when it's actually done for a lack of it. There're people who kill to "defend" their country in nonsensical wars and, when they come home, they risk to become criminals because the government doesn't help them reintegrate in our society. We could talk about moral and ethics but the fact is that each one of us is an utilitarian. We aren't able to admit it because being aware of it could shatter our reality and makes us feel bad. Is there a way out of it? Do we really want to be free of it? PLOT "The plot follows H, a cold and mysterious character working at a cash truck company responsible for moving hundreds of millions of dollars around Los Angeles each week" or " Taken with a spoon of Heist Movie, a pinch of Guy Ritchie and a lot of Jason Statham". SCRIPT That's a well written script but this is the typical case of plot over character, because the characters aren't analyzed in depth and they aren't interesting enough. Considerig the fact that there're too much of them. The protagonist is the only one with an arch but it isn't special. I could say the same for the villains but here this concept is twisted, because everyone is a villain, if you see it from this point of view. I like the fact that every character has a motivation and a goal, which makes everyone an active character. The fact that the movie wanted to deal with the concept of perspective in revenge is interesting because it isn't done a lot. The way the plot is built is ingenious because we're shown an event from differnt point of views, to understand the people involved and how they got there. What comes after it follows a normal timeline but it's helped by the previous acts, which are made by a carefully crafted weaving. The ending is a cliche but overall the movie is impressive for this section. This is what you can expect form a Guy Ritchie movie. Script: 8/10 ACTING Usually Jason Statham has just three facial expressions and that usually hurts his movies. Here is different. Here it's what makes the character awesome and interesting. Yes, could be said that it seems more like Statham playing himself but it works, this is what matters. We should also consider that this movie isn't about emotions and empathy but about action, bullets and violence. It's almost like H, Statham's role, embodies it. The other actors do a good job but I don't find it remarkable, especially Scott Eastwood acting, which seems a bit stale and boring. There're some honourable appearances like Andy Garcia, Eddie Marsan and Deobia Oparei but I don't think that a lot of it is added by them. Acting: 7/10 PHOTOGRAPHY Some shots are good but I don't find it particularly impressive, because light isn't always used in an interesting way. Right, some scenes are voluntarily darker to give us a sense of unknown and fashion but it's just a stylistic choice. Colours aren't used in a symbolic way and the movie isn't interested in showing us great landscapes because it isn't the movie's purpose and the director style. Photography: 6/10 EDITING One of the strength of this movie. Cool shots with an head tracking camera, which reminds me of Rock'n'Rolla, smooth transitions, fades to black which help the audience to take a breath, long shots and effective slow motion. This movie has a great rythm thanks to that and it serves as a reminder of the visual skills of Guy Ritchie, who's alway able to impress with something new. The shots framing is essential to the movie and this is why I think that its value must be acknowledged. Editing: 8/10 SPECIAL EFFECTS There's a few of that and almost everything is practical, which makes this movie similar to other classic heist movies like Heat and The Town. It's noticeable a blend of editing and vfx during one shot to convey a sensation of atonement and growing rage. Special Effects: 6/10 SOUNDTRACK Even though it isn't exceptional and it doesn't vary a lot during the movie, it's pretty consistent and gripping. It gives the main character a sense of quiet ferocity and cold perfectionism. I've liked how it mached the action scenes by creating suspense and keeping you anchored to the screen. It remembered me other soundtracks like Zimmer's The Dark Knight and Balfe's Mission Impossible: Fallout. There're Guy Ritchie's movies with a better soundtrack I think, like The Gentlemen, Sherlock Holmes and King Arthur: Legend of the Sword. This movie does something different, which is risky for the director, but it delivers. Soundtrack: 7/10 COSTUMES Nothing interesting about that. Usual tactical gear and clothes which match the setting and the characters. Costumes: 5/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 6/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 5/10 AVERAGE: 6,71 A good action thriller movie with a cool lead and an impressive script. Even though this isn't a groundbreaking movie, it's pleasing and could be very entertaining if you're into this genre. I think that only Statham coul've pulled off this performance because of his acting and his physicality. It isn't the best Guy Ritchie movie, but it has the director's trademarks. Director: Guy Ritchie Screenplay: Guy Ritchie, Ivan Atkinson Cast: Jason Statham, Holt McCallany, Jeffrey Donovan, Josh Hartnett, Chris Reilly, Laz Alonso, Raúl Castillo, DeObia Oparei, Eddie Marsan, Scott Eastwood Soundtrack: Chris Benstead Cinematography: Alan Stewart Running Time: 119 minutes By @the_owlseyes

Reviews by: @the_owlseyes During period like the one we're in happen a lot of different things: governments mismanage what supposed to be their responsability, the search for the guilty ones put everyone in doubt till someone is chosen as the scape goat,...but something better comes out of it. A new order and a new way of thinking. Most of the people on Earth are scared by change and do their best to avoid or to cancel it, which creates ripples in our society. The status quo shifts and now we're stranded in a new reality. It's up to us to decide if we want to understand it and live with with it or succumb to oblivion. It's easy for young generations, because they're still able to mutate, but it isn't for the old ones, who prefer to fight what's novel and lose in the long term. This period of pandemic should've taught us important things like the importance of human relationships, the necessity to think as a united planet against threat which goes beyond national borders and that life isn't a certainty. During this period we should've evolved, phisically and ideologically. Did you do it? PLOT "A boy who is half human and half deer survives in a post-apocalyptic world with other hybrids" or "It's like Covid-19 but there're weird kids". SCRIPT It's creepy how similar this story is to the situation we found ourselves in recently. It looks like there's a will to condemn how our government have handled the pandemic. There's also the fact that it deal with the issue relative to the people who were accused of it while, probably, they weren't responsable for it. The fact that this series shows us how the world would look like if the virus was worse than the one we got. The idea of animal-human hybrids is very good and the execution is on point. I liked the fact that the show deals with social issues like discrimination,disinformation, nature, parenting and growing up. In fact the story could be considered an allegory of the passage from childhood, the period of naivety, to the teens. I like how the character of Bear is used to show us that a world without adults is better, to function as a antithesis to Gus way of thinking. Jep's character, as the villain, is kept in darkness and we're offered only hints about his previous life. I like him but he isn't explored enough. The same goes for the other characters. As every other Netflix's series, this show is more interested in setting up a sequel rather than have a season with a satisfying ending. Script: 8/10 ACTING Will Forte is the one who elevates the show. His acting, which is emotional with a pinch of comedy, it's outstanding. I didn't expect him to be the MVP of this show but I underestimated him. The actor who plays the protagonist does a good job, as the other players but there's nothing remarkable in them. It's slightly above average but it isn't memorable. Acting: 7/10 PHOTOGRAPHY That's wonderful. Landscapes are eye's pleasing and colours are brilliant and diversified. Light is usually flat and uninteresting and this aspect make the series feel just like another Netflix show. There's no symbolic meaning behind the use of colours and lights. Overall it's adequate but it stops at this level. Photography: 6/10 EDITING There're the usual cinematic techniques but it doesn't try something new. There're some good shots but nothing remarkable. The lack of original shots fortunately doesn't hurt the experience but it could've been better. Editing: 6/10 SPECIAL EFFECTS Sweet Tooth's cgi is well done but it seems like all the budget went there and it shows in the real animal cgi and the other hybrids, which are mostly done with practical effects and a lot of make-up. I think that it's mediocre even though it isn't bad. Special Effects: 6/10 SOUNDTRACK It's ok but it doesn't impress. I like the choice to mix instrumental and pop music but it isn't enough to say that it leaves a mark. There isn't a theme for every character and this is why I don't remember the soundtrack, because it isn't varied and adaptable. Soundtrack: 6/10 COSTUMES Nothing interesting about these, usual post-apocalyptic clothes. The soldiers uniform are boring and trite but I liked the Animal Force costumes, which are well done. Other than that there's nothing more to say because the show doesn't showcase something original. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,42 An enjoyable series but it isn't particularly exceptional. I like tha acting and the script, which deal with issues which are topical. It can't reach incredible heights in terms of quality due to a limited budget, which is noticeable in all the other aspects of this show. If you're a fan of the comic book I think that you should see it, otherwise you can see it just as a series to switch off your mind for a while. Director: Jim Mickle, Toa Fraser Screenplay: Jim Mickle Cast: Nonso Anozie, Christian Convery, Adeel Akhtar, Stefania LaVie Owen, Dania Ramirez, Aliza Vellani, James Brolin, Will Forte Soundtrack: Jeff Grace Cinematography: Aaron Morton, Dave Garbett Running Time: 46 minutes By @the_owlseyes

"Then the voices of the Ainur, like unto harps and lutes, and pipes and trumpets, and viols and organs, and like unto countless choirs singing with words, began to fashipn the theme of Iluvatar to a great music; and a sound arose of endless interchanging melodies woven in harmony that passed beyond hearing into the depths and into the heights, and the places of the dwelling of Iluvatar were filled to overflowing, and the music and the echo of the music went out into the Void, and it was not void" J.R.R. Tolkien, The Silmarillion Music is more than just sound. Music is more than just vibrations and tones. Music goes beyond musical notes. It's everywhere. It's inside us. In every action, every moment and every emotion. It's with us since our first breath and it's what pushes us forward till our last. It's hard to tell where we would be without it, considering that music is the pillar of our Universe's genesis. In a way we're part of a big orchestra. We're all part of the Universe's Song. Artists are aware of that and takes inspirations from what's around them. Nature is a powerful source of inspiration. Our experiences works as well. But I think that the best source is what makes us humans, our emotions and empathy. And these, these are what allow a musician or a composer something more, something which will stay with their fans till the end of time. One of them is Rachel Nusbaumer, a young and talented composer from the Swiss city of the bending river, Geneva. A lot of musician starts because music is part of their but for Rachel it was different. She discovered her quirk when she was only four years old. She was fascinated by it, by the possibility to express her emotions. Music became not only his passion but also her life's compass, what kept her in balance, what lifted her up when she was sad and what enhanced her happiness. It all started with two instruments which aren't mainstream but she loved them at first sight: flute and oboe. She studied these at the Conservatory of Delémont and Geneva. But she didn't want to stick with what other people taught her and she wanted to branch out and find her own way and genre. At first she started with recorded music but what excited was a niche's genre which used to be played in royal courts for kings and queens: Baroque, and she liked it Italian. After that she entered a huge world of composers from around the world. Three of them caught her attention: Bach, Bergersen and Richter. Messe en si by Bach has really impressed her the 1st time she listened to it. She was young and it was one of her first concert, an experience which she consider incredible. She consider Bergersen some kind of genius because in her opinion all his tracks masterpieces, especially Cry, Forever More and Canon in D. The Nature of Daylight is what made her fall for Richter. Classical music was just the tip of the iceberg and her expanded knowledge toward neoclassical music and soundtracks. It wasn't out of the blue because before that she always loved what happens when classical music meets modern sounds. An interest which started with Yanni, a greek composer, but it has always been in her DNA, because she likes too associate her music to images and cinema is the best medium to express it. She discovered soundtracks with the great Ennio Morricone, an artist who became is favourite after watching the movie Mission. She finds the oboe theme pretty remarkable. That's what happen when you create a connection that strong with the instrument which started your musical journey. After him followed the discovery of other talents like Hans Zimmer, I don't have to introduce him because he's everywhere, Alexandre Desplat, known for The Imitation Game and Argo, and Ramin Djawadi, who scored a little show called Game of Thrones. She remembers dearly an Hans Zimmer's concert she attended last year. That should've been amazing. Hans is incredible. Nonetheless her favourite movie doesn't feature one of them, which is weird. But I think that she has good taste because she's into stuff like Into the Wild, Thelma & Louise, Le Prénom, a frenche movie, Pride and Prejudice and Emma. I could say the same about series because she likes How I Met Your Mother and sitcoms, even though the ending isn't so good. What I find particularly interesting is her artistic process. I think that her words will seem more genuine, because her works, all of them, are built by following the same sequence. It could be considered her trademark. As she says: "When I begin a track I have absolutely no idea what I will do. I am waiting for the inspiration to come, I play with my keyboard, I try to choose instruments that sound good to me. I experiment and then when I think I have something interesting I record it and I compose around that theme" Out of whichis generated her music which she considers an instrospective and emotional process. Out of all her albums the one which she consider her best is Baroquissima. A project which was born when she was younger and it's a tribute to Italian Baroque music. An idea which started to form while playing the recorder. With this instruments she used to perform compositions of Vivaldi, Corelli and Albinoni, whose energy, passion and modernity of their writing touched her deeply. It all started when she was 15 years old, when she didn't have a PC to compose her works and she didn't know about MAO. In this period she wrote Concerto per Flauto e Oboe, a feat which is remarkable for a teen. All of it was written on paper and the rest of it would be stuck in her head for years, before she restarted to work on it. Here she explains how this album's tracks came to life: "It is not easy to explain... When I start working on a new track, I always have high expectations because I want to make my masterpiece, which is rarely the case but it is my goal. I need to be inspired. Sometimes inspiration comes, sometimes don't. I need to wait until I am really inspired. Then I forget everything that's around me and I am alone with my music, the world doesn't exist anymore. I love that feeling. I usually compose at night, when my kids are sleeping. I love that atmosphere at night, when I feel alone with my music." And now, now it's time to analyze the tracks of Baroquissima, to understand what she wanted to tell us with her music and how every piece stands in the ensemble. The first track is Adagio in A minor, a soothing track which evokes fields of emerald grass under a blue untainted sky. The wind's soft breeze caresses us and let us wonder and relax. We lay down and close our eyes, meditating in stillness. She says that: "I wanted to create a classical piece with all the classical markers in it. Something quite majestic as it is the 1st track of the album, like an opera opening" Figlie di Coro is the following one and is more like the songs which were played at the royal courts of europe. It seems to tell a story, like a bard, a tale of adventure and love in Medieval Europe. It slightly faster and less quiet than the previous one and it seems there to prepare us for an ascending climax. In her own words: "I remember my recorder lessons, with my teacher. My recorder's teacher has been very important to me, really. I have not tell her, but it is a little bit for her that I composed this piece. This is a nostalgic track because I am a bit nostalgic of this period of my life" The third one is Anthem for an Archangel and it's a blend of church and epic music. The pipe organ is the prominent instrument. In my opinion it sounds like a requiem for a fallen archangel. It's completely different from what came before and this is why it stands out. Rachel thinks that: "This is an old piece which I've composed years ago. I thought it could fit my Baroque album. I made it after I've purchased a new orchestral library and I've really liked the organ's sound. It is this sound which inspired me to create a "church" piece. I wanted something very solemn for this one" La Follia seems like the music which royals used to dance with during balls, at first. After a while it becomes like a war march and it's particularly uplifting. "This is a long story beween La Follia and me. I remember my teacher once came with the score. I played it for the 1st time and I felt in love with that theme and all the variations (it is the Corelli's ones). Then I composed many many variations during my life. And I decided to include those to my album, it was an evidence" Concerto per Flauto e Oboe- 2 Mvt. Largo and Concerto per Flauto e Oboe- 3 Mvt. Vivace are the tracks which I talked about previously and I think that's Rachel favourite composition. This is where the album slows down to breath and relax. I think that there isn't another way to express my feelings while I'm listening to that. It seems like the kind of music which could fit well in The Lord of the Rings as the Hobbit theme. "This has been quite a long process. I have composed the "Concerto per flauto e oboe" when I was around 15. At his time, I didn't know anything about MAO, I didn't even own a computer. So I wrote it on a paper sheet, the music was only in my head. Then, many years later (and little more practice on Cubase and sounds libraries), I thought it was time to get it live. I took my old partitions back and I wrote it on my computer, with my orchestral libraries. I was deeply moved when I listened to it for the 1st time. That is all the magic and power of music! I am a bit frustated by the overall sounding of my concerto, it was really hard to program it with virtual instruments, I am sure it should sound better with real players" Conversazione tra Allegorie, an interesting title. Is the most lively and I like the pace. I like the fact that it seems like a dialogue, an animated and emotional one. This is one is my favourite. "I got inspired by that violin sound. I just bought Spitfire solo violin when I made this track. I was just playing with this new sound on my keyboard, to listen to the sound, see how to play with the different articulations, mics etc, and then this theme came out. I thought I could do something with it. I wanted to create a kind of a baroque fugue, something very energetic, a sort of a dialogue between the 2 violins. I was really happy with the result and I think it may be my fav track of the album" The next one is Andante per la Serenissima. The Serenissima is Venice and this is how the people used to call it in the past, when it was a kingdom. I think that it's intended to be an homage to the city and its channels. It sounds like the entering of a foreign king through Venice but it can work also as the accompaniment for the Venice's Carnival. It has a good pace and it doesn't drag. "It is a tribute to Italian baroque music and masters like Vivaldi, Corelli, Albinoni etc. For this one too I wanted something quite pompeous" Kappelmeister, which means Master of the Chapel, starts slowly but the pace grows during the composition and culminates in epic sounds. I don't know why it makes think about a raging battle where there're havy losses on both sides. I think that this is her least favourite piece of the album. I mean, her words are pretty clear: "I was just trying to make something more epic" Venezia 2020, a weird title, but the piece has good sounds. It makes me feel hopeful and relaxed and, in a way, it bring me back to my childhood. There's a genuine and tender style on display here, a thing which is wonderful. I like the decision to make it dynamic, because it exudes a sense of freedom. In my opinion it should have been more varied but it's interesting to know that this track was composed during her teens and it was remastered here. As she says with honesty and humility: "The sounds were horrible, I didn't know anything about mixing and mastering, but 15 years later I decided to completely re-work it, and here is the new version" The last one is Masquerade and it could be considered the bonus track of this album. It seems like Vivaldi and the style fits the title perfectly because it works well for Gala and such because it's characterized by an high level of pomp. The chorus inclusion elevates the tracks and make it godly. The last part is the best one because it's like a climax. Rachel is a talented composer and, as we've seen during the analysis of Baroquissima, she has a lot of good ideas and exceptional execution. I think that if you're into classical and epic music you're going to love her. Each of her creations is soaked in her emotions and feelings and it's a result of years and years of dedication and experience. By @the_owlseyes

Reviews by: @the_owlseyes Do we deserve to be called a people? I'm not sure about that. As earthlings we're not able to live on the same planet without making some noise. A thing which is irrilevant if you consider that our lifespan is miserable and our planet is just a spec in an ever growing universe. So, why do we call ouserlf people? Because we have the same traits and we're part of the same species? I don't think so. I think that we're used to think only about our small, insignificant side without considering that there's a multitude of sides. Do we try to understand the other and try to find a compromise? Usually not because there're some things more relevant to us like power, wealt and appearance. It's a cliche but isn't it right? Where do these things get us? Actually nowhere, this the reason why our civilization isn't able to step up and be better. And now, what are you going to do? You can still care about your opinion and forget what I've just told you but this is exactly what I'm talking about. Everyone needs to be more selfless and more open to question his opinions. PLOT "In a realm known as Kumandra, a re-imagined Earth inhabited by an ancient civilization, a warrior named Raya is determined to find the last dragon" or "A quest to fix a broken world". SCRIPT Here is where the movie is at its weakest. Sure, the plot is great and the lore, which is faithful to the source material, are awesome but there's something missing, something which is one of the most relevant things in a movie: characters. None of the characters has an interesting arch, the minor villain has one but it's a bit weak and rushed, and the protagonist isn't interesting. I could say the same of the dragon which has a poor backstory and a behaviour which isn't original and there's only a slight possibility to compare it to other dragons, which are just background noise, even though they seem cool. The whole plot is put in motion by a stupid choice. One could say that it's naivety but for me it doesn't make sense. Some characters, like the fur bug and the sidekicks are a bit boring because they are sidelined and poorly defined. The baby and her monkeys is the worst character because it's annoying and it's there only to sell merchandise to the kids. The villains, the big ones, are one dimensional and pretty basic. The other, more prominent villain, doesn't make much sense. When you think that she's able to change and be better she does the dumbest thing and screw everything up, and she justifies herself by saying that it isn't her fault. I didn't like how this movie was written and it's a shame that for a thing like that the movie loses quality and becomes just another animated movie. Script: 4/10 ACTING Even though there's a lot of talented actors here, I don't find their work remarkable. I think that sometimes the voice acting is a bit off, like there's something missing. I guess that is charisma, because I wasn't able to like most of teh character. Awkwafina who voices the dragon delivers an half baked performance because sometimes I like her and sometimes I find her voice a bit boring and annoying. Kelly Marie Tran's Raya isn't voiced in an interesting way and, cause of that, I find the character a bit of a blur. Overall I've expected more from a Disney animated movie and I feel a little disappointed. I hope that the whole movie wasn't developed as a way for Disney to help out of the tricky situation Kelly Marie Tran found herself in after Star Wars: The Last Jedi. If it was like that, then this movie's lack of quality in voice acting wouldn't be out of place. Acting: 5/10 PHOTOGRAPHY One of the best section here. Colours are marvellous, a lot of scene are visually stunning and the landscapes are breathtaking. Colours differentiate the tribes and there's a connection between their ideology and their clothes colours. The same colours are used to define the five dragons which created the movie's Macguffin. This is a nice touch and brings more meaning to a lot of scenes. I find also interesting that the dragons powers are inferable by their colours, like Sisu's light blue with a sprinkle of purple and green. This kind of symbolism is also in the main artifacts colour, which represent the union of the dragon's colour and, implicitly, represent peace. The villains also have a distinctive chromatic combination of colours, purple and black, which express fear, rage and discord. The attention to details is amazing. Photography: 9/10 EDITING Some cool shots here and there but it's what you can get from watching every recent Disney animated movie, with the usual comedic cuts, moving camera and some quick shots during figth scenes. These are well choreographed but nothing exceptional is done with them. Overall is a movie well edited but it doesn't break the Disney mold and is kinda predictable. Editing: 6/10 SPECIAL EFFECTS Water. Water is so beautiful here because it's incredibly realistic and wonderful to watch. I think that the production has directed all their effort there because water is a relevant aspect of the movie. But it isn't just about H2O, I think that the cgi is stunnind and the world's design and its dragons are marvellosly done. I can't say that's perfect because I would overrate it but I think that it's remarkable. I like when characters explain hypothetical possibilities and the animation becomes more cartoony. It's not as bonkers and original as Spider-Man: Into the Spiderverse or The Mitchell vs The Machines but it works well in it's own terms. Special Effects: 8/10 SOUNDTRACK I like it but I don't find it interesting. Sure, it's inspired by south eastern music and in some moments it fits the movie perfectly, giving a sense of wonder. The best tracks are in the last act but before it's a bit sidelined. This soundtrack is good but it isn't memorable. Soundtrack: 6/10 COSTUMES The costumes are good looking and are coherent with the story's origin. I like how every tribe has its own distinctive clothes and accesories, which helps us to differentiate them. Raya's outfit is well done and I find it cool because it's adaptable. Even though the costumes are good, these aren't relevant for the plot, because these only serve as a way to distinguish characters based on their appearance. Maybe one character's costume could be considered instrumental but it isn't enough because it's in the background and it's used to tell jokes. Costumes: 7/10 CONCLUSION Script: 4/10 Acting: 5/10 Photography: 9/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,42 It's a visually wonderful movie with a good concept which lacks a good script. It's watchable but at the end you'll find yourself unsatisfied because the movie isn't able to fullfill its potential. The reason why this movie was created could explain why it seems like an half baked masterpiece with a lot of holes. Fortunately it isn't so bad and I think that you should watch it only to enjoy the cgi and the visuals, because there isn't more here. Director: Don Hall, Carlos López Estrada Screenplay: Qui Nguyen, Adele Lim Cast: Kelly Marie Tran, Awkwafina, Izaac Wang, Gemma Chan, Daniel Dae Kim, Benedict Wong, Sandra Oh, Thalia Tran, Lucille Soong, Alan Tudyk Soundtrack: James Newton Howard Cinematography: Rob Dressel, Adolph Lusinsky Running Time: 107 minutes Budget: $100 million By @the_owlseyes

Reviews by: @the_owlseyes Scientology, a cult which tries to be a religion. It isn't like Pastafarianism because it takes itself seriously. The fact that there're movie stars like John Travolta and Tom Cruise are part of it, makes this sect even funnier. I don't know how Hollywood was able to produce a movie about that, it sounds insane. I understand that it helped John Travolta and his wife heal after their son's death but the fact that they wanted to exploit their new hobby, which was born for the right reason, makes me doubt about the actor moral compass and choices. I don't know, it's hard to give to a movie like that, a movie which shouldn't have been produced, a worthy introduction because this movie doesn't deserve it. Help me. Please PLOT "It's the year 3000 A.D., and the Earth is lost to the alien race of Psychlos. Humanity is enslaved by these gold-thirsty tyrants, who are unaware that their 'man-animals' are about to ignite the rebellion of a lifetime" or "Aliens are dumb". SCRIPT The setup is mediocre and trite. The characters are stupid and basically unlikeable. There's a multitude of cliches, which is sickening. The protagonist is active but he isn't charismatic or interesting and all he does is to save his girl, which is a boring motivation. The villains have even weaker motivations because they want to take over the planets for the money(the movie's logics are a bit idiotic) and it seems more like a critic toward corporations and wealthy people. The alien's leader is dumb because he allows the protagonist to access the alien's knowledge(trigonometry?!), which helps him vanquish the alien's headquarters and blow it up. There's also a lot of misogyny because female characters are there only as damsel in distress and alien prostitutes who give blowjobs. There's also the fact the plot do whatever it wants and it doesn't care about continuity: I don't know how fighter planes still have the tank full and functioning after a thousand years. It's bad but I've seen worse. Script: 2/10 ACTING John Travolta doesn't grant anything here. Even though there're others actors who have the acting chops, here it seems like none cared about the movie. The quantity of over and underacting is outrageous. I remember the stupid laughs present in this movie. It's like the villain are affect by some kind of dementia, I don't know. This make them seems unthreatning and it plunges the movie's quality. I don't know how they managed to screw it all up. Unfortunately this wasn't be John Travolta's last worst performance because it made movie's worse than this one. Acting: 1/10 PHOTOGRAPHY It's not interesting or imaginative. It's just there and it doesn't bring anything remarkable. Light is used badly, sometimes it's too bright, sometimes it's too dark and sometimes is just flata and boring. Colours don't have a meaning at all. Symbolism isn't present here because the movie doesn't care about being subtle and deep. Photography: 3/10 EDITING Dutch angles and slow motion are random and unwanted. This movie will make you feel sick because it isn't able to deliver a good shot, not even the basic ones. Do I need to say more? I think that's enough to understand the level of this crap. Editing: 2/10 SPECIAL EFFECTS There's nothing savable here. The cgi is the one of the worst the 2000's has ever offered us. It's just fake and bland. Practical effets are just as bad and the sfx are laughable. I don't know who decided the design of the aliens but it seems beyond retarded. There's worst but here seems like the production went to the dogs. Considering the budget, could be said that the result is ok but it looks cheaper and shittier. Special Effects: 4/10 SOUNDTRACK Forgettable and it's more like background noise. Thanks to that the movie seems more like a Cable Movie than one which aired in theatres. There's just one recurrent theme and it doesn't allow us to understand the difference between the villains and the heroes. It's below average but it's not as hurting as you think, because it's just there. Soundtrack: 4/10 COSTUMES This isn't the worst part but it doesn't mean that it's good. Even though the protagonist and his fellows clothes are coherent with the setting, in the third act logic is out of the window and they starts wearing normal clothes. The aliens costumes are laughable and doesn't make sense: they wear normal clothes but they have dreadlockes and an aerosol tube which is used as a synthetic respirator. It's awful but there's a lot worse here. Costumes: 4/10 CONCLUSION Script: 2/10 Acting: 1/10 Photography: 3/10 Editing: 2/10 Special Effects: 4/10 Soundtrack: 4/10 Costumes: 4/10 AVERAGE: 2,85 It's simply a bad movie which no one wanted and was made to please the ego of John Travolta and spread a cult which doesn't make much sense. Everyone involved doesn't give a f**k and it's noticeable. Just see it to understand what's in the strange mind of Travolta and what are the ideas of Scientology. Or skip it, I think that it would be more healthy. Director: Roger Christian Screenplay: J. D. Shapiro, Corey Mandell Cast: John Travolta, Barry Pepper, Forest Whitaker, Kim Coates, Richard Tyson, Sabine Karsenti Soundtrack: Elia Cmiral Cinematography: Giles Nuttgens Running Time: 117 minutes Budget: $44 million By @the_owlseyes

Reviews by: @the_owlseyes It's hard to leave where we've grew up and where we've built up our family. Leaving our country, our warm and comfortable nest, to move to one another is hard. It doesn't matter why we're doing it, because it'll always be tough. It's a leap of faith inthe unknown and we don't know how it will go. Living without certainties is extremely stressing and could put you and your family on the brink of collapse. Unity will emerge after a while because our family is where our roots are located. We won't be alone because the people, the one who start as strangers, will help us integrate into the new enivronment, giving us the possibility to bring something new to our new town. Everything will get better, because it always does. The risk you've taken will seem as the thing which pushed you up and let you become something more, something which is an inspiration for the ones you love. You just have to take it. PLOT "A Korean family starts a farm in 1980s Arkansas" or "The American Dream's failure". SCRIPT Every character, even some of the secondary ones, is analyzed in depth. It's interesting how every member of the family has its quirks and a role in every event which involves the group. It's an ensemble story and, in fact, this movie themes are family, immigration, the hardship of integration in another society and how work could leave you unfullfilled. Grandma is the best character, because she has the best arch, which is kinda tragic. She starts as the one who keeps the family afloat and she ends being the one who drags them down, ripping apart the family. The movie title is heavily linked to the family and the fact that korean people immigrates to the States to find a better life. Minari, which has other name like Japanese Celery and Indian Pennywort, has the same adaptability showcased the family and the idea to let them farm it is genious. The last act is where all comes crumbling down but Minari is what endures, leaving an open ending about the fate of Davida and Monica's marriage and hope for David. It's a wonderful script which is simple and genuine, a thing which is rare today. Script: 9/10 ACTING Steven Yeun and Yun-Jung Youn deliver their best performance yet and it helps elevate the movie to a status which exceeded my expectations. I think that, in a way, all the actor involved here do a wonderful job, by showing a wide span of emotions and feelings. I think that Youn is the best here, because her performance has everything and his character is the best of the bunch, because it shifts from the most hopeful to an hopeless one. I find Will Patton performance the quirkiest because he embodies a believer who made religion and prayers is purpose in life. Overall there's a pretty high quality of acting. Acting: 8/10 PHOTOGRAPHY I liked how colours are used here. Green, yellow and red are all used in a symbolich way to underline a certain emotion or a sense of impending death. There's also white, which characterizes the workplaces, to show how these lack emotions and connections. Light is used with wit and it's never plain or boring. Shadows and darkness are extremely relevant and I think that the amount of lighting an darkness in every scene tells you how things are going for the family which the movie is about. In fact the light tends to dim and is overcome by darkness in the climax, to underline the hardship which the characters are experiencing. Photography: 8/10 EDITING Not particularly exceptional but it works. It's effective without delving in unwanted effects and such. It's so simple and, in a way, homely that there isn't a lot to say about it. Editing: 6/10 SPECIAL EFFECTS There's a lack of these fortunately and it's perfect. The movie is believable and every event is wonderfully grounded in real life. In an industry where cgi is becoming too common and oveused, a movie like that is able to be original and break the mold. Special Effects: 6/10 SOUNDTRACK Tender and quiet, it gives you a sense of incredible stillness which sets perfectly the movie's tone and enhance the relevance of certain scenes, the ones about emotions drama. It isn't the best soundtrack I've ever heard but it's one of the most effective, because it achieves a lot without a lot of effort. Sometimes a music which stays in the background help the scenes to be more poignant. I like the fact that most of the time there's no soundtrack to give a sense of realism. I could say that this movie strength is its neatness. Soundtrack: 7/10 COSTUMES Nothing interesting about it. The clothes fit the period and the setting but I don't think that these bring something remarkable to the movie. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 8/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 7,14 An emotional movie with good acting, wonderful characters and a lot of symbolism. I find it extremely compelling because it tells a story which, I think, everyone could understand and this is what makes special. Simpleness is what elevates this motion picture and the themes touched let it catch your attention with realism and the life of normal people who try to build a new life in a foreign country. See it if you want to know how life is from the point of view of people from another country or to see what happens when a person take the risk to go abroad and how it changes him. Director: Lee Isaac Chung Screenplay: Lee Isaac Chung Cast: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, Will Patton Soundtrack: Emile Mosseri Cinematography: Lachlan Milne Running Time: 115 minutes Budget: $2 million By @the_owlseyes

Reviews by: @the_owlseyes @goodtimes_movies Being a father and a mother is hard. Being a son is hard too. Our family is a crib, a place of warmth, love and appreciation. But it's tough to make it perfect because human relationships aren't simple. Connecting with a loved one could present some hardships. Different interests and a generational gap is what makes everything so complicate. We think that it would require a lot of effort to get closer to the other person but it's all about sharing. Share moments, thoughts and emotions and everything will seem a little easier. The ice will crack under pressure and we'll start to appreciate what we have in front of us. Our son's interests and desires will become ours, maybe not in the same amount but we'll get a part of them. The same will happen the other way. And then we'll start to realise that the people who we thought were so distant will start to approach us. We'll start to embrace the quirks and weird stuff of our nest. What we've considered a weakness so far, will become our major strength. Family is a word which should mean something, a word which deserve to be respected and explored. To be happy. To be together. To be something more than particles in the time's stream. To be stars in a bright universe. PLOT "A quirky, dysfunctional family's road trip is upended when they find themselves in the middle of the robot apocalypse and suddenly become humanity's unlikeliest last hope" or "An emotional ride through pop culture and killer robots". SCRIPT I'm gonna say that this movie moved me to tears. The plot is simple but it's delivered in a wonderfully touching way. The conflict is laid down since the first scene and the characters are introduced in an efficient way. And every character has an amazing arch, which make the ending satisfying and rewarding. The villain, also, isn't disappointing, because she has a point and a reason to start all of it. The fact that there's a bond between her motivations and the movie's theme, makes her compelling and the counteropposition to the Mitchells interesting. There's a bit of social commentary about Facebook privacy's policy, wealthy people, image's culture of social media and Hollywood. Not all of them are subtle but these works because are instrumental for the plot. Details are heavily regarded and if you are going to look closely you'll get the relevance of simple objects and jokes, which becomes relevant in the climax. The killer robots trope is a cliche but the movie is aware of it and it plays with, especially with the drone. A multitude of pop culture references are on display here and if you're a passionate about it you'll like every bit of them. Some of these subvert our expectations and others satisfy them. The human touch, which is why this movie will move you to tears, are the post credit pictures, where the concept of family is front and center. Overall I could say that this is a wondrous movie with a wonderful script. Script: 9/10 ACTING The actors do a fine job but I don't find their performance outstanding, even though Abbi Jacobson and Olivia Colman, who gives her voice to the villain, could be considered the best in their roles. There're other actors whose voice is pretty recognizable, like Eric Andrè, Conan O'Brien and Maya Rudolph. There's the talent but I think that it's far from an exceptional performance. It isn't bad but it isn't even remarkable. Acting: 6/10 PHOTOGRAPHY These is a cool movie with cool shots and it isn't a Pixar movie. I like how colours, there's a multitude of them, are used to create an enhanced world where everything, everything is over the top. One could argue and say that light isn't used an interesting way but I think that it isn't true. Because, even though the movie use a flat lighting most of the time, it's able to play with it when it's needed and craft moments of high pathos. As I said before colours are countless but they aren't always used to express something more. The only thing where there seems to be subtle symbolism is between the Poseys and the Mitchells clothes colour. One is white and dull, the other is colourful and varied. Photography: 6/10 EDITING it's awesome. It's dynamic, inventive and it isn't afraid to be over the top. I find interesting how the movie's editing is similar to the protagonist's shooting style. There's slow motion, which is used in a comedic and dramatic way, jump cuts, zooms, tilted camera and every other type of shooting styles. Sometimes it's too much altogether and it could bore you but the movie knows when to stop and gives the viewer time to catch his breath. This isn't the best trait of the movie but it surely is one of the best. Editing: 8/10 SPECIAL EFFECTS These are mindblowing. If you liked Spider-Man: Into the Spiderverse, you are going to love it. The animation is a blend of drawings and cgi and it feels incredibly alive and the style is justified by the fact that we're seeing the world through the protagonist's eyes. It's that kind of animation which is able to bonker when it has to and stunning when it's needed. There's a lot of originality here and it's eye pleasing if you're into this kind of things. I find it remarkable because it doesn't want to represent a realistic environment but a heightened one. I like the robot design which is simple and minimal. Special Effects: 9/10 SOUNDTRACK This isn't the main strength of the movie but the blend of instrumental and pop music is able to make you feel something, especially the ending music. The point that, as costumes, this isn't about style but efficiency. There's a song which is necessary for the character to grow and change. A song which will appear during the first and the last act, which isn't a subtle sharp touch, which is a bit unexpected. Even though it isn't Hans Zimmer or Howard Shore, the soundtrack role in the movie is relevant and that should deserve some kind of acknowledgment. Soundtrack: 7/10 COSTUMES At firt glance these seems insufficient but the fact that there's a link between the clothes and the character personality is great. I like the Mitchells because everyone has different clothes, which are linked to their interests: the father's lumberjack shirt, the brother's dinosaur t-shirt, the protagonist's artistic shirt and the mother's flowery one. There's a clever contrast underlined by these when they're confronted by another family, which is considered perfect by them. The "perfect" family wears all white clothes, which make hard to differentiate all of them, to remark the fact that the Mitchell have an identity and they don't. The fact that in one scene the costumes are instrumental to define the person who activates the movie's plot it's amazing. Even though these aren't incredible, I think that their symbolic meaning pushes this animated gem a little higher, something which isn't common for this kind of medium, if you don't consider anime and hand drawn animated movies. Costumes: 7/10 CONCLUSION Script: 9/10 Acting: 6/10 Photography: 6/10 Editing: 8/10 Special Effects: 9/10 Soundtrack: 7/10 Costumes: 7/10 AVERAGE: 7,42 A funny, enjoyable and visually stunning movie with impressive concepts, characters and a multitude of pop culture homages. You should see it because it's a remarkable work and it's a good alternative to the usual Disney stuff. I think that everyone could identify in one of the characters and their struggles and desires. Maybe this is what will move you to tears like me or, at least, make you feel something. It's strange to think that Sony is becoming a powerhouse in the animation sector. That's good because it'll oblige Disney to amp up their game and produce new better movies. Director: Mike Rianda Screenplay: Mike Rianda, Jeff Rowe Cast: Abbi Jacobson, Danny McBride, Maya Rudolph, Eric Andre, Olivia Colman, Fred Armisen, Beck Bennett, John Legend, Chrissy Teigen, Blake Griffin, Conan O'Brien Soundtrack: Mark Mothersbaugh Running Time: 109 minutes Budget: $75 million By @the_owlseyes I Mitchell sono una famiglia americana imperfetta, piena di difetti e disastrosa su tutti i punti di vista. Quando la loro figlia più grande, Katie, verrà ammessa ad un college per videomaker, i suoi la convinceranno a fare un ultima gita di famiglia per salutarsi degnamente. Non sanno però che in quel momento in tutto il mondo è scoppiata un'apocalisse in cui dei robot assassini vogliono imprigionare tutta l'umanità. Un film d'animazione con una quantità così vasta di riferimenti e ispirazioni l'ho visto davvero di rado. Quasi ogni vignetta, stacco musicale, battuta ad effetto, sfondo e ambientazione sono frutto di una citazione alla cultura pop moderna. Il film parla di un conflitto generazionale tra un boomer vecchio stile ed una zoomer dei nostri giorni. Il padre di Katie, Rick, ha grandi capacità manuali ed è astioso nei confronti della tecnologia. Sostiene che dispositivi come gli smartphone annientino le relazioni sociali e per questo non comprende le passioni della figlia, la quale è una ragazza che vive la contemporaneità sempre al passo coi tempi. Solo un viaggio di formazione ed una missione rischiosa potrà connettere queste due diverse filosofie di vita intrecciandole in un sempreverde compromesso. La pellicola ha un ritmo scoppiettante. Nella prima ora, le gag sono esilaranti. I registi non si prendono mai troppo sul serio e certe citazioni fanno crepare dalle risate (Hi Mark!). Avvertiamo palesi tracce autobiografiche. Sembra proprio che l'autore voglia comunicare con noi e cercare la nostra approvazione. Così come fa Katie con i cortometraggi che mostra ai suoi genitori: utilizzando l'arte cinematografica lei comunica tutte le sue ambizioni, paure e idee. E forse il cinema è proprio questo: non una fuga, bensì un estensione della vita di un artista. By @goodtimes_movies

Reviews by: @federica.marchica Stars Hollow, Connecticut: the story of the Gilmores, mother and daughter who talk too much, eat junk food and fall in love. Always. Sometimes they also fight and act like drama queens, but they are still lovely. When they don't whine too much. Many years ago I used to daydream I was Rory Gilmore. Well, a lot of girls my age did. Gilmore girls was a show which aired between 2000 and 2007, and it followed the life of Lorelai (Lauren Graham), a 32 year-old single mother, and her 16-year old daughter Rory, whose full name is also Lorelai (Alexis Bledel). The portrait of these two women stands out as the main characteristics of this show, but the two Lorelais are linked to grandma Emily, Lorelai's mom, too. Mother and grandma do no not get along well at all, but they have one thing in common: they love Rory. She was terribly pretty, determined, ambitious, well educated and an avid reader with the perfect boyfriend, Dean, who loved her at the point of building her a car for her sixteenth birthday. The daughter and granddaughter everyone would like to have. But being perfect is easy, when you have no bad temptations. Since the arrival of Jess Mariano (Milo Ventimiglia) in Stars Hollow, we get to know another side of the cute and innocent blue-eyed girl. The soon-to-be couple is united by their love for literature and writing, but is kept apart by Jess's difficult personality, which seems to push Rory to cheat on her boyfriend, skip school, escape in New York and having car accidents during the night. But let's be honest: Mariano was a typical bad boy of the early 2000s, but he wouldn't be so, nowadays. He was just a guy with a difficult childhood and a bad temper, who wasn't able to be as nice as Dean. His role, though, is that of the boy who pushes the perfect girl out of the right path, and that's why he vanished as fast as he had come, during season 4. Meanwhile, Lory left for Yale (and what a shame for Lorelai! She chose the same university as her grandpa Richard, Lorelai's dad, after being accepted by three Ivy League colleges, and Mother Gilmore had to make a big deal about that. As Shakespeare would have said: much ado for nothing. the Ivy League is the Ivy League, come on!) where she met Logan Huntzberger, a rich and handsome boy who proposed to her at the end of season 7, the day before her graduation. She refused, though, because she chose her career as a journalist, which was just about to start with a long trip following barack Obama's campaign. So, season 7 closes with the promise of a brilliant future for Rory, but the 2016 revival made us discover that this expectation hadn't been fulfilled at all. Rory is 32 and works between London and New York. She has written a successful article on the very famous magazine The New Yorker, and she works as a biographer of a crazy famous woman who treats her like hell and who eventually fires her out of the blue. The young Gilmore Girl has nothing to do but going back to Stars Hollow, live with her mom and stepfather Luke and refuse a teaching job at her old high school. Just in case someone didn't notice how spoiled she was in the prevous seasons, when she wasn't even able to accept criticisms on her skills as a journalist, and at 22 years old she refused a job at the Stanford Eagle Gazette because she was, like, waiting for The New York Times. For real. The world is full of young and talented journalists who might be hired by the Times, and she thought they were waiting for her, just because she had a dream. After she says no to Chilton High School, everything she does is hanging out with her former-boyfriend-now-lover Logan, who is about to get married and who, as we get to know at the very end of the revival, eventually leaves her pregnant. So, her life seems to be a path from hero to zero, but a tiny bit of hope for her future comes with the comeback of another former boyfriend, Jess. As true fans will remember, the GG fandom was divided in three teams: #teamdean #teamjess and #teamlogan and I have to admit I belonged to #teamjess and I still do, because the chemistry between Ventimiglia and Bledel, and their characters, is not to be compared with any other love story in the show. Also in the revival, Jess ispires Rory to believe in herself, to write about what she knows and feels and, above all, not to give up. Even when she works for free at The Stars Hollow Gazette and sees her career crumbling. And there, I remembered why I used to daydream I was her. Having a Jess Mariano who believed in me and in my art, and who pushed out of me emotions I didn't even know I had was my personal fixation, as a young girl, and I think it might be Rory's too, if the producers and Netflix decide to agree with another season of the revival. We don't know if we'll go to Stars Hollow another time, but one thing I know for sure is that I would have preferred an imperfect Rory Gilmore from the beginning of GG. Her determination in trying to become a journalist was admirable, but I think the producers started out with her as a projection of the daughter that her mother never was for her grandma, and consequently all her family spent too much time protecting her and idealising her and her future. She was never prepared for failure; she didn't even know it was an option. By @federica.marchica

Reviews by: @the_owlseyes What happens to a sad story when is told and retold. It starts as an emotional and cathartic journey into people's psyche, to discover their fears, desires and nightmares. I works the first time, the second and the third. What about the thousandth time, it will be still as compelling as the first time or the second? I don't think so. Originality dwindles and people's interest reverts toward something newer and more exciting. Maybe this is what's happening to the procedural crime drama's genre. Maybe this is what'll happen to ever genre after it has been milked to oblivion. Oblivion, this is what will be left after all. PLOT "A detective in a small Pennsylvania town investigates a local murder while trying to keep her life from falling apart" or "Everyone is a psycho in a way or another". SCRIPT The structure of this show is the same of every other procedural drama and the characters aren't original. The protagonist is the usual cop which has a torned past and she isn't liked by her people. The victim tries to be like Laura Palmer, the girl who was murdered in Twin Peaks, but she becomes just a blur and it's hard to sympatize for someone you see in one episode and doesn't live a great impression. There's a lot of social commentary which is about priests pedophilia, parents immoral choices, discrimination, homophobia, gun laws and justice. It doesn't go beyond that and the experience is mediocre and sometimes boring because it drags a bit. The climax and its multiple twists is where the series drops his balls, because the show shift from uninspired to bonkers and idiotic. The murderer's identity is so underwhelming and it makes everything so anticlimatic. The fact is that it pushes the threshold of believability to a point where it becomes unbelievable. The series is heavily flawed but, fortunately, the characters have archs. Some of them are satisfying, some are just there and others doesn't exist. Overall I think that this script isn't original and its character are second-rate, to the point of being flat. I've expected more and I'm disappointed. Script: 5/10 ACTING It's ok, Kate Winslet does a good job and I could say the same for the other actors. The point is that there's nothing breathtaking. Guy Pearce appears for a brief time and I don't understand why it was necessary to bring in an actor like him for a forgettable role. Evan Peters is there but he's bland and uninspired. I'm not able to see some kind of passion or something which resembles it. It seems more like a show done for the paycheck rather than the telling of an actual story. Acting: 6/10 PHOTOGRAPHY Just few shots are cool but overall nothing new. I appreciate the fact that the light isn't flat and shadows are used well by the director. Unfortunately it doesn't go beyond that, because there's no symbolism and colours aren't used in a remarkable way. The grey scale filter is there and it makes the series just another crime drama with the same style. Photography: 5/10 EDITING It's pretty mediocre without being harmful. Particular filming techniques are employed during the flashbacks, just one time actually. It doesn't help the show because sometimes it seems stale and boring. Editing: 6/10 SPECIAL EFFECTS None. The lack of it is necessary to keep the story as real as possible. Practical effects are there but I don't find them impressive. Special Effects: 6/10 SOUNDTRACK It isn't interesting or remarkable and it functions obly as background noise to set the tone of the series. There is a theme but it's shy and unoriginal and you'll forget it easily. The song singed by Angourie Rice in the epilogue is ok but it isn't the best song I've ever heard. The point is that this show has the same soundtrack as any other procedural drama, which make it seems like a copycat. Soundtrack: 5/10 COSTUMES Usual clothes you can expect from a drama set in the suburbs. There isn't much to say about it because there's nothing original about these and it works in the story's context. I find strange that costumes don't have a relevant role here, usually these are used to find who's guilty or a suspect. Costumes: 6/1 CONCLUSION Script: 5/10 Acting: 6/10 Photography: 5/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 5/10 Costumes: 6/10 AVERAGE: 5,57 It's just another procedural crime drama and it isn't even the best one. I think that it's time to start writing different kind of cop's characters because it's becoming a cliche to the point of parody. Adding good actors to the mold doesn't work in the long term because it's the script which keeps the series from crumbling down. I could see it but I think that it's better to skip it because it doesn't bring something new to the genre. Director: Craig Zobel Screenplay: Brad Ingelsby Cast: Kate Winslet, Julianne Nicholson, Jean Smart, Angourie Rice, David Denman, Neal Huff, Guy Pearce, Cailee Spaeny, John Douglas Thompson, Joe Tippett, Evan Peters, Sosie Bacon, James McArdle Soundtrack: Lele Marchitelli Cinematography: Ben Richardson Running Time: 60 minutes By @the_owlseyes

Reviews by: @the_owlseyes @purgatoryflicks @augustkellerwrites Revolution needs death to spark. A simple man killed during a demonstration, a politician who really sides with the people, a prophet who preachs love and concord, it's always someone who tries to change things who get slaughtered by the inflexible system. Usually it happens because they're seen as threats by the governments and their death is used to cripple resistances and slay the will and hope of every person who's against it. It's always about politics and it's always more than that. It happens is countries where freedom of speech is non exixstent, where women are reduced to objects, where discriminations happen daily. We care about it for months but after that we tend to forget the past. The deaths of Malcom X and Marti Luther King didn't change that much, to be sincere. The only way to remember it is thorugh the books and the visual media. Cinema, in fact, is the mirror of our society and a portal on other possibilities. And, during certain periods, the industry decides to move it's attention toward social issues. We could say that this is a recent trend. Someone says that it's all done to follow a political agenda which tries to divert our attention from other issues, like the economic ones. For others is what is necessary to raise aweraness in our people, to codemn racism and homophobia. The Academy is doing it and this is why the 2021 Oscars have nominated movies like The Trial of the Chicago 7 and Ma Rainey's Black Bottom. This is another movie of this kind. PLOT "Offered a plea deal by the FBI, William O'Neal infiltrates the Illinois chapter of the Black Panther Party to gather intelligence on Chairman Fred Hampton" or "FBI is crooked and there's no freedom of speech". SCRIPT It's structured in a very competent way. The opening credits are used to set up the manin issue underlined by the movie. I like how Bill O'Neal is introduced and how we get to know is point of view, which is bold, because his side has been heavily criticized by the Afro-American community. I appreciate how Fred Hampton is developed as the Black Panther's beacon, a likeable and charismatic character who gets the audience invested in his struggle. The movie uses he inevitable doom of the character to show us the level of corruption and wickedness present in the FBI, which is strongly antagonized. Maybe the motion picture could be considered biased because it offers us just one side of the events but it's hard to care about a bureau who kills its own citizens. I think that every character gets enough time and good dialogues to grow up and have a satisfactory arch. This is limited to the Afro-american one, because the others are used only as obstacles and it's hard to say something about them. I think that there won't ever be a filmmaker who is able to portay both sides of a dispute. That's why historic and biographic dramas are tough to get right. Script: 7/10 ACTING Daniel Kaluuya and LaKeith Stanfield give us one of the best performance. Kaluuya portrays Hamton with charisma, verve and pathos. Stanfield is O'Neal, it's his character, and at times he's able to deliver something more than Kaluuya. He's abel to establish his character as cocky, brave, stubborn, bold, trustful and conflicted. We, as an audience, are supposed to hate him but the actor does a great job at making us feel sympathy for him. The other performers are good, consider the little amount of screentime they've to shine. Martin Sheen as Hoover is weird at first but it works after a while. Jesse Plemons fits his role but I don't find is acting particularly remarkable. Acting: 8/10 PHOTOGRAPHY The movie has good shots but I don't find them interesting because there isn't a lot of symbolism, all of it is in the script which winks to the Passion of Christ. Colours don't have a relevant role and most of the scenes are acceptable only from a technical standpoint, not an artistic one. Photography: 6/10 EDITING Like the music, it starts well and then it becomes less interesting, with some moments of genius. The good shots are reserved to the characters but the set doesn't shine this much. There isn't slow motion but some tracking shots are present as well as left to right, and vice versa, shots. I like the first shot of O'Neal, a tracking one which is used to showcase his behaviour and the thing which drive him. Editing: 6/10 SPECIAL EFFECTS As any other movie based on characters and realism, the effects are just a few and imperceptable. Luckily it's like that because it could've lost a lot in terms of quality. Special Effects: 6/10 SOUNDTRACK I liked the first act because the music is on point. It dwindles during the movie and it becomes irrilevant in the end. Such a good set up is blown up because the director didn't want the music to be invasive. I understand it but the movie cause of that tends to drag a bit, hurting the cinematic experience. Soundtrack: 6/10 COSTUMES The characters clothes are coherent with the story's setting and their roles. Nothing exceptional is done with these. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 8/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,42 A good movie with some flaws and incredible performances which isn't able to keep up the soundtrack and editing quality set up during the first act. It's remarkable becuause it adresses a vile act perpetrated by the government but it feels too much as a movie which was made to fits in a political agenda rather than a motion picture intended to remember the death of a virtuous man who fought for the rights of his people. Director: Shaka King Screenplay: Will Berson, Shaka King Cast: Daniel Kaluuya, Lakeith Stanfield, Jesse Plemons, Dominique Fishback, Ashton Sanders, Darrell Britt-Gibson, Lil Rel Howery, Algee Smith, Dominique Thorne, Martin Sheen Soundtrack: Mark Isham, Craig Harris Cinematography: Sean Bobbitt Running Time: 126 minutes Budget: $26 million By @the_owlseyes Fred Hampton (Daniel Kaluuya), a young, charismatic activist, becomes Chairman of the Illinois chapter of the Black Panther Party, putting him directly in the crosshairs of the government, the FBI, and the Chicago Police. But to destroy the revolution, the authorities are going to need a man on the inside. I didn’t know about the real story behind the film, so i had no idea how the film would turn out. Now, i know a tad more so it was an educational piece aswell. Through out the way the film was crafted never felt predictable to me. Particularly the last act was jawdropping. A perfect example of extraordinary filmmaking. Shaka King helmed the directors chair like a true king and the screenplay by him & his co-writer Will Berson was razor-sharp. DP Sean Bobbet deserves a shoutout for his work here, some truly stunning shots for the entire film, setting the mood which elevated the picture into whole new heights. What do you get when you put two guaranteed future oscar-winning actors as leads in a thought-provoking, relevant and poignant ”inspired by true story” film? The answer is, gold. I was going back and forth for the entirety of the film that was it LaKeith Stanfield or Daniel Kaluuya who had the better performance in the film. Both, with arguably the strongest roles of their careers but portraying entirely different types of characters. Clearly Kaluuya as the newly appointed chairman Fred Hampton offers more of an wow-factor with each scene more powerful than the previous one. But to me personally what might’ve shockingly made a bigger impact was the work of Mr. Stanfield, who brings life to the character by quiet and up to a point very naturally subtle performance. In conclusion, i’d say both of them in regards to this film would deserve Oscar nominations. Jesse Plemons was great in portraying this crooked FBI agent and one casting that felt weird on paper was Martin Sheen as J. Edgar Hoover but surprisingly it worked. Not all of the supporting characters are utilized enough but everyone does their best with what their given to work with. I guess the easiest recent film to compare this with would be Sorkins Trial of Chicago 7. Though these two are different beasts. Sorkin’s film imo is more accessible and overall an easier watch due to his usual tropes. Whilst Black Messiah is heavier, by miles and to me the better film of those two. Judas and the Black Messiah is an acting galore. A deeply moving, powerful and most of all relevant film that demands to be seen. 50 years has gone and it feels like stuff like this could easily happen now too. A biopic that strays away from most of your usual biopic tropes, raises some serious moral questions and manages to truly be it’s own thing. A film, that could’ve easily been 90 minutes longer as there is so much interesting plotlines here, but i didn’t mind that the film was jammed into 2 hours making it so fast paced considering it’s genre. A shocking real life infernal affairs. Highly By @purgatoryflicks Judas and the Black Messiah is an important film. It's well-made and entertaining, but far more significantly, it's informative. Judas and the Black Messiah covers the story of Fred Hampton and his impact on the political climate of the 1960s. It also focuses on his close friends and how they were personally affected by his rise. Because this narrative is so fundamental, relevant, and untold today, it's a must-see for its sheer insight. Plus, Daniel Kaluuya is absolutely electric in his portrayal of Hampton. Kaluuya is so natural yet irresistibly dynamic, giving Judas and the Black Messiah an extra must-see ingredient. Around Kaluuya and the plot, Judas and the Black Messiah is fortified by a strong supporting cast and skilled filmmaking. Sound is used to evoke emotion, and the editing creates a potent bookend. The cinematography uses dark colors, specific focus, and slick framing to produce a moody atmosphere. The music heightens the era, culture, and tension. The production design is elaborate and immersive. Lastly, the direction is sure-handed, capturing a complex tone of rebellion, empowerment, and grief. Overall, Judas and the Black Messiah is a well-rounded film that is transformed by its necessary message and stirring lead performance. Writing: 10/10 Direction: 9/10 Cinematography: 8/10 Acting: 10/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.6/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @the_owlseyes Netflix is perfecting its ability to adapt videogames and Castlevania is the best example. It works because of the decision to let people who cares about the source material to produce and direct the shows. It's interesting because we're used to mediocre or below average videogame adaptations like Mortal Kombat. The main issue with this kind of content is the fact that it's hard to translate the player experience, which is active, to a viewer one, which is more passive. The other problem is the temptation to indulge in blind fan service which hurts plot and characters development. There're a lot of risks. PLOT "After encounters with a dragon and a princess on her own mission, a Dragon Knight becomes embroiled in events larger than he could have ever imagined" or "How to honor a videogame without being cheesy". SCRIPT The series has an half baked story, which is more interested in teasing the next season rather than concluding this one in a satisfying way. I like the dragons lore and the dynamics between them and the dragonknights but the main plot is a bit convoluted, because the main villain appears only in the last episode and reduces the importance of the other villain. Yes, he's teased in the first episode and he's implicitly present in another one, but his roled is put aside for a long time. The contrast between the parties who revolve the plot, isn't done in the best possible way, because it tries to mantain the point of view of the protagonist, who is thrown in this narrative. Even though the plot is imperfect, the main characters are well defined and likeable. Davion, whose backstory is only hinted at, has an interesting arch because he's able to find his place again in the end, by embrscing what he considered a curse, which is a cool concept. The princess has a similar journey and she finds her way to be relevant again. I liked also ho the elves are characterized and how monsters, like demons, are integrate into the society. I'm pretty conflicted because it's good but it isn't able, as one season, to stand up by himself. Script: 7/10 ACTING I liked it because every voice actor fits his character. I think that Troy Baker emerges as the best performer, by giving a charming and cool appearence to the Invoker, a mysterious and fascinating character. I liked how the dragon and Davion voices overlapped, to underline their struggle. The villain has a strong and imposing voice but it's nothing exceptional. Acting: 7/10 PHOTOGRAPHY There're some good shots, where magic is masterfully represented. It's a bright show with a chromatic cornucopia and that's a delight. Color is used in a symbolic way, which is reflected in the artifacts. The show isn't visually stunning as Castlevania but it works. The best part are the flashbacks, which differ a lot from the show usual style. Photography: 6/10 EDITING This is where to show shines more, because the fight scenes are well choreographed and the dynamism of the character is well conveyed. Slow motion isn't used in the show, which make it refreshing. I liked the tracking shots of arrows and blades. Editing: 6/10 SPECIAL EFFECTS The show wasn't able to stick the landing here. Even though the animation is awesome, the scene which involves vfx are clunky and not always well done. The dragons and the main villain are too slow and the effects are off putting. I don't know why the producers chose to use vfx rather than digital drawings but the result isn't good enough. Special Effects: 5/10 SOUNDTRACK Just background music. There's nothing interesting about that. I've hoped for more. I won't say more because I don't have much to praise. Soundtrack: 5/10 COSTUMES The best section in the bunch. I liked Devion's armour and the Elves outfits, which fits their characters. I liked also the suit who wears the villain, because it's imaginative and function as a contrast to Devion's armour. I liked all the series costumes, even though some weren't as original as other shows. Like Castlevania, this show pays homage to the videogame characters and their appearance. This is what happens when people who cares about a project are allowed to do it. Costumes: 8/10 CONCLUSION Script: 7/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 5/10 Soundtrack: 5/10 Costumes: 8/10 AVERAGE: 6.28 A flawed series which pays homage to its source material and craft a story with well written characters and an unfinished plot, which is why it has been hard to write about it. I liked the concepts on display and the visuals, where cgi wasn't involved, and I fell in love with costumes. I think that it's an interesting show which will satisfy the fans and attract people who haven't heard of the game before. Not bad but it could've been better. Director: Ashley Edward Miller, Bryan Konietzko Screenplay: Ashley Edward Miller, Steven Melching Cast: Yuri Lowenthal, Lara Pulver, Tony Todd, Troy Baker Soundtrack: Dino Meneghin Running Time: 27 minutes By @the_owlseyes

Reviews by: @the_owlseyes This is a movie called Troll 2 and this isn't about trolls and it isn't a sequel. PLOT "A vacationing family discovers that the entire town they're visiting is inhabited by goblins, disguised as humans, who plan to eat them" or "A family is destroyed by a petulant and schizophrenic kid". SCRIPT Dumb characters without an arch, a thin plot which doesn't make sense, considering that the whole movie isn't a sequel, and wrong messages. Stupid decision are the norm here and the people seem unable to think. The worst character is the kid. Annoying and loud, he's so hateable. It's not personal but I'm not able to take him seriously because everything he does make he seems schizophrenic. The parents are the worst example of their kind. They're abusive and negligent and I can't believe that a movie like that was allowed to air in theatres. The boys, I'm talking about the teenagers, are defined by one thing: their sex lust. Everything for them revolves around it, to the point that for them seems normal to rape and harass a girl, which turns out to be the reason of their demise. The town's people are weird and there's no subtlety in them. The plot twist is one of the funniest thing I've ever seen because it's based on the anagram concept. The villain, the witch and the goblins, aren't threatning and they don't have a clear motivation. I want to remark the fact that the witch has inconsistent powers throughout the movie and makes thing up as the plot demands it. The fact that this movie tries to make you hate who is vegetarian and vegan is revolting and I won't say more because this is the bottom of the barrel for me. It's on the same level of Leo the Lion, it's only more subtle. After that I stop because I want that all I've said permeates your mind and let you understand the level I was obliged to reach, even though it was my choice. Sometimes being bold is a curse. Script: 1/10 ACTING I've seen high school plays with better acting and I'm not joking. It isn't simply cringy and incompetent but it's intended to be taken seriously. This is why it's one of the funniest and most boring movie I've ever seen. There's a scene which has been memed infinite times and you'll notice it. That scene is the only reason this movie stil exists in our memory. Acting: 1/10 PHOTOGRAPHY It's bad. Sometimes images aren't clear and sometimes the light is used without a logic. Most of the time it's shot as a cable movie and this hurts the quality, like a lot. Chromatic symbolism....none. Don't tell me that the green slime and the green leaves and green in general is used to represent nature and goblins, because it's a dumb theory. It's a C, maybe D movie, there's nothing more to expect from it really. Photography: 2/10 EDITING It's a mess. There're sudden cuts with no reason at all, fade to black which make it seems like a series and it's tedious. Certain cuts are made in a way that it's hard to take every scene seriously. Certain...more like most of them. It's hard to find something positive about it. Editing: 2/10 SPECIAL EFFECTS Practical and cgi effects are both bad. There's nothing which saves them from being laughably dumb. The goblin mask's mouth doesn't move and it's unsettling, but I don't think that it's intended to be like that. The vfx are funny because are so badly done, to the point that it seems impossible that everyone involved didn't notice it in post production. I could understand the time period but there are 90's movies which are more believable. The make up, as I said before, is bad and you can easily understand that everything is fake. The green slime is revolting but sometimes doesn't make sense, really. They tried. And they miserably failed. Special Effects: 3/10 SOUNDTRACK Forgettable and bothering at best. The "Troll"'s theme isn't threatning and most of the time it's comedic. There's nothing more to say because this is, probably, the most appreaciable section of the bunch, and this is a stretch. I could say that I'm jumping more than a shark right now. I was almost forgetting it, there's a song, singed by the family, which is the worst song I've ever heard and it's repeated more than one time. it's insane. Soundtrack: 2/10 COSTUMES As I said before the practical effects are cheap and bad. Costumes, as long as we consider only the humans, are decent and fit the setting and characters. But, when we get to the goblins, it becomes painful. They're like the nightmare version of the Ewoks, not because they're scary, but because they're crap. Sometimes you could see that tthere's a person behind the mask and the seize of them doesn't make sense, because the goblins most of the times look like disfigured people with a disease. The witch costume isn't original and it doesn't change or evolve during the runtime, making it stale and boring. The only thing which will please the audience, I'm talking about the male and basically misogenic public, is the fact that the witch clothes are skimpy, like most of the female's costumes. This send a bad message to the viewers and it downgrades the movie beyond the simple "so bad it's good". It becomes a harmful movie. Costumes: 1/10 CONCLUSION Script: 1/10 Acting: 1/10 Photography: 2/10 Editing: 2/10 Special Effects: 3/10 Soundtrack: 2/10 Costumes: 1/10 AVERAGE: 1,71 It isn't the worst movie I've ever seen but it sure is one of the worst. I want you to see it because it's on eof the funniest thing online. I should've write more here but really, what do you expect. I need some days to recover. I'll see you tomorrow or I don't know, someday in the future. I'm losing my mind. This is a conclusion, let's finish it. Ok, now I'm done. Not sure about that but now I am. I think that everyone should go to Nilbog for the holidays, it's such a great place. Adios Director: Claudio Fragasso Screenplay: Claudio Fragasso Cast: Michael Stephenson, George Hardy, Margo Prey, Connie McFarland, Deborah Reed, Jason Wright, Darren Ewing, Jason Steadman Soundtrack: Carlo Maria Cordio Cinematography: Giancarlo Ferrando Running Time: 94 minutes By @the_owlseyes

Reviews by: @the_owlseyes Sometimes death is better than life. A sacrifice could mean more than a life of hardship. I think that every war veteran endures it, in a way or another. It's like a lack of purpose and you're not even sustained by the state, the same one who sent you on the field to fight battles in war not generated by you but by your government's inability to be in peace with others. Maybe you can come back in one piece, maybe you had lost a piece of your body to save your life,...the scars will always be there. The reintegration into society isn't easy as movies want us to believe: you feel estranged and unable to connect with the people who once made you feel great. You'll try to stand up and find a path, something which could help you reemerge from the horrors you're still reliving every single day. Some of you will become criminals, because you'll see it as the only way to earn money and satisfy your need of action, others will decide to put an end to their misery and just a lucky few, the one who've a family and are willing to go through a psychologic journey of self rediscovering, are going to be happy again. There's always light if you're willing to believe in it. PLOT "In 1930s Italy, a veteran World War I pilot is cursed to look like an anthropomorphic pig" or "The curse of being alive after a global war". SCRIPT It's simple and most of it is left out, only teased, like the backstory of Porco's curse and the war which came before. Nonetheless the characters are well managed, especially Porco and Fio. The second has an interesting arch of self empowerement because she, as a woman, is the first to fly in a plane and is the person with a lighter moral between the bounty hunter and the pirates. I don't like the fact that everyone wants to bang her because she's a minor and it's weird and cringy. I like the relationship between Porco and his lover, which is a representation of Platonic love, counteropposed to the sexual and self absorbed love of Curtis. The movie's themes aren't clear at first but thse emerge gradually through Porco's words and visual memories. These are about the hardship which will endure a vet after a war, his inability to reintegrate himself in the world, the PTSD connected to his death comrades and loyalty. Heavy themes which are elegantly introduced without feeling rough or hard. This is maybe the only Myazaki's movie which doesn't resolve the protagonist struggle and leave the ending open for interpretations. I think that this is why this animated movie is an undervalued gem in Myazaki's collection, because it defys his studios tropes. Script: 8/10 ACTING Nothing special about it. The voice actors fit their characters but they don't add anything remarkable to them. Apart from some who are able to convey an italian-ish accent, which is a nice touch for a japanese movie set in Italy. Acting: 6/10 PHOTOGRAPHY Visuals are a strength of this movie. Evocative places, inspired by real places set on the Adriatic sea, are front and center. These are masterfully drawned and it's extremely pleasing. Colours are bright and multifarious, lighting up every scene, even the saddest ones. I like how the lack of it is used to envision a certain concept which is relevant for Porco and the movie. I like how Porco's aircraft distinguishes itself from the others, with different colours and a different design. Maybe it isn't the best I've ever seen but it surely is good. Photography: 7/10 EDITING I don't find it amazing or remarkable, even though it's pretty simple and it doesn't use particular shooting techniques. The last point is what makes the movie a soft cult, because it's anchored to the past, even though it isn't an old movie. Editing: 6/10 SPECIAL EFFECTS The animation has the usual quality and charm. Sometimes it's a bit clunky but it's more natural and lively than other animated movies which use cgi. I like the attention which was put in the details of aircrafts, sets and instruments. I think that it still olds up after almost 30 years and it's reminescent of the old days when everything was hand drawn. Special Effects: 8/10 SOUNDTRACK As always Miyazaki uses a sweet and tender music to score his movie. The soundtrack is extremely quiet and you'll feel stillness throughout all the movie, even in action scenes, which are downplayed by peaceful and blithe tunes. The first and the last track are what make this movie special because these set the tone of the motion picture and in the end give closure to the characters. It's great but it sin't memorable. Soundtrack: 8/10 COSTUMES The clothes are faithful to the time period and the character purpose and quirks. I didn't find them paerticularly exceptional but it's remarkable the amount of research which Miyazaki put in it. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 6/10 Photography: 7/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 7 A competent movie which adresses mature themes and explore interesting characters with elegance and sweetness and defy the director's tropes. A must see for everyone who is interested in japanese animation and is used to Ghibli Studios style and a recommended movie for every person who want to have a nice and quiet time with a beautiful movie. Director: Hayao Miyazaki Screenplay: Hayao Miyazaki Cast: Shūichirō Moriyama, Tokiko Kato, Akemi Okamura, Akio Ōtsuka Soundtrack: Joe Hisaishi Cinematography: Atsushi Okui Running Time: 94 minutes Budget: $9.2 million By @the_owlseyes

Reviews by: @the_owlseyes @vreviews_ @jasmynreviewsstuff Being rejected by our parents because we aren't like they want us to be could create deep scars in our character and corrupt us. We are going to try and be better, to distance ourselves from who despised us and made our life miserable but it isn't so simple. If you're going to be alone you'll plunge into depression which will evolve in rage and you'll be as your parents: cold, cynical and apathetic. You could still find your way, maybe you won't become the opposite of what you were supposed to become, but you'll become yourself by conciliating your past and with your new path. You could be something new, something, something which could inspire rather than something which could be dreaded. It's all about having someone who's willing to stay with you till the end, to support you, even in your worst moments. It could be a partner, a friend or a relative,....someone will always have to be there for you. You'll find happiness while building your own future, you'll have new stimulus to push yourself forward. You'll feel at peace. It doesn't matter if you're going the best person in the world, what matters is that you'll be your best self. PLOT "A live-action prequel feature film following a young Cruella de Vil" or "Bad people are just victims of their own parents". SCRIPT The movie does its best to make us care about a character which we're used to see as the devil incarnate. The plot is an origin story which is used to give a reason to her for being like that in 101 Dalmatians. By giving her the role of outsider, the movie explains her dichotomy between her two sides. The first act is used to lay the reason of conflict and show us the real villain, which is considered as worst than Cruella. I like how she's influenced by the people who meet her: jasper and horace are the ones who save her and give her a temporary solution, the Baroness is the one who save her and unleash her dark side and John the Valet is the one who makes her comes to a compromise with her past. As every other Disney villain who gets a reboot, her story is built around her parents and how they interact with her. I don't like the plot twist because it deprives the protagonist of agency and makes her another character who achieves everything because of her lineage and not because of her skills. The Baroness isn't the best villain I've ever seen because she hasn't sympathetic motivations and seems more like an old Karen. This lack of characterization is also present in the Valet and Artie. Who breaks the mold are Jasper and Horace, because they have motivations, interests and they care about the protagonist. I liked the contrast between Horace jokes and Jasper wit, which outdistances them from their previosu iteration which was limited at being just two dull sidekicks and comic reliefs. There's only one arch, Cruella's one, and is well done but I don't think that it's amazing. In the end is the portrait of recidivity. I liked the fact that they implemented some aspects of the heist genre because these're awesome. The fact that her choices in 101 Dalmatians aren't fully explained, could be the base for the sequel which will deal with it, I think. I liked the decision to let her break the fourth wall but it's something which is becoming pretty common today and it felt redundant after a while. Script: 7/10 ACTING Emma Stone deliver a wonderful performance, flipping between naive or shy and mad or arrogant. His character, when it changes personality, also changes voice and manners, which is the correct depiction of a person affect by a personality disorder. Her english accent is well done and it doesn't contrast with the real accent of the other english actors. The other actors do a good job but i think that Mark Strong's talent is wasted here because he has a marginal role. I like how the actors of Jasper and Horace are able to honour the past and do their own thing, by giving a refreshing performance. Emma Thompson is ok as the villain but she seems like a spoof of The Devil wears Prada's Miranda Priestly. I like the depiction of the only queer character of the bunch, who is played by an actual queer guy. There're some actors whose performance is a bit poor and cheap but fortunately they've little screentime and their lack of skills doesn't hurt the movie. Overall I think that it's well acted and that Emma Stone steals the show and makes Cruella de Vil her character. Acting: 7/10 PHOTOGRAPHY It's appreciable but I don't find it remarkable. Most of the scenes involves a poor use of lights and shadows and there're no memorable scenes, because the movie isn't about visuals. I could say that there's only one shot which spoofs Sherlock Holmes: Game of Shadows which intrigued me. You'll notice it. Colors, even though this is a colourful movie, don't have a relevant role but I want to underline the dying color of young Cruella's hair, which is interesting. The fact that she chooses an hair color which is usually associated with rebels isn't so random. It's a detail which makes this section mediocre but nothing more than that. Photography: 5/10 EDITING There're some trailing shots which are good looking and slow motions is used sparely and when it's employed it works well. The transitions are interesting, as these're used to show the evolution of the characters and to deliver a dynamic narration. Nonetheless overall it isn't astonishing but it's also harmless. Editing: 6/10 SPECIAL EFFECTS There's a bit of these and are used heavily on the animals. At first sight it seems all right but after a while it becomes a bit weird and in some scenes is off putting. Technically is an incredible work but it isn't always flawless enough to consider the movie outstanding. There're other frames where the cgi is employed but there it works well. Surely this is not the best movie's feature. Special Effects: 7/10 SOUNDTRACK Another strength of this movie is in it. There aren't a lot of instrumental tracks because pop songs take the stage and light up every scene. I could say that every single song is perfectly chosen and fits the scenes where it appears. From the first moment you know that music will have a relevant role in here and it will be part of the plot sometimes. One could say that it isn't coherent with the time period but it doesn't have to and this is what makes the movie enjoyable. Soundtrack: 8/10 COSTUMES The movie is all about the costumes and it doesn't disappoint. There's literally a fashion clash on screen. I like how Cruella's clothes differ from the others and the villain, to underline her quirkyness and fantasy. Cruella's wardrobe revolution doesn't seem forced because it's linked to her hair color. The best costume is cgi but it still represent the risk free approach of the producers to include such marvellous products. The other attires fit the time period and the setting to perfection. Horace and Jasper's apparel is on point, homaging the animated movie, which is a classic. I'm going to say that this is maybe my favourite section, because is one of the most imaginative and original. Not by chance Jenny Beavan of Mad Max: Fury Road was chosen to manage the costume design. Her professionalism and originality is everywhere. Costumes: 9/10 CONCLUSION Script: 7/10 Acting: 7/10 Photography: 5/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 8/10 Costumes: 9/10 AVERAGE: 7 An enjoyable movie which takes a hated character and makes her sympathetic by giving her motivations and exploring her youth. The movie is made of incredible costumes, a good soundtrack and a memorable performance by Emma Stone. Even though it isn't perfect, it manages to entertain you from start to end. The ending is a bit half baked but overall the movie is done well and I advise you to see it. I think that you'll like if you've watched I, Tonya before. Director: Craig Gillespie Screenplay: Dana Fox, Tony McNamara Cast: Emma Stone, Emma Thompson, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste,Mark Strong Soundtrack: Nicholas Britell Cinematography: Nicolas Karakatsanis Running Time: 134 minutes Budget: $150 million By @the_owlseyes 5/10 ★ Cruella's younger version is here to set the fashion world on fire... or is she? Plot: Stella was born in a poor and broken family. At a young age she proves to be fierce and have a strong personality. By the time she reaches an adult age, she discovers the truth about the people who surround her and the truth about herself. Overall Opinion: In general terms, I liked the movie and the development of Cruella's character. Although the movie will always be compared with other similar ones, I do think it has its own personality and tone. To those who criticize it, I must remind them that everything is based on something previous. I think the film succeeds on showing us a young Cruella who's discovering the fashion world and developing her talent as a designer. However, I don't think the movie really embraces her evil side. Characters and Performances: Emma Stone is an actress who has proven to have enormous talent. Her performance in this film doesn't dissapoint, since she's able to portrait a strong character. Despite the people who inevitably compare her work with Glenn Close's, I think she did pretty good. She gets to face her internal demons and she finally embraces her madness as part of herself. I personally really liked the metaphor of her two personalities and her hair color. Then, we have a great performance by amazing Emma Thompson. I've seen a lot a comparisons with other similar characters, such as Miranda Priestly from The Devil Wears Prada. I would say that there may be some inspiration in the character, but it's not a copy. As I mentioned before, everything is based on something previous and even Priestly herself is based on the supposed personality of fashion designer Anna Wintour. Having said that, I liked Thompson's character: a merciless and selfish woman who doesn't give a sh*t about anyone other than herself. Now, what I didn't like about the film... I have some problems with the film. As I mentioned at the beginning, I don't get Disney's idea on making their villains "less evil". When it comes to origin stories, they usually show the reasons for a certain character's personality. One could even argue that everyone is the hero of their own story. However, I don't think this is reason enough to take away the evil part of a character. Cruella is an interesting character precisely because she's an evil b*tch. In the film she's not evil at all; maybe she's a bit mad and willing to put up a show, but not evil. I know this is a movie which is intended for young audiences and these days is very difficult no to offend anyone, but that's my problem. I don't like when they sugarcoat stories. Just to name the most remarkable examples: the Baroness's and her dog's endings. Let's be honest, the real Cruella is a freakin' b*tch. There's nothing that can justify wanting to skin puppies alive to make a coat. In the film, they try to sell a revolutionary female figure who will save the fashion world, but where's the evil psycopath? If they're working on a sequel, I hope we get to see that. Apart from that, the only remarkable characters are Cruella and the Baroness. The other characters don't add absolutely anything to the real story. The movie could've showed only the two protagonists and it would've been the same. Year: 2021 Director: Craig Gillespie Script: Dana Fox, Tony McNamara Genre: Drama, Crime, Comedy Cast: Emma Stone, Emma Thompson, Mark Strong, Joel Fry, Paul Walter Hauser, Emily Beecham, Kirby Howell-Baptiste, John McCrea, Kayvan Novak Runtime: 2h 14min Qualification: 5/10 By @vreviews_ "Disney's "Cruella" (2021) was honestly a shock and I mean that in the best way. The newer trend of villain origin stories can often come off as predictable and obvious but this one was far from that. "Cruella" tells the sad tale of Estella whose mom dies tragically when she's young. Cruella is the name Estella's mom gives her when she misbehaves at school which later becomes her alter ego. Young Estella falls in with fellow orphans and pick-pocketers Horace and Jasper and they become fast friends. I loved this little twist on Cruella's henchmen. The 3 of them as "innocent" children really humanizes the characters that are stuck in my mind as silly (and kinda scary) cartoons. Emma Stone truly shines as older Estella/Cruella. I will say that I was confused as to how this Cruella becomes the dog murdering, fur obsessed character we all know and love but it gives us some new appreciation for Cruella as a character. Emma Thompson is fantastic as The Baroness as well. She brings the quirkiness of Sybil Trelawny to the snobby Baroness which also makes Estella's rise in the fashion world all that more glorious. It makes a lot of sense how Cruella got so wicked given her origins. The many nods to the animated and original live action "101 Dalmatians" movies were fantastic. The scene in the animated version where the people on the street look just like their dogs made me laugh out loud. The scene where we learn Estella was never taught to drive and smashes into every car on the road was hilarious as well. Overall this movie is a delight. I'd absolutely watch it again! 8.7/10 By @jasmynreviewsstuff

There's a place in Spain, where the sun is ardent and the sea is sapphire. A place where history meets with modernity. Where people are joyful and welcoming. There used to live an ancient population, the Turdetans. Descendants of the Tartessos, a mythical culture which thrived on the Guadalquivir's shores. A civilization which has been described in The Captives by Plautus as the most civilized in the Iberian Peninsula. A culture which reverberates in Andalusians people, in their manners and mores. This pre-Romanic people has inspired three men from Alcalá de Guadaira, a town of Seville's suburbs, to start a group with that name. A band inspired by dreams and their meanings. Inception, Eyes Wide Shut and The Wizard of Oz, have had a little role in influencing their ideas, but most of their influences came from the wonderful Pink Floyd, Camel, King Crimson and Jethro Tull. This Spanish progressive rock band is composed by J.M. Pinto, the lead singer, Francisco Gongora, the guitarist, and J.L. Portillo, who plays bass, drums and keyboards. They aren't a live band yet because right now they're focused on writing and composing music. We could say that they've chosen the right way, by sticking to their passion rather than being a mainstream band who has put passion aside in favor of money. It doesn't mean that you won't be able to appreciate their work, which is showcased in The Owl's Eyes Music section and their YouTube channel. Besides being infleunced by the more renowned and mainstream band, Turdetans gets ideas from contemporary groups like Riverside, The Pineapple Thief , Porcupine Tree and especially Opeth, a swedish band. Nonetheless, they're able to craft their own music with their own style. This is an aspect which is pretty relevant for the group's members. Though the budget is limited and the band lacks soe members who can play other instruments, they decided to use virtual sounds generated by a software. Nonetheless their music has natural sounds, as they say "More humane". This dedicaion has brought them to realise a concept album made of 12 tracks and 42 minutes of songs intrised of acustic folk rock and progressive rock. All of it has been recorded by La Tortuga Studios of David Carmona. Something which helped achieve a bit of fame and acknowledgment, which was unexpected. Let's talk about the music of Suite of Dreams. Prologue is the first track and it's like a warm-up. There's the initial sound of a synth, followed by the piano. The song is particularly slow and soothing, to make you feel a sensation of quiet. The song has warm tones and it reminds of the cozy feeling you get in the first minutes of sleep. Insomnia is characterized by a lack of lyrics and an intense instrumental act. The overlapping of the bass and the synth is used to underline the uneasiness caused by this sleeping condition. It's particularly relaxing and it reminded me of Tangerine Dream. Lucid Dream continues on the same level of engagement of the previous tracks, building up its lyrics on Insomnia base. It's used to evokes a sensation of extra bodily experience, which is what happens during a lucid dream. The song's words help us understand how the creators, I think, experienced this kind of cathartic experience. I Will be There represents where the suite starts to pick up an higher pace. The style evvolves in progressive rock and the bass is used to recreate what could be considered an initial nightmarish feeling which alterns to tender sequences which soften the tone of this track. Here is where there seems to be a bit of Led Zeppelin's influences. Parasomnia, which is a category of sleep disorders that involve abnormal movements, behaviors, emotions, perceptions, and dreams that occur while falling asleep, is another piece which is only instrumental and function as an interlude between the more dynamic I Will be there and what come after it. This is a piece which starts gently and finish with more verve. Rapid Eye Movement starts with a pounding sound which slowly evolves in something more comfortable where a flute is used to soften the tone. It's where the folks soul of the band is more noticeable. Friends I is composed by two parts which are a bit contrasting but complementary. At fisrt the dissonance is heavily marked but slowly them are merged to form a more cohesive melody which is appreciable. I think that it represents how friendship works: the first quarrels followed by the finding of a compromise. Friends II is another track which is completely instrumental and it's in fact the continuation of the previous track. It's used as a transition, to introduce tones and sounds which will return in the next song. December 5th is where the suite surprises you because it doesn't follow what came before(I've said that because I'm listening to these songs while I'm writing this post). This song is tender and extremely relaxing. It's like the mirrored version of the first two songs, by being more chilling. Thousands of Angel is, as the title suggest, the most comfortable and relaxing music of the bunch. I like how it keep up with the rythm and the tone of the previous song, it gives continuity to the suite. Born Again is a return to the dynamic and haunting sounds of other suite's tracks. I think that the tone choices could represent the traumatic experience of birth. Wake Me Up, which has a title which is not so different from Born Again and its symbolic meaning. And I think that this is the best song of the band because it's the perfectly balanced product of its two sould: folk and rock. And, as the ending song of this experience, is perfectly fitted because this is exactly what happens after every dream. This is an interesting indie band which, with humbleness and resourcefulness, is able to craft beautiful songs which are born after a process of communion between the Spanish culture, which resounds in the band's name, and the members passion. They deserve to be acknowledge beyond their country's border. Because everyone should have dreams. Without these we would be nothing. By @the_owlseyes

Reviews by: @the_owlseyes Oblivion is scary. We dread it, run from it but death still arrives. Our demise could represent the end of our family's surname or simply the end of our existence. Just a few people will remember us but time is cruel and it's hard not to become a spec in the stream of time. This issue has been torning our species since the down of time. Art is used to perpetuate the idea and the memory of something or someone. We came from caves painting to what is, in my opinion, the apotheosis of art: cinema. Like fashion. PLOT "The story of a man who leverages his single, invented name into a worldwide fashion empire that's synonymous with luxury, sex, status and fame, literally defining the era" or "The usual story of rise and fall of a famous individual". SCRIPT As a miniseries it takes its time to develop and make you care about the protagonist. I find the way the story is told pretty effective but a bit biased, as every biopic. I liked how the series opened and how the first scene defined the main traits of Halston. The character's journey is defined by the people who meets, especially Liza Minelli and his lovers. In the first episodes his growing is represented by a different haircut, which is a cliche and I think that it could've been cut out. His struggles are interesting, because he's an homosexual in a period of strong homophobia. The point is that the show falls in the same tropes and cliches which are common in every biopic, and the most prevalent is the structure of the script, which is a reharsed style used by every contents of the genre: rise, fall and rise again. I didn't like how has been handled the South American lover of the protagonist because he's reduced to a stereotyped spoiled man and we're not able to see why he's like that. There seems to be a little of political agenda behind this series and, sometimes, is prevalent. Unfortunately Ryan Murphy's series aren't subtle and likes to shove the concept of homophobia right in your face. This is why this series is good but it falls belove average level for tropes and cliches which are too common in the genre. Script: 6/10 ACTING Ewan McGregor and Krysta Rodriguez shines in their roles. The first seems to having the time of his life, by playing his character with depth and charisma, and the second is able to imitate to perfection an eccentric artist like Liza Minelli. I liked Rodriguez a lot because she's able to dance, sing and act with such an ease and naturalness, almost stealing the show. The other actors do a good job but I didn't like the acting of the one who portrayed the lover Victor Hugo. Sometimes he overacted and sometimes he underacted, just a few times he was able to feel like a real person. Overall we get performances which span between exceptional and mediocre. Acting: 7/10 PHOTOGRAPHY I expected more from a show about fashion. A lot of times the light is flat and uninteresting, sometimes it takes time to be more creative. I wasn't satisfied by the fact that colours haven't been used in a symbolical way. This is the worst section because photography doesn't add anything to the show. Photography: 5/10 EDITING The editing is smooth and it helps to propell the series. I think that the best transitions are present from the third episode because the show starts to experiment a bit. I liked a lot the sequences which shows how Halston expanded his business, it's very effective. Obviously it's hard to mantain this kind of level for all the screen time and a lot of scenes are characterized by a stale editing. I think that it's good, even though it doesn't embrace its quirkyness. Editing: 6/10 SPECIAL EFFECTS These aren't so relevant and are subtle. These're used mostly during a cool editing but most of the time are imperceptible. Special Effects: 6/10 SOUNDTRACK This gets less interesting after every episode, because the first one and the second has a very good and appreciable soundtrack made of songs, singed by the actor of Liza Minelli, and others which fits perfectly the narration. Toward the end it becomes a mediocre and boring mix of instrumental and pop music, which owers the series quality. Soundtrack: 6/10 COSTUMES A show about fashion is all about costumes and, if these are bad, the whole series collpases. Here these respect the story of Halston and his style, while being coherent with the setting and the characters inclinations. I liked the process they used to represent how the clothes were created, by making them seem more precious than they're. I could say that I like them, a lot. Costumes: 8/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 5/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 8/10 AVERAGE: 6,28 A nice series which honours the memory of one of the greatest artist who has ever live but fails to do something original by falling in all the genre's tropes and cliches. It's enjoyable but sometimes it drags a bit and it makes the show a bit boring sometimes. The actors and the costumes make the show much better and McGregor has made the character his own. I just have to say that I hope fo Ryan Murphy to have more original ideas because hi series are becoming stale over time. Director: Daniel Minahan Screenplay: Ian Brennan Cast: Ewan McGregor, Rebecca Dayan, David Pittu, Krysta Rodriguez, Bill Pullman Soundtrack: Nathan Barr Cinematography: Tim Ives, William Rexer Running Time: 40 minutes By @the_owlseyes

Reviews by: @the_owlseyes 17 years. Changes a lot during this time. Trends shifts, ideas evolves and culture grows, pushing us toward unchartered lands. The past stays behind us or, at least, this is what we try to do. Sometimes it's hard to get back, sometimes is just melancholy and others is to understand where we're now. 27 years ago a series aired for the first time on cable. The first laugh erupted and the first joke was made. A fandom arised and it's still thiriving today, keeping a lot of people from falling into the abyss of depression and sadness, by giving them cheap laugh and heartfelt emotions. The title speaks for itself. PLOT "An unscripted Friends reunion special" or "An intimate and sincere reunion of six people from a well renowned show....not". SCRIPT This isn't an unscripted show, because it won't be flowing as easy as it does. Besides guest stars interferences is focused and built to give you, the fan, the chills and to get you interested in the series, if you've never watched it. There isn't a lot to say because it's an hybrid movie between a talk show and a documentary and the characters are real people who act as real people, besides James Corden. I like the sequence of events which the writers decided to show us, because it touches almost every aspect of the show. The fact that it's able to honour its fans and the people who've worked on it is a good thing, because it gives a sense of closure. Overall it's a good script which does right what it has to do. Script: 7/10 ACTING That's tough to value. It's clear that a large part of it is acted, because it's obvious that James Corden is doing that. And his performance is bad to the point of cringe. The other people involved in the movie seems authentic but sometimes, some scenes, don't feel natural. I liked when they reharsed old scenes and the actors are able to deliver a good, almost better performance. I think that besides the main players, the other guests don't bring a lot to it, especially in terms of quality, because it's obvious that they're there only to make everything seems less uncomfortable. Reese Witherspoone works as a guest but Mindy Kaling, Kit Harington, Lady Gaga, Cara Delevingne and Justin Bieber are out of place. This is where the show feel weird and forced. None cares about the point of view of another superstar. The fan, I think, prefer to see their favourite actors of their favourite show remembering the good old times. That's why I consider the acting an half baked mess. Acting: 5/10 PHOTOGRAPHY Not a lot to say about that. It's just flat and unimaginative. Even though it isn't intended to be artistic because this isn't a proper movie, it does what's needed without trying to do something more. Photography: 5/10 EDITING This is why, with the script, the movie works. Because there're presented perfect parallelism between the original show and the reunion, perfect cuts between scenes, perfect cuts during the reharsals. The movie flows perfectly without sudden edits and weird slow motions. It works and it's pleasing. If you're fan you're probably going to shed a tear because it's edited to make you fell like that. Editing: 8/10 SPECIAL EFFECTS There's a lack of it and it shows, because this is like a talk show and vfx aren't needed because there's nothing exceptional or outworldly to be represented. Special Effects: 6/10 SOUNDTRACK Usual cozy music used to generate a sense of sadness and nostalgia, which is alternated to the Friends theme. There's a cameo by Lady Gaga who performs a song of the series with Lisa Kudrow. I liked it but it wasn't nothing special. It was appreciable but it wasn't a song with something unforgettable about it. Soundtrack: 5/10 COSTUMES Normal people wears normal clothes. There's a break where some models and a singer wear iconic costumes of the show, which are pretty simple, apart from the armadillo summer costume. Enough has been said about a section which isn't the main attraction of the show. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 5/10 Photography: 5/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 5/10 Costumes: 6/10 AVERAGE: 6 You'll love it, if you're a fan, but you'll probably find it boring, cheesy and a bit fake because most of the people involved in this production are in for the money. It's easy to understand it because random stars pop up unwanted and unneeded. The focus should have been just on the main four stars and their bond, not the other people who have had minor roles in the show. Director: Ben Winston Screenplay: David Crane, Marta Kauffman Cast: Jennifer Aniston, Courteney Cox, Lisa Kudrow, Matt LeBlanc, Matthew Perry, David Schwimmer Soundtrack: Marc Daniel Nelson Running Time: 104 minutes By @the_owlseyes

Reviews by: @the_owlseyes How to Train Your Dragon's saga has been a global hit which has solidified Dreamworks has an animation powerhouse, worthy to compete with the ever growing lights of Disney and Pixar. It has taken a long time to threaten the prestigious position Disney has set himself in after the acquisition of Pixar and the consequent worldwide animation dominion. Recently we're experiencing a slur of animated movies and series which offer something different than the usual smooth and tender look of Disney's animation. That's why we now have movies like Spider-Man: into the Spiderverse, Mitchell vs The Machine, The Lego Movie, Wolfwalkers and series like Love,Death and Robots. All of it has happened after the 2010's and started during the second half of the 2000's. But, before that, Disney was a giant with the best artists, writers and directors. The Lion King, Mulan, Aladdin, The Beauty and the Beast and The Little Mermaid have set up higher standards for the animation industry. Here is where this movie came in, by trying to tell a different story with a more nuanced message. A huge risk. PLOT "Two swindlers get their hands on a map to the fabled city of gold, El Dorado" or "Hope and Crosby readapted for a younger generation". SCRIPT It's a simple story but it's able to adress complex concept and show them in a subtle way. The sexual innuendo of this movie is there and as a kid you won't get it but, as an adult it will be pretty noticeable. I mean, there's a character who receives a blowjob off camera. Or the fact that the idea of polygamy, bisexuality and homosexuality is heavily implied. One could say that it's just fan fiction but some songs and some manners of the protagonists seems to wink at it. The same could be said about the girl. But it isn't just about sexuality, we're offered a kind of characters which aren't supposed to be likeable. We're talking about two con-artist and a thief who convince a rich town that they're gods, to fullfill an ancient prophecy. Obviously the three characters are managed very well, defined by thier quirks, skills and goal. The interesting thing is that all the movie build up an arch for all of them and in the end throws it all away, like nothing ever happened. This could be infuriating but, if you consider the source material, which is a 1940's sga which happens to have the same structure. I'm talking about the Road to... saga of Bing Crosby, Bob Hope, and Dorothy Lamour. Almost accidentally the characters results likeable as a sort of antiheroes. Yes, because their last choice makes them redeemable. More than that the movie is also able to explore other themes like the contrast between state and religion, between belief and science, which aren't concepts easy to show to kids and parents without passing as conservative or liberals. This is why the villain is, in some way, the hero, till the end of the movie, where he's corrupted. He's the sharpest mind in El Dorado and it emerges a lot of times. His fall is used as a strong critic toward colonialism and imperialism, because Cortez, even though he is only in the background, is the real negative force here. I think that the movie deserves more credit for being bold with its concepts and themes, this is why its flaws are justifiable and, almost, well placed. Script: 7/10 ACTING Kevin Kline and Kenneth Brannagh deliver a very good performance as Tulio and Miguel but I think that Armand Assante is the best because he gives a villain a threatning yet fascinating voice. I've also liked Edward James Olmos as the Chief, because he plays him with a warm and welcoming voice which is the perfect fit for his character. Rosie Perez as Chel isn't as interesting as the others, because she does a mediocre work. Acting: 7/10 PHOTOGRAPHY Here we've some pretty good shots, just look above to have an idea of it but this isn't the strength of the movie, because most of it is made of mediocre shots. Even though colours have a role year and some scenes are used to convey a symbolic meaning, I didn't find it remarkable. Photography: 6/10 EDITING Slow motion is used a few times, only when is needed, and most of the shots use simple transitions like fading and fade to black, the last one isn't good for a mvie because it break the story's flow. I liked the zoom ins which were used in a comedic way and to represent danger. Overall it's nothing exceptional on this side. Editing: 5/10 SPECIAL EFFECTS This is where we have the best, because the water is lifelike and stunning, and the worst, because sometimes the cgi is too perceptible. The hand drawn animation works well, evem though sometimes we get some weird frames which make us cringe. I think that on this aspect the movie is good and flawed but it isn't the best of its kind. Special Effects: 6/10 SOUNDTRACK One of the best work of Hans Zimmer and John Powell who, after that, worked on Pirates of the Caribbean and Shrek, two classics of cinema. It's interesting to notice that the villain theme lays the ground for what will be Barbossa's Theme. It's hard to miss it. The soundtrack is adventurous and exciting, enhancing the movie quality and giving us the chills. The addition of Elton John's songs is an dea which helps the movie and sometimes it cripples it because these detach us from the movie by focusing on the singer. They choose him to use his starpower and continue what The Lion King did but they didn't consider how music is used there and here. It doesn't hurt the movie quality but it adds a little flaw to a great soundtrack. Soundtrack: 8/10 COSTUMES Though these fit the time period and the characters, while hypersexualing Chel, I don't find them remarkable. I liked how Miguel and Tulio choices are foreshadowed by their wardrobe but it isn't enough to say that it elelvates the movie's quality. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 7/10 Photography: 6/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 6,42 It's an animated movie which breaks the mold and does something original and a bit unexpected by adressing interesting themes which aren't usually touched by this kind of medium. It could be a soft cult becuase it has its own merits and it manages to entertain you with funny characters, good visuals and an exciting soundtrack. I advise to wtach to see how was animation before Pixar's revolution and what Dreamworks used to offer during the hand drawn era. Director: Bibo Bergeron, Don Paul Screenplay: Ted Elliott, Terry Rossio Cast: Kenneth Branagh, Kevin Kline, Rosie Perez, Armand Assante, Edward James Olmos, Jim Cummings Soundtrack: Hans Zimmer, John Powell Running Time: 89 minutes Budget: $95 million By @the_owlseyes

Reviews by: @the_owlseyes @leituras.leo No, really. Imagine you're Patty Jenkins. After Wonder Woman you're considered the saviour of the DCEU because you've made a movie which was able to delight critics and audience. You're offered $200 million, Hans Zimmer and no constraints to do whatever you want. What will happen next? Are you going to make a good sequel, with a good script and a good soundtrack? Are you going to honour the character and respect the fans? Are you going to make a pleasing work? PLOT "Diana must contend with a work colleague and businessman, whose desire for extreme wealth sends the world down a path of destruction, after an ancient artifact that grants wishes goes missing" or "The most generic and boring plot you can think of". SCRIPT That's atrocious. First, the setting doesn't make sense. She said that she left mankind before returning for Batman v Superman and now, she is saving lives in 1984. The character doesn't make sense and are not compelling. Diana Prince is just a shell who do things but doesn't learn a lot. Considering the fact that the first scene set up a certain theme, which is the one of honesty, the movie totally ignores it in favour of "be careful what you wish for", which is generic and overdone. The concept of The Monkey's Paw exist since 1902 and it has been done better by The Twilight Zone and others. The dream stone, which is the movie's McGuffin, doesn't make sense because its rules aren't consistent. The fact that the main villain wish to become it is so dumb. The fact that it works by touching and the villain, when is the dream stone, thinks that you can touch people with TV broadcasting is beyond retarded. The villain has weak motivations because it's just another guy who wants to be powerful. One could say that is doing it for his son, to look better with him, but doesn't make sense, because his son already loves him. The other villain is built on sand. Barbara Minerva is a cool character in the comics but here is reduced to a blur. At first he's the stereotype of the dorky, clever and naive girl. Everyone, besides Diana, mistreat her, with no reason. She wish to be like Diana and her arch goes on a crazy, non sensical change. I don't know why a kind person should become that wicked just because she's becoming more powerful day by day. Also, she gets more attractive by removing the glasses and changing clothes, a cliche so bad I wanted to stop the movie there. She's also used to make a bad social commentary about sexual harassment. The point is that all the men in the movie are creeps, dumb or crazy. I understand that the #MeToo movement is still there but there's no need to make your movie about politics. At least, if you want to do it, just try to make it subtle. Great, both villains sucks. Wonder Woman, as I said before, doesn't follow a coherent path with a clear theme, but it isn't just about that. Her first action scene is extremely cheesy and the tone contrants with the rest of the movie. It isn't able to decide between being a drama and a comedy. Diana's wish is selfish and is executed in a disturbed, twisted way. A man is being possesed by the soul of Steve and he's unaware of that. Only Diana sees him as Steve. Everyone would freak out in a situation like that, both Steve and Diana should do it. Nope, the first thing wich they do is having sex. Diana has sex with a stranger who isn't condescending. Steve is the most useless character in the movie because he's used as a blatant comic relief and he has abilities out of nothing. Some his jokes are so bad you'll cringe so hard. The protagonist powers are inconsistent. Most of them are made out of thin air. Without considering the fact that she loses her powers due to her wish, there're a lot of abilities which come out of nowhere. I'm going to enumerate them now: flying, making object invisible(bland fan service), riding ligthnings with a lasso, showing the truth with the lasso of truth which has different powers in the first movie. Also, these aren't showcased a lot because most of the movie is devoted to walking, talking and boring exposition. The climax is one of the worst. She saves the world by saying that everyone has to renounce his wish because it's bad. Just like that. But, if someone desired something good, why should he or she would be willing to give it up for a stranger? Also, after that no one remember what happened, not even the man who was possesed by Steve's soul. The ending is the cherry on top of this huge crap. It ends like every comedy set during christmas with a cameo of the original Wonder Woman, Lynda Carter. The last flaw, which plunge the script in the mud, is the awful dialogues. I won't say more, because I've said enough about this abomination. Script: 1/10 ACTING Gal Gadot does a mediocre job as Wonder Woman and sometimes it's just bad. The other actors are ok. Pedro Pascal is the best one and he's having the time of his life, by exaggerating is performance, aware of the movie's level. I didn't like the acting in the first scene in the mall because it's not good and the robbers seem to not care about it. I've expected more. Acting: 5/10 PHOTOGRAPHY It's just acceptabe because nothing meaningful is done with it. There aren't interesting shots or stuff like that. It's plain and basic. It's strange because the movies set in the 80's tend to be more colourful and visually pleasing, like Guardians of the Galaxy. Photography: 5/10 EDITING As photography, there's nothing exceptional about it. Sometimes it's worse like the voice of Steve who says that he loves Diana but is a bad voice over. This what makes the movie an under average mess. Editing: 5/10 SPECIAL EFFECTS God. The green screen is so noticeable and the cgi is bad. Cheetah vfx are revolting, which remembered me another awful movie like Cats. The makeup is ok but I didn't find it interesting. Overall the special effects are pretty bad considering the budget of the movie. Special Effects: 4/10 SOUNDTRACK I can't believe that Hans Zimmer prefered to do this instead of Tenet, it's hard to think about it. Anyway, he does a good job for the first and second act, with something that's slightly under his usual level. The last act and the climax are a trainwreck because two tracks of other movies were used in scenes, one of Sunshine and the other of Batman v Superman. Saying that's weird and uneasy is an euphemism. Zimmer has disappointed me, for the fist time. Soundtrack: 5/10 COSTUMES I liked the winged costume of Diana and is usual outfit works as well. The other characters are clothed with costumes that match the period. The fact that these've been used to underline the change in Barbara's character is acceptable but it's a cliche. The some could be said for Steve, who is involved in an outfit tryout intended to make us laugh, which is terribly lame. This is the only decent section here. Costumes: 6/10 CONCLUSION Script: 1/10 Acting: 5/10 Photography: 5/10 Editing: 5/10 Special Effects: 4/10 Soundtrack: 5/10 Costumes: 6/10 AVERAGE: 4,42 This movie is a trash one and it isn't even a "so bad it's good" because it's tedious and dumb. Only the costumes are worth the watch, which says a lot about the quality of the motion picture. If you want to see it, don't. If you want to delete it from your memory, do it now. This is, maybe, the worst superhero movie ever produced. Time will tell if Holywood could do worst than that. Director: Patty Jenkins Screenplay: Patty Jenkins, Geoff Johns Cast: Gal Gadot, Chris Pine, Kristen Wiig, Pedro Pascal, Robin Wright, Connie Nielsen Soundtrack: Hans Zimmer Cinematography: Matthew Jensen Running Time: 151 minutes Budget: $200 million By @the_owlseyes Warner Bros, 2020 Direção: Patty Jenkins Nota: 6.5/10 . O longa acompanha Diana na busca de descobrir a origem e recuperar um artefato misterioso capaz de conceder qualquer desejo, antes que o mesmo caia em mãos erradas e gere consequências catastróficas. . Um dos pontos mais positivos do filme ao meu ver foram a ambientação, a fotografia e o figurino. O longa possui cores bem vivas com destaque para tons como vermelho e dourado, trazendo para a tela a essência e a grande extravagância charmosa que marcou a década de 1980. Visualmente é com certeza um espetáculo! . No entanto, o filme peca principalmente em seu roteiro, entregando uma trama meio "sessão da tarde", se afastando da atmosfera sombria do anterior. Uma premissa genérica, com furos que comprometem o desenvolvimento dos personagens. Aqui temos uma Diana mais evoluída e inteligente que a do longa anterior. No quesito elenco, Gal Gadot e Pedro Pascal (apesar do personagem de vilão esteriotipado de desenho animado), possuem um bom desempenho do que lhes é proposto para seus personagens, mas é Kristen Wiig de fato o ponto forte! Ela nos traz uma personagem de início cômica e caricata, mas com uma evolução considerável e uma antagonista convincente. Porém, o roteiro pisou feio na minha visão ao alterar a origem macabra dos dons da vilã Barbara Minerva para novamente uma construção mais family friendly. . Embora um desenrolar meio arrastado e alguns efeitos visuais questionáveis, o filme possui algumas boas cenas de ação, e um desfecho consegue passar sua mensagem de forma razoavelmente boa, mas sem a emoção e a carga dramática e trágica presentes no primeiro filme. . No máximo é um filme bom, mas não atende às expectativas do hype que criou. By @leituras.leo

Love, Deaths and Robots is a stunning antology series which is made of short, impactful and animated shorts which shock and shake to the bone for its wits, gore and marvellous visuals and graphics. It's hard to say which is the best episode because every short has its own style and story, which make them all unique and with different degrees of memorability. Let's find out which one emerged as the best one in this cornucopia of animated masterpieces. 26. Automated Customer Service Score: 6.28 This the least interesting episode in the bunch because it adresses a cliche theme in science fiction which is killer robots. There's a lot of comedy and all revolve around a robot cleaner who's gone rogue and initiate an elder's hunt. We're given glimpse to a society of only old people who live an easy life, in extreme symbiosis with technology. Beside the cliche, there seems to be a social commentary about elder care and a light bantering toward a part society which is usually technologically averse. It's funny and some shots are very well done, which help amping up the short's comedy. The last scene is between silly and frightening. Scores: Script:7; Acting:6; Photography:6; Editing:6; Special Effects:8; Soundtrack:5; Costumes:6 25. The Dump Score: 6.28 An episode based in a dump where an homeless man meet what could be considered the trash spirit. It's grotesque but it's funny to watch, even though it isn't perfect. I liked the southern characterization of the protagonist, in strong contrast with the posed and annoying inspector. The story adress einveironment issues about the waste disposal but it does it in a comedic way, which undermines the impression made by the episode. I liked the twist, which is unexpected and sad. I think that this short gets right the soundtrack which ha s the typical southern tunes and fits the story perfectly, even though it isn't that special. Another strength of the episode is the fact that is extremely dynamic and the cgi is perfectly rough and well done to give it a dirtier look. Scores: Script:7; Acting:6; Photography:5; Editing:6; Special Effects:8; Soundtrack:6; Costumes:6 24. Ice Age Score: 6.42 An interesting but flawed reflection about civilization. The problem is that it focuses more on the "Gods", which are two simple humans, point of view rather than taking the side of the fridge's people. I liked how the characters reacted when the society was on the brink of oblivion and its subsequent resurgence. The ending is open for interpretations but it think that it represents a cyclical conception of time and the fact that we could become a single conscience made of different minds. It's the only episode with live action scenes and it's one of the least interesting, because it feels out of place and the acting isn't that good. Scores: Script:8; Acting:7; Photography:5; Editing:6; Special Effects:8; Soundtrack:5; Costumes:6 23. The Tall Grass Score: 6.57 It's an horror with a pretty simple premise: a man wanders in tall grass and is attacked by unknown monsters. The animation isn't top notch, but it works very well, and it reminds of The Dump. I liked the design of the monsters and the concept which seems to be inspired by the 2019 movie In the Tall Grass. I liked how they used a red lighting to enhance the moments of danger and create a sense of dread. The ending is particularly disturbing, because the conductor oblige the man to keep it a secret, therefore neglecting every other death which will occur afterwards. There seems to be no moral, at first sight, but the damages of neglect could be considered one. Scores: Script:7; Acting:7; Photography:7; Editing:6; Special Effects:8; Soundtrack:5; Costumes:6 22. Fish Night Score: 6.57 This is is one of the best looking episodes. The idea is interesting but it's executed in an half-baked way. I think that the animation is what lower the experience's quality because I don't think that's the best choice and I think that it could've worked better with a more realistic style. The characters, a father and son, are explored superficially but their personality are well defined. I don't understand why they didn't go looking for a house or a gas station, this is a very dumb choice. Nonetheless the concept is pretty interesting, because it's tragic. The kid's death is represented by a supernatural allegory, which is linked to his desire to go and see the sea. Scores: Script:7; Acting:7; Photography:8; Editing:5; Special Effects:8; Soundtrack:6; Costumes:5 21. Blind Spot Score: 6.71 You'll be trolled big time by this kind of narrative. A group of robots, and I underline robots, attempt an heist to a cargo and succed in it with a lot of losses. And this is where the troll comes in: you care about the death of robots which, at the end, is revealed that their memory was loaded somewhere safe. Death becomes inconsequential and it's a clever joke, because you are aware of that from the first time but the fact that you're used to certain kind of tropes, you avoid using logic. It's not the best looking story but it's dynamic and funny. The ending is the cherry on top. Scores: Script:8; Acting:7; Photography:5; Editing:8; Special Effects:8; Soundtrack:6; Costumes:5 20. Soul Sucker Score: 6.71 Here we have the episode with the simplest animation. Nonetheless, the story is moderately interesting. It's a reimagining of the character of Dracula and his weakness, which here are cats. It's particularly gory and the action is well done. We are offered glimpses of interesting characters and an interesting story. The kid's death is scene is the best scene in the whole episode because it's terrifying and particularly twisted. The ending, as the whole series, is pretty sad because, even though the characters have showed us that they are able to endure one creature like Dracula, they find themselves in the Draculas nest and that means certain death. Scores: Script:6; Acting:7; Photography:7; Editing:7; Special Effects:7; Soundtrack:7; Costumes:6 19. All Through the House Score: 6.85 So disturbed and chilling. The concept of a mostruous Santa Clause isn't new but here is done is such a way that leave you astonished. The design of the monster is wonderful and twisted and it makes you feel dread for all his screen time. You'll care about the kids life, a lot. Everything the monster does is creepy and the way it produces the gifts is so revolting. The ending is weird because in the end the kids receive what they wanted and it's a bit off putting. The animation fits the narration and has Burton vibes, by reminding you of movies like The Nightmare before Christmas and Frankenweenie. Scores: Script:7; Acting:7; Photography:7; Editing:7; Special Effects:8; Soundtrack:6; Costumes:6 18. Shapeshifters Score: 6.85 It revamps Dog Soldier plot but it uses the concept to do a sharp social commentary about war, racism and meritocracy. The acting is mediocre but it's helped by a fantastic animation and cool action scenes. The design of the werewolfs is beautiful and the battle scene at the end is what makes this episode special. The fact that the protagonist chooses to give up his military career to live a life among nature, it's a good message, because it means that you could always find a place in this world, you jst have to sacrifice something. Scores: Script:8; Acting:7; Photography:6; Editing:7; Special Effects:9; Soundtrack:5; Costumes:6 17. Good Hunting Score: 6.85 A steampunk short which explore the role of magic in a society which is embracing progress. The main characters are likeable and their relationship is sweet. It's interesting how magic and technology are analysed in two opposite ways: the first one is first described as wrong and vicious but it turns out good and benevolent, the second one is shown with the opposite sequence of events. When the girl shows progress becomes the enemy but it's through that she achieves, with the help of his lover, the freedom and desire which was lacking due to a loss of magic. It's a satisfying ending which intertwine two, at first, opposing concept and it uses it to empower and give a beatiful arch to a character which is mistreated. There's a strong social commentary toward colonialism, education, dogmas, women's violence and objectification amd the dychotomy progress-magic. It's one of the best episodes because it's so enjoyable. It loses a bit with a simple animation, which, sometimes, is clunky. Scores: Script:8; Acting:7; Photography:6; Editing:7; Special Effects:9; Soundtrack:5; Costumes:6 16. Life Hutch Score: 7 A simple premise with a very good execution helped by the marvellous acting of Michael B. Jordan. The concept of a soldier stranded on an unknown planet with a robot who's willing to kill him it's so good. We see him struggling to survive and beat the robot, who act like a cats, attracted by the light, because uses a system of heat vision. Why he's there isn't completely explained, frames of a star battle are shown but most of it is left to the imagination. The point is that the end isn't good, for me. He's saved but I would've preferred a situation where his surviving would've been left open to interpretations. The cgi is awesome and lifelike, which makes everything more believable. Scores: Script:7; Acting:8; Photography:8; Editing:6; Special Effects:9; Soundtrack:5; Costumes:6 15. Ice Score: 7 The concept is pretty simple: some guys in the arctic run on the ice for fun and avoiding being killed by whales. The point is that we don't know much about why they're there and why some of them seem to be physically enhanced. This episode id more about the visual rather than the plot. And it delivers a ot for what is about photography with beatiful and dreamy frames which are a blend of handrawn and cgi animation. At the end is implied that there's some sort of fast healing factor in one of the boys and the episode cut there, teasing us. I like it but I think that the animation, the one which is about the humans, isn't that impressing and that lower the story's quality. Scores: Script:6; Acting:7; Photography:9; Editing:8; Special Effects:8; Soundtrack:5; Costumes:6 14. Zima Blue Score: 7 AI and Conscience are the theme of this short, which manages to deal with it in a wonderful way. It explores the idea that after a multitude of updates a machine won't be able to know if he's human or not. It's even more difficult for who's actually human. The arch of Zima Blue is very well done and nothing is left out. It's also a reflection about the cycle of life and death. The episode has great visuals, which takes us through the cosmos, and good voice acting. I think that the voice of Zima Blue is on pitch and fits the character perfectly. Who's a bit underused is the journalist who doesn't get a clear characterization. Overall is a very good episode with an interesting theme. I think that the animation is what elevate and damage the episode, because sometimes the animation isn't good enough. You'll notice it, especially in the first act, with the journalist's boat. Scores: Script:9; Acting:7; Photography:8; Editing:6; Special Effects:7; Soundtrack:6; Costumes:6 13. Lucky 13 Score: 7 As Zima Blue, this is an episode about AI. Here is explored the relationship which could be established between a human and a machine. We see the pilot and the aircraft form a strong bond which takes them through a lot of battles with an unknown enemy. The ending is where we're left with a doubt: did the aircraft kill herself at the right moment or it was just a glitch? The episode is carried by a marvellous Samira Wileya and the animation is the best you can expect from a series like Love, Death and Robots. The visuals aren't that good but it works fine. Scores: Script:8; Acting:7; Photography:6; Editing:6; Special Effects:9; Soundtrack:6; Costumes:7 12. Suits Score: 7 This episode has an interesting twist which goes against the usual alien inviasion's movie tropes. The characters are fleshed out and you care about them and you fell the loss. I liked the concept of mecha suits applied to farmers, because it's bonkers and fits well in a country set. There're some cliches but it works very well as a short. I think, also, that the editing helps a lot, to make the twist more impactful. The animation is good and I think that i works because it isn't iper realistic. Scores: Script:8; Acting:8; Photography:7; Editing:7; Special Effects:8; Soundtrack:5; Costumes:6 11. The Drowned Giant Score: 7,28 A giant appears on a beach changing the life of a simple town. A premise which seems like Guliver's Travel. the point that here is reversed and the giant is dead. The animation is outstanding and the theme is pretty sharp. It shows how we are able to destroy a wonder by reducing it to a thing of the past and implementing it in our everyday life, because we're not able to understand the beauty of life and we live only for thing which are ephemeral. I've also found the voice acting particularly pleasing and soothing. Scores: Script:8; Acting:8; Photography:8; Editing:6; Special Effects:9; Soundtrack:6; Costumes:6 10. Alternative Timelines Score: 7,28 One of the funniest episodes but it's sharp as a razor at poking fun at the multiple universes theory. The idea to make it revolve around Hitler is genial and I think that it's both extremely interesting and extremely bonkers, especially the ending. I think that the acting, the animation and the soundtrack fit perfectly this short. Even though is a lighthearted one, it implies something twisted. Some scenarios are a bit off the chart but it works well, because it's self aware. Scores: Script:9; Acting:7; Photography:6; Editing:8; Special Effects:8; Soundtrack:7; Costumes:6 9. The Yoghurt Score: 7,28 The shortest short in the list but one of the most effective. It uses the Yoghurt as a proxy for AI and shows how society would manage the relationship with it. The odd animation fit the weird but clever script, which is made by interesting visuals and a kind of editing which is particularly impressive. The ending leave us on a cliffhanger that'll be stuck in your mind. There's also a bit of social commentary toward politics and their inability to change things. They're used to represent how feeble the mankind is against AIs. It's also about riots and how they unveil, by showing how corny and useless they're becoming. Our destiny is, most of the time, in the hand of morons and AIs could be the solution to this issue. Scores: Script:9; Acting:7; Photography:8; Editing:8; Special Effects:8; Soundtrack:6; Costumes:5 8. 3 Robots Score: 7,28 Three Robots of different generations venture in a post-apocalyptic earth by poking fun at the mankind's customs. It's a simple and original premise that is enriched by its witty dialogues about consumism, conscience, human stupidity, cats and all is done in a semiserious way. Sometimes a character go astray, by saying deep and meaningful things which are on point but is stopped by comedy. The animation is great and every robot has its own design. I've appreciated also how they represented the earths condition. To be sincere the best scene, which is a brilliant spoof of Terminator. Scores: Script:8; Acting:8; Photography:8; Editing:7; Special Effects:9; Soundtrack:5; Costumes:6 7. Snow in the Desert Score: 7,42 That's an interesting short set in a planet which seems like mars, but it could be earth after being subjected to years and years of global warming, and populated by humans, hybrids and aliens. It revolves around an albino who doesn't age who is hunted for being like that. It's a story about the problems created by immortality and its consequences. He has always been alone but an unexpected encounter will let him find someone to live with, someone who understand his struggle. There're a lot of beautiful shots and the cgi is almost flawless. What keep the episode from being in the top 3 is the low quality of the acting. Scores: Script:7; Acting:7; Photography:8; Editing:7; Special Effects:9; Soundtrack:6; Costumes:8 6. Pop Squad Score: 7,42 A sci-fi noir who is about an officer who, after having executed his job, starts a journey of self discovery. This episode is shocking and it's pretty bold with the ideas it decides to show. It's not explicitly said what's his job but we could assume that he has to control the population by killing every newborn to keep everyone rich and "happy". It isn't a future so far and impossible. There's an object which is used masterfully to create a strong dissonance in the audience and the protagonist. The fact that it isn't of no importance in the end, is what makes everything more depressing. The ending is left open but we're left hoping for him to make the right choice, in a society made of bad ones. Scores: Script:9; Acting:8; Photography:8; Editing:6; Special Effects:9; Soundtrack:6; Costumes:6 5. Helping Hand Score: 7,42 With a premise like Gravity this short could've been a rip-off but it managed to impress, because it's able to succed where the movie fails: the space seems more threatning here. It's also interesting how the story is set in motion, which is a strong criticism toward the bad managing of space debris. The protagonist is extremely likely because she's active and you'll fear for her life. What impressed me was the hard choice the main character is obliged to do in order to save his life. Something which is visually and conceptually shocking. The last scene is heavily bonded to the dialogues, a detail which delight the audience. The animation is pretty good and the acting is top notch. I liked some frames about the earth and space, which are extremely beautiful. Scores: Script:8; Acting:7; Photography:8; Editing:7; Special Effects:9; Soundtrack:7; Costumes:6 4. The Secret War Score: 7,71 I liked it a lot. One of the most exciting episodes made of a great script set in Tzarist Russia, something that isn't so common today. Ony Shadow and Bone did something like that. This short is a blend of three genres: war, history and horror. The backstory of the creatures is so fascinating that you'll desire a movie about it. The graphic and the music are on point, almost perfect and the acting fits the character. It takes itself seriously but it's able to have moments of levity, where the Russian culture is showcased. Battle scenes are marvellously shot and well edited, to amp up the drama and coolness of every frame. The last scene is what makes this movie a tragedy and the score is what makes it special. Scores: Script:8; Acting:7; Photography:8; Editing:6; Special Effects:9; Soundtrack:8; Costumes:8 3. The Witness Score: 7,85 It's a time loop. Just it makes the short cool and intriguing. A girl and and a man are in a continuous loop. It seems like Palm Springs but it's more twisted. The episode it's bold enough to excite you and shock you with flashy colours, a magnificent animation which is like the one used in Spider-Man: Into the Spiderverse. Nothing is tacit and on the screen you'll see blood, orgies, nudity and an accurate portraying of people n drags. Some scene are disturbing but if you have a strong gut you could get throught them. I think that this is has almost the best script in the bunch but it's flawed due to a lack of good acting and an obnoxious soundtrack. Scores: Script:8; Acting:6; Photography:9; Editing:9; Special Effects:9; Soundtrack:6; Costumes:8 2. Sonnie's Edge Score: 7,85 The first episode of the season, the one which will make you fall in love with the series. Everything is extremely cool: the visuals, the animation, the costumes and the concept. Monsters controlled by a neural link face each other in death matches. Every character is fleshed out and a lot is left to the imagination, which makes it extremely fascinating. Sonnie is a character you would like to see a movie about because everything about her is interesting, his backstory, his ability and his nature. The final double twist is the cherry on top. Especially the very last, because it overturn our first initial conception and open this universe to more possibilitie which are all left to our imagination. Scores: Script:9; Acting:7; Photography:9; Editing:8; Special Effects:8; Soundtrack:6; Costumes:8 1. Beyond the Aquila Rift Score: 8 I don't know how many times I've rewatched this masterpiece. It has everything you want: a great script which is inspired by Matrix with an horror twist, likeable characters, marvellous scenes, a relevant and memorable soundtrack, a haunting and fascinating villain, with an incredible design. The animation is very realistic, to the point of being lifelike. It's hard to find something bad here, maybe the acting is a bit lacking a scene, but overall everything is almost perfectly crafted. Every object and image on display has a meaning and a use, this is so good. I'm gonna say that this short is able to make the sex scene extremely exciting and beutiful. So beutiful that when the twist hits you, you'll be as frightnened as the protagonist. The ending is the best part of this short and it will be in your mind forever, because none could forget this kind of imagery and what it implies. I'm speechless. Scores: Script:9; Acting:7; Photography:8; Editing:8; Special Effects:9; Soundtrack:8; Costumes:7 This is what I think about every single episode of Love, Death and Robots, a series you have to watch and rewatch. Do you agree with me or you think that some episodes derved more. Tell me in the comments because I'm dying to know it. By @the_owlseyes

Reviews by: @the_owlseyes There's a world. A world made of Humans, Elves, Wizards and Halflings. A world of bursting pure light and deep appaling darkness. A world of hope and desperation. Where nature resides and with the metal collides. Tolkien's first pillar of a glorious deed. Tolkien's legacy which molded the fantasy genre in its most epic shape. The start of a journey. The rising of loyalty, valour and friendship. PLOT "A meek Hobbit from the Shire and eight companions set out on a journey to destroy the powerful One Ring and save Middle-earth from the Dark Lord Sauron" or "An epic journey starts". SCRIPT It has been adapted in the best possible way, considering the quantity of information which are reported in the book. The movie is built in a way to make you feel that a sort of balance has been lost. The Shire, where the movie starts, is the best way to kick off the trilogy. Because there Jackson shows us what's going to be missed during the journey: peace and comfort. The characters are introduced to us in an organic manner, by giving them a purpose and setting the base of their growth. There's a bit of world building but it's not overwhelming. This movie is used to set the roles of every party involved in Middle Earth's war. There're a lot of character but, as the first movie, it's understandable the fact that their arch isn't complete by the end of the movie. Nonetheless, some of them fullfill it, like Boromir, who's morality is questionable. Someone who's redeemed in the movie's extended version(which is better than the theatrical one).The director does his the best to make you care about each character of the Fellowship, giving all of them quirks and different kind of bahaviour. I would say that some of them suffer a bit the transition from the book to the movie because Legolas is reduced to a Exposition Device and Ghimli becomes the comic relief. I could say that every major character like Frodo, Aragorn and Gandalf has one or two sidekicks, which give them for depth. The villain is so good. One could say that Sauron and Saruman are two dimensional characters but there's a long history behind their choices. Saruman is set, from the first minute, as the ultimate evil and wtih less than 9 minutes of screentime is able to get stuck in your mind as a strong imposing villain who should be dreaded. Sauron is like Star Wars Darth Vader and is used well as a secondary villain, to counteroppose him to Gandalf. Even though the movie has an epic and serious tone, it's able to let itself go a little with wits and comedy which is well placed and help the audience breath a little. Script: 8/10 ACTING Everyone involved cares about it and everyone does an outstanding job.Sean Bean is able to portray a hateable character you'll learn to love, Elijah Wood craft a vulnerable and empathic Frodo, by showing his suffering as a ringholder. Sean Astin gives us a glimpse of what Sam will be in the next chapters, he isn't the best one, not yet. Viggo Mortensen ifnuses Aragorn with charm and elegance and Ian McKellen find the role of a lifetime, becoming Gandalf. I want to praise the performance of Christopher Lee who gives a lot of gravitas and grandeur to Saruman. Overall everyone is perfectly casted and does a fantastic job. Acting: 9/10 PHOTOGRAPHY Every shot is so beautiful and it allows to New Zealand's landscapes to shine. You will appreciate the peace of the woods, the terror of night, the happiness of colourful hobbit's parties, the darkness of caves,....The light is used very cleverly by dimming it along the way, to represent the increasing hardship on the characters. The best thing about it is the fact that it's able to make everything feel everything big and stately. Photography: 9/10 EDITING The camera is dynamic when it's shooting big sets, to enhance the grandeur of them. There're no sudden cuts but the slow motion hasn't aged very well. There're a lot of different type of shots, to give a sense of freshness to every frame and the editing fits the tone of every scene. The battles are shot in a good way but sometimes it isn't clear enough what's happening on the screen. It's good but not enough to say that it's memorable. Editing: 7/10 SPECIAL EFFECTS Most of it is practical and it's amazing. Pratical models were used to craft the cities, huge sets has been built from nothing, like the Shire. There's a bit of cgi but here is spared to avoid the possible estrangement from the movie by the audience. Sometimes is clear that's there and this is why scenes seems a bit goofy sometimes. The production took care of everything and I think that this movie showcase Jackson's passion for the source material. I was also impressed by the way they achieved to represent the point of view of the halflings. It's great, with a few flaws. It's really a gift from heaven. Special Effects: 8/10 SOUNDTRACK It's hard to find a more memorable and suitable soundtrack. Every theme is unique and fits the characters perfectly. Every scene is enhanced by the sounds crafted by the ingenious mind of Howard Shore. It's a symphony, a masterpiece, an epic score which will reverberate in The Hobbit and any other fantasy movie. Soundtrack: 10/10 COSTUMES Even though sometimes it's clear that these are costumes, the final result is pretty remarkable. The ogres are very well made and the makeup is outstanding. I liked the fact that every breed of Middle Earth is defined by different type of clothes. It's incredible to think that all of it was done with less than 100$ million. So good. I'm speechless because I don't know how to describ this incredible work. Truly marvellous. Costumes: 9/10 CONCLUSION Script: 8/10 Acting: 9/10 Photography: 9/10 Editing: 7/10 Special Effects: 8/10 Soundtrack: 10/10 Costumes: 9/10 AVERAGE: 8,57 This is a legendary movie. One of the best book's adaptation. See it just because it exists and to understand the Lord of the Ring's lore. Do it. Director: Peter Jackson Screenplay: Fran Walsh, Philippa Boyens Cast: Elijah Wood, Ian McKellen, Liv Tyler, Viggo Mortensen, Sean Astin,Cate Blanchett, John Rhys-Davies, Billy Boyd, Dominic Monaghan, Orlando Bloom, Christopher Lee, Hugo Weaving, Sean Bean, Ian Holm, Andy Serkis Soundtrack: Howard Shore Cinematography: Andrew Lesnie Running Time: 178 minutes Budget: $93 million By @the_owlseyes

Reviews by: @the_owlseyes Twilight has left us with a lot of disappointment. Vampires and Werevolves has been reduced to whiny brats who cares only about bland romances, moved by hormones. A far cry from what was Bram Stoker's concept and other movies like Nosferatu, Dracula(1931) and Bram Stoker's Dracula. I mean, the character has been played by legends like Christopher Lee, Bela Lugosi and Gary Oldman. It's one of the best fictional characters in literary and cinematic history. Fortunately we moved on from the Twilight Saga and its disappointing ending. Fortunately some people decided to portray vampires for what they really are: blood lusted animals who don't care about the mankind. With a twist. PLOT "A vampire hunter fights to save a besieged city from an army of otherworldly creatures controlled by Dracula" or "Vampires have never been this cool". SCRIPT This isn't just about vampire's bloodlust. Every character is amazingly defined by a purpose, a core tenet and a quirk. There aren't villains or heroes here, there're people who has experienced death and death itself. The whole world of this show is built around th existence of supernatural things but everything is approached with a scientific mindset. Not the emotions. The feelings are potrayed as pure as they can be. Feelings which manifests in sex, rough or sweet, and subtle hints. A lot of concepts are subtly introduced and touched with an elegance which is rare. Like the social commentary. Even though the characters are great, the second series of the season present a weak season which makes sense in the last one, because is used to expand the universe and set up the marvellous ending of the show. I liked a lot the dialogues which are enriched with wits and depth. This show humanize vampires and monsters of all kind, to the point of humanizing death itself. Script: 9/10 ACTING It's pitch perfect. Not only in terms of voice and tone but also for the accent, which fits the Romanian setting and the period. Richard Armitage and Graham McTavish emerge as the best performers of the bunch, creating two characters who are intriguing and charismatic. The other players do a good job as well and I think that Theo James has done a really good job with Hector. Overall is pretty satisfaying and all the people involved seem to care about the show. Acting: 8/10 PHOTOGRAPHY Well, this is unexpected. A lot of pictures have incredible scenery and the colours are used marvellously. Every character and every party has different colours, which are linked to their behaviour and desires. Dracula is the character who's involved in almost all the best looking scenes, which help make him look like cool, fascinating, dreadful and powerful. There're scene where there's a chromatic cornucopia, a sight's delight. Photography: 8/10 EDITING The action scene are the best thing about that. They're edited in a dynamich and engaging way, by using a moving camera and a slight use of slow motion. You can feel everything, every bruise, every punch and thrust of the sword. Some shots are edited in a really cool way, to make things appear bigger and more menacing or just wonderful. Editing: 8/10 SPECIAL EFFECTS The character's design is good and it's made of sharper lines for Vampires, Monsters and Men and softer for Women. Dracula has the best design ever and there's a lot of variety for the Creatures of the Night. Magic is represented in an efficient and clear cut way, which makes it "believable". The animation is the principal strength of this series and you'll know it after the first episode, where the animators wanted to show all their skills. Cgi is used sometimes but it doesn't lower the series quality, even though is a bit mediocre sometimes. Special Effects: 8/10 SOUNDTRACK It's ok. Sometimes it infuses the series with a lot of adrenaline but most of the time is just average. The problem is that there's only Dracula's theme which is memorable, the rest is pretty stale and forgettable. It's a let down, considering the fact that it could've experimented a lot with Romanian music and Medieval tones but they wanted something cool which stands in your mind for a short time. Soundtrack: 6/10 COSTUMES The costumes are amazing and fits the time period. I love the Vampire's suits because each of them is unique in itself and express a different type of behaviour and origin. Trevor Balmont clothes are good but they reminded me of Game of Thrones and I didn't find them remarkable. I liked the contrast between the Forgemasters clothes, because the colours underlined a different, opposed type of intelligence which clash on the screen. Costumes: 7/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 8/10 Editing: 8/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 7,71 It's a beautiful series, which has a great design, wonderful visuals and a compelling script. You'll love it if you're a fan of the game and you could appreciate it if you're someone who's curious about the show. During the second season you'll be bored a little but the third one will reward your trust in the series. I think that this is the best adaptation of Vampires and legendary creatures and, maybe, the best series about a videogame. By @the_owlseyes Director: Sam Deats, Adam Deats Screenplay: Warren Ellis Cast: Richard Armitage, James Callis, Graham McTavish, Alejandra Reynoso, Tony Amendola, Matt Frewer, Emily Swallow, Theo James, Adetokumboh M'Cormack, Jaime Murray, Peter Stormare, Jessica Brown Findlay, Yasmine Al Massri, Ivana Miličević, Bill Nighy, Navid Negahban, Jason Isaacs, Toru Uchikado, Rila Fukushima, Barbara Steele, Lance Reddick Soundtrack: Trevor Morris Running Time: 25 minutes

Reviews by: @the_owlseyes @1.la_muerte_tiene_una_sombra @soyseriefila A lot of boomers and baby boomers have a very bad opinion of animation. They think that's just cartoons and kid's show. This is a profound misconception of something which has never been for children. Probably they've never seen Fritz the Cat, Heavy Metal and Akira. These could be considered pure ignorance. But you don't need to see movies rated R to understand that animation is more for the adults rather than their sons. You just need to take a look at Anime or simply by looking at a causal Pixar movie, where adults themes are adressed in a mature and stunning way, like Soul. We could say that animated feature are becoming more and more mature, directed toward an adult group. Rick and Morty, Solar Opposites and Invincible are other examples that we're embracing the incredible possibility offered by this medium. A series, an anthology, tries to show us that, by giving us a cornucopia of shorts strongly based on animation, which is pushed to its limits. PLOT "A collection of animated short stories that span various genres including science fiction, fantasy, horror and comedy" or "Like Black Mirror but gorier and fully animated". SCRIPT As antology, it has different episodes with different plots. The episodes have in common the fact that these deal with the theme of the unknown. This is why every episode is a mix of sci-fi and horror, which are two genres anchored on the concept of the unknown. One could say that there's no arch and a defined plot but this is what makes the show strong. The script shows us a glimpse to a story and leaving us with the desire to know. This is why it isn't as Black Mirror. Everything is wrapped under a veil of mystery, which makes every episode rewatchable. I like the fact that every episode deal with a different kind of topic, to keep the series fresh, and shock the viewer through a mix of gore, nudity and cliffhangers which leave you with a pending mouth or a shaken mind. I could say that the show is about humanity, rather than technology, and the threats which could undermines it and its morals. Script: 8/10 ACTING Sometimes is very good, sometimes is mediocre and sometimes is below average. It's a mixed bag which doesn't ruin the spectacle because most of the episodes have very few words in it, which isn't enough to say if the voice actors are intrinsically good or not. Some episodes involve talented actors, one of them has part of it in live action, who help keep up the quality of the series, like Samira Wiley, known for The Handmaid's Tale, and Michael B. Jordan, a star of Black Panther. Acting: 7/10 PHOTOGRAPHY Most of the episodes have truly stunning shots. It'll be novel for you to see such marvels for the first time. The colours are always used as a way to tell something more, to add substance to every story. Even though most of them are visually stunning, there're a few episodes where the photography is boring and that invalidates the quality of the show a little. Photography: 7/10 EDITING There's a lot of slow motion and most of the time is used to enhance the style and drama of a scene and it works. It works but sometimes it seems a little too redundant and becomes lame. The camera is always used in a dynamic amnner, which is right for this kind of series but overall I didn't find the editing particularly engaging. The best section isn't this one, actually is the one which comes next. Editing: 7/10 SPECIAL EFFECTS The best thing of the series. It's ever changing and it always fits the episode's tone. Sometimes it's simple, sometimes is slightly laboured and other times is downright amazing. Some episodes have such a beautiful and lifelike cgi which could make you think that what you're watching is live action. You won't ever find a show with such special effects and variety. It's almost perfect and this is why I consider this show an hidden gem, a treasure to be cherished. Special Effects: 8/10 SOUNDTRACK A few episodes present a memorable soundtrack but most of them has a score which does exactly what is needed without taking a lot of risks. It's an harmless letdown but it doesn't hurt the experience as much as you could think. The one below is, in my opinion, my best song in the soundtrack because it fits perfectly in the story and give the chills. Soundtrack: /10 COSTUMES Some episodes have pretty cool costumes but most of the series is characterized by an average use of clothes and stuff like that. I've expected more from an animated series because usually this is one of their strength, like in Castlevania. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 7/10 Editing: 7/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 7 It's an amazing series which is incredibly original and has a pretty distinctive style. It deals in an intriguing way with different topics which are about our society. Every episode has a unique identity and the series is easily rewatchable, especially some episodes, which are masterpieces. This show is a blessing for who is passionate about animation and who is attracted by the possibility of the medium. A wonderful and variegate experience made of short teasing stories which hook you from the first moment. A must watch for everyone. Director: Tim Miller Screenplay: Philip Gelatt, Tim Miller Cast: Scott Whyte, Nolan North, Steven Pacey, Emily O'Brien, Fred Tatasciore, Matthew Yang King Soundtrack: Rob Cairns Cinematography: Ken Seng Running Time: 12 minutes By @the_owlseyes Antología de animación creada por David Fincher y Tim Miller para Netflix que abarca la ciencia ficción, la fantasía, el terror y la comedia. "Love, Death & Robots" tienen una variedad y una fuerza visual fuera de lo normal, tan pronto estás en un videojuego como en un intento de fotorrealidad (SÚPER real) o en un mundo en 2D, pero te deja cierta sensación de insatisfacción a nivel de guión (y me temo que esto se ha convertido en la marca personal de Netflix, por muchos "Fincher´s" o "DiCaprio's" que tenga). Pero bueno, estoy aquí para recomendarla y, como siempre, hablaré de las cosas por las que la recomiendo, porque es una pequeña joya que nos va a permitir descubrir nuevas voces en el mundo de la animación. Y es que esa arriesgada mezcla de estilos visuales y formatos narrativos nos despierta cierta nostalgia ochentera (un poco misógina e hipermasculinizada). La serie es hipnótica y te deja con ganas de más, como un sueño, que por muy aversivo que sea siempre quieres un poco más de esa no realidad. Podemos decir que funciona como catálogo de lo que puede lograrse visualmente cuando no hay límites (siempre y cuando se incluyan los tres elementos: amor, muerte y robots). La visión apocalíptica de Miller empapa toda la serie y tiñe de sangre y suciedad la pantalla, muy al estilo de Deadpool, y maneja claros referentes como "Star Trek", "Alien" o el anime. Además, tiene un "clasismo" que recuerda mucho a la ciencia ficción de los últimos años, muy al estilo de "Blade Runner 2049", con todo lo bueno y lo malo que ello conlleva. En definitiva, una serie entretenida y simpática, un intento de "Black Mirror" para gamers y fanáticos de lo visual, de lo mejorcito de Netflix (no era difícil), aunque no deja de lado los tópicos recurrentes, los giros previsibles, los diálogos simples, el sexo innecesario y el descontrol generalizado. Mi puntuación 3/5 By @1.la_muerte_tiene_una_sombra 📺 Love, Death + Robots (2019 - ) ¿Dónde la encuentro? Netflix Cada temporada está compuesta por una colección de cortos animados pertenecientes a distintos géneros, como la ciencia ficción, la fantasía, el horror y la comedia. No hay un hilo conector entre los episodios; cada historia es independiente. La tecnología y lo futurista es un rasgo común entre la mayoría de las historias, pero cada una cuenta con su toque especial, y todas nos invitan a reflexionar sobre temas profundos, incluso las históricas más cómodas y delirantes. Al ser episodios cortos (la gran mayoría dura menos de 15 minutos) son perfectos para ver en cualquier momento del día, en algún break o espacio vacío. También se vuelve ideal para maratonear una temporada entera en menos de un día (como fue mi caso). En las imágenes pueden ver algunos de los episodios que más me gustaron o que más me dejaron reflexionando, pero todavía no puedo definir cuál es mi favorito. ¿Ustedes tienen un capítulo predilecto? Y en caso de no tenerlo, ¿cuáles fueron los que más le gustaron? 🍿Calificación: 4.5/5 By @soyseriefila

Reviews by: @the_owlseyes @ryan_the_nixon @cheticonsiglio_ The Zombie's genre has been the craze of the last 15 years. We've had a slur of movies and series about it like The Waling Dead, World War Z, Train to Busan and Resident Evil. This is nothing new because it seems like our society has always been intrigued by the concept since 1932 White Zombie. And this story is very similar to Zack Snyder's filmography. Before Justice League, Man of Steel, Watchmen and 300 his career was launched by Dawn of the Dead. It's interesting how life rhymes. PLOT "Following a zombie outbreak in Las Vegas, a group of mercenaries take the ultimate gamble, venturing into the quarantine zone to pull off the greatest heist ever attempted" or "Fast and Furios meets The Walking Dead". SCRIPT Snyder drops the balls here. The movie is overstuffed with characters with weak motivations and poor characterization. It's hard to sympathize for a bunch of people who have a questionable moral and take dumb decisions for the sake of spectacle. Everyone seems dumbed down in favor of mindless action and it makes the movie extremely hard to watch, considering the disproportionate runtime, which drags a lot. The climax is anticlimatic because everything could be avoided with some good choices by the characters. I mean, all the movie doesn't need to exist because it's all a stupid decision. The concept of a zombie heist it's interesting but it's made in the most boring way. Here and there are scattered pieces of good writings but these are eclipsed by all the mayhem. The last scene is unnecesary and it isn't deserved. It's a very bad script. Script: 4/10 ACTING A bit over place but it's mitigated by the performance of Bautista who delivers a mediocre performance showing his range. I think that it doesn't work because the actors were obliged to work with a shitty script and most of the performers are newcomers. Acting: 5/10 PHOTOGRAPHY In the opening credits is great but it dwindles during most of the runtime. There's a good shot in the last act but it's nothing exceptional and it isn't enough to say that the movie is visually beautiful and evocative. Photography: 5/10 EDITING Like photography, most of the good things are in the opening and the movie has just a few original sequence. It's strange because usually Snyder delivers movies with over the top editing and visuals. Here he seems restrained but I'm not able to understand why. Surely it's a far cry from 300 and Watchmen. Editing: 5/10 SPECIAL EFFECTS It's ok. It works but I don't find it interesting. These are not overused like any other Snyder's movie and most of them are practical. I like the set because it's very well done and a wrecked Las Vegas. Sometimes it seems too fake and it alienates the viewer a bit. Special Effects: 6/10 SOUNDTRACK As always the best is in the opening credits but the movie uses a uninteresting song which drags for too long and it becomes tedious in no time. During the movie pop music is used a lot, sometimes it works and sometimes doesn't, but overall it's harmless and without much taste. I could say that Tom Holkenborg tends to underperform under Zack Snyder. His best performance seems so far back in time. Mad Max: Fury Road is where he reached his zenith. Here, he's just a shadow of his former self. Soundtrack: 6/10 COSTUMES This is the best section, the only one in fact. The zombie's makeup is outstanding, especially the Zombie's Queen. The characters wears clothes which are in line with their purpose. I think that the costumes aren't used in a meaningful way rather than a stylish reason. Snyder's movie are style over substance most of the time. Costumes: 7/10 CONCLUSION Script: 4/10 Acting: 5/10 Photography: 5/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 5,42 It's an heavily flawed movie which has a bad pace, a bad script and a the acting is a bit off. This is a big letdown, because the trailer has pumped a lot, making it seem like a better and more appreciable movie. I think that the runtime is unjustified and ruins the experienc. This why I think that you can skip it because it's a waste of two and a half hours. Really, avoid it if you can think. The other option is to see it with very low, lower than zero expections. This movie is an undead crap. By @the_owlseyes Army of the dead 2021 18 Director: Zack Snyder Starring: Dave Bautista, Ella Purnell, Ana De La Reguera, Omari Hardwick, Theo Rossi, Matthias Schweighofer, Nora Arnezeder, Hiroyuki Sanada, Garrett Dillahunt, Tig Notaro etc Army of the dead: Following a zombie outbreak in Las Vegas, a group of mercenaries take the ultimate gamble, venturing into the quarantine zone to pull off the greatest heist ever attempted. Army of the dead was decent and was a lot of fun, but it let itself down with a lot of poor creative decisions. My first few positives would be the fun opening, character introductions and fantastic humour. As well as the great cinematography, action, and gore. As well as some fun scenes. I thought the opening was a lot of fun, it threw you straight into the action, with fun action sequences, brutal kills, and fun zombie moments. It set the tone for the film up very well and didn’t take itself too seriously which I loved. I also thought the character introductions were great, the film established the characters well, seeing them in action showed what kind of strengths they would have as the film developed and was a fun way to introduce them. I thought the film was very funny, it never took itself too seriously which I loved. Most of the humour and jokes landed, thanks to the fantastic and charming cast bouncing off each other excellently with brilliant chemistry. I also thought the cinematography was very strong. The scope the film managed to achieve with mostly just one set location was excellent. It was visually stunning with eye catching set locations and shots and the visual creativity with the zombies was also excellent. I also thought this film had so many fun scenes. The film worked at its best when it didn’t take itself too seriously or add too much. There were scenes were the characters were really fun and the action was turned up to an eleven with the zombies and they were just fun and entertaining to watch. The action and gore were definitely some of the strongest elements of the movie. The action was over the top, entertaining and creative and always kept me engaged and thoroughly entertained. I also loved the gore, it was the top and overexaggerated but that just made the scenes even more fun and entertaining to watch, with some very gory zombie kills. My next few positives would be the setup, creature designs. Excellent Jumpscares and worldbuilding with the zombies. As well as strong female characters and some good character background and depth. I thought the set up was incredibly fun. Setting up the team and clearly setting out there motivation for the heist was great fun and intriguing. Introducing some interesting relationships and some great comedic moments with the main character Scott (Dave Bautista) offering the characters a different amount of money. I also thought the creature designs for the zombies were excellent. I really like the work they did here with the zombies. They looked scary and creative. Almost with a human like aspect to some of them which gave the film a bit of uniqueness to it. I also really liked the worldbuilding with the zombies. I loved that the zombies essentially had their own kingdom. The rules and hierarchy within the population was fascinating, I have never seen this kind of intricate character work with the zombies almost making you connect with them, I also liked the different types of zombies with the more advanced ones being really strong and much faster. I also thought the Jumpscares and building of tension was excellent. The Jumpscares were well timed, suspenseful and often took me surprise despite their occasional predictability, I also thought the film built tension well. With some excellently crafted and clever scenes involving the zombies that were dormant that had me on the edge of my seat the whole time. Finally, I loved the strong female characters and the background and depth to the main character. I loved that this film had strong female characters and representation, they were of equal capability to the male characters and held their own in the action scenes showing that you can have a healthy balance of male and female characters and make it work. I also thought the characters in general were really likeable and had great chemistry with each other. Each character had their own distinct and fun personality and had a good amount of time to shine throughout the film playing there specific roles within the team very well. I also liked the character background and depth between the main character Scott and his daughter Kate (Ella Purnell) the fact that Scott had to kill his own wife due to the zombie outbreak really effected his relationship with his daughter. This was great background and paved the way for some good depth with their relationship as they slowly grew closer and opened up to each other about how they felt. My first few negatives would be the rushed character introductions, and bad creative decisions when it came to the camerawork, structure, and soundtrack. I thought that the film needed to spend more time fleshing out and developing the characters. Considering its run time, they could have easily spent longer introducing the characters and establishing that connection with them. I also thought there was some bad creative decisions across the board. There were some odd soundtrack choices, they worked for the most part. But there were particular scenes where the song felt completely out of place and didn’t fit with the film whatsoever and it was very jarring. I also thought that there were some annoying and overused visual techniques with the camerawork. There were some scenes were they would blur the characters face for an extended period of time, or they would have this strange glare In the lens that was really distracting to see. Finally, I thought there was some lazy structure choices that either didn’t make sense or were a missed opportunity. There were certain decisions made with the father and daughter as well as the reasoning for certain characters to join in with the heist that were either rushed or unexplored so they either felt forced or illogical. My final few positives would be the soundtrack, the connections, and links between characters. The great performances added stakes with the characters. As well as the plot twist and development to the plot. I thought the soundtrack for the most part was a lot of fun and really worked. It added humour and style to the scenes and added the extra entertainment value to the action scenes. I also really like the connections and links with all of the characters. I really liked that a lot of the characters already knew each other before the heist, so their connections were already there, and they knew how they worked. And a lot of the characters were linked with others which made recruiting them fun and more easy for the characters. I also thought the performances were great here. The whole cast did a brilliant job. This for me was Dave Bautista’s strongest performance to date. He was fantastic with the action and humour as expected. But he also bought a bit of emotion to the character and it came across well and it made me connect with his character. He played a bit more of a complex and fun character and he stepped up well. I also thought the films plot twist added a great new element to the film. Having it never be about the money and be about survival was a great and fun twist. The character of Martin (Garrett Dillahunt) turning on the team despite being predictable did increase the stakes for the characters a lot as their lives were even more endangered, with the death of the Alpha Queen being a big turning point in how the plot developed and the stakes increased. Now time for my final few negatives, the twist with the character of Martin was very predictable. I didn’t like the amount of character deaths. And the final act was a massive mess. I thought that despite the twist adding stakes to the plot well it wasn’t well executed. It was obvious that the character of Martin was not good as soon as he first appeared. And just because the script made the audience aware of this doesn’t mean it was done well if anything it just made it more predictable to figure out and wasn’t structured very well into the plot. I also really didn’t like the amount of characters killed. The film basically killed off the whole cast. I thought this was a poor decision and a big kick in the stomach for the audience. If a film spends over two hours developing characters and making you connect with them only for them to kill them off like they were nothing it almost made a lot of the movie pointless. Finally, my biggest issue with the film was with its final act. It felt like it was written by a completely different person. The first 2/3rds for me were fun and well written with a lot of great elements, but the final act was a mess. It was predictable, generic, and poorly structured. Falling into the genre tropes that it was mostly staying clear off, with dumb and illogical character decisions that were very frustrating to watch and a lazy set up for a sequel that I am now considerably less excited for. Overall, Army of the dead is a lot of fun and very entertaining. With some creative work with the zombies and an excellent cast. But its creative decisions hold it back from being much more than style over substance which is a shame with all the worldbuilding they set up. With a messy, formulaic, and generic final act that slipped too far from what the film was originally doing so well and therefore missed the mark in creating a fresh and creative new zombie film. Overall rating 64/100 By @ryan_the_nixon Il progetto aveva preso vita già nel lontano 2007 e doveva essere una co-produzione tra Universal Pictures e Warner Bros, ma non se ne fece più nulla. Così nel 2019, Netflix acquistò i diritti di distribuzione affidando la regia a Zack Snyder. La storia alla base non risulta essere una novità e rimanda a film e avvenimenti visti e rivisti, ma con la mano di Snyder, il tutto prende un’altra piega. Attualmente Zack Snyder è al centro di quasi ogni conversazione, grazie alla recente uscita della sua versione di Justice League e così Netflix ne ha approfittato per rilasciare il suo nuovo film, in lavorazione ormai da diverso tempo. Il prodotto diretto dal regista de L’uomo d’acciaio ha tutto ciò che un fan di questo genere apprezza. Nonostante la storia degli zombie sia stata continuamente abusata nel corso degli anni e proposta in quasi tutte le salse, grazie a un ottimo cast e una buona base tecnica, il film intrattiene al punto giusto, caricando di adrenalina lo spettatore. Le vicende narrate non sono nulla di particolarmente complesso, ma la messa in scena e la cura del regista rendono questo film scorrevole e di buona fattura. La fotografia risulta ben curata, così come i vari passaggi di macchina e il montaggio. L’ironia che caratterizza le dinamiche proposte alleggerisce alcune scene più macchinose, spezzando il ritmo eccitante che segue tutto il film. Il cast riesce a mettere del proprio in ogni scena, guidati da un Dave Bautista in splendida forma che nel corso del film si lascia andare anche a qualche riflessione più profonda e romantica a cui non siamo del tutto abituati (fatta eccezione per qualche spezzone in Guardiani della Galassia) e se inizialmente ciò può far storcere il naso agli spettatori in cerca di un prodotto esclusivamente action e ricco di violenza, con il passare del tempo permette di legare con il suo personaggio e la storia che nasconde alle spalle della sua corazza da uomo tutto d’un pezzo. Non tutti i personaggi vengono caratterizzati benissimo però, e con alcuni si lega molto meno rispetto ad altri, ma in un film che fa dell’azione il suo punto forte e pone circa dieci diversi personaggi sullo stesso piano, non ci si poteva aspettare certamente altro. Una pellicola che rappresenta la rivalsa del regista, a lungo criticato e screditato, che riesce a mettere in scena tutto il suo repertorio, dagli slow-motion (molto ridotti rispetto ad altri suoi film) alle varie inquadrature che portano lo spettatore al centro dell’azione, quasi come se fosse un membro della banda capitanata da Ward. Com’è giusto che sia e come ci si aspetta da un film targato Snyder, l’action non manca e viene realizzato in modo ottimale. Sono infinite le scene di lotta contro zombie assetati e in cerca di vendetta e per una volta questi, non vengono rappresentati come esseri senza un cervello, che attaccano totalmente senza una ragione, ma tutt’altro. Gli zombie Alpha (così vengono definiti da Coyote) sono più intelligenti degli altri e soprattutto hanno creato un proprio territorio, pronti a difenderlo a ogni costo. Infine, la colonna sonora non si concentra su un genere in particolare, ma lascia spazio a diversi panorami musicali, creando un mix perfetto che si amalgama con le scene proposte, i ritmi veloci e quelli un po’ più delicati, chiudendo con una chicca che farà sorridere i più attenti. Un film che non si prende mai sul serio, che spazia tra diversi generi trattandoli tutti in modo adeguato e senza cercare di strafare perdendosi in dinamiche deleterie. Un ottimo prodotto per staccare la spina e godersi quasi tre ore di puro action e adrenalina, stando però attenti a non essere morsi, perché altrimenti poi bisognerebbe uccidervi. By @cheticonsiglio_ Director: Zack Snyder Screenplay: Zack Snyder, Shay Hatten Cast: Dave Bautista, Ella Purnell, Omari Hardwick, Ana de la Reguera, Theo Rossi, Matthias Schweighöfer, Nora Arnezeder, Hiroyuki Sanada, Tig Notaro, Raúl Castillo, Huma Qureshi, Garret Dillahunt Soundtrack: Tom Holkenborg Cinematography: Zack Snyder Running Time: 148 minutes Budget: $80 million

Reviews by: @the_owlseyes When you're a simple kid from Wilmington, North Carolina, your aspirations are sky high. You want fame and you want to be more than a suburbs guy with a simple and boring job. Michael Jordan was like thar and he always knew how to achieve what he wanted. He worked harder than anyone on and off the pitch, pushing himself and everybody else to the limit. He won a lot and became an NBA superstar. Till he decided to get some time to himself and dedicate himself to being a baseball player, like his father, with disappointing results. It was during this period that he, his agent and Warner Bros. came up with an idea, something on the notes of Who Framed Roger Rabbit? and Mary Poppins. Something so bonkers and charming that cemented him as an all rounded legend. PLOT "In a desperate attempt to win a basketball match and earn their freedom, the Looney Tunes seek the aid of retired basketball champion, Michael Jordan" or "Michael Jordan's ego trip". SCRIPT It's pretty simple and only Michael Jordan has some kind of believable arch. Yes, the villains have one but it's too rushed and also his agent we could say that has it. The villain motivation are a bit weak and seems more like a jibe toward corporations and corporate ethic. They chose something easy to understand, especially in a world entrenched in corporationism. That's a witty move from a movie with such plot. I could say also that Michael Jordan used this movie to represent his catharsis, which let him go back to what was good at. The movie do a little social commentary but do also some crazy stuff. There's a concept that I didn't like about the movie: if you don't have talent you can't be good at something. A concept which reverberates in the last act with the same notion. I think that it's a bad lesson and could be harmful. Jordan has become who he's through hard work, not only by being talented. Overall it isn't an atrocious script and it's likeable enough to say that isn't that bad. Script: 6/10 ACTING This movie has solved the problem of a lot of movies showcasing basketball players, like Kazaam, Steel and such. Fortunately Jordan has to play himself and it's harmless. Well, sometimes it doesn't work as intended because in fact he's acting with no one in front of him and most of the time is in front of a green screen. The movie is improved by the charming presence of Bill Murray, the goofy performance of Wayne Knight and the usual Looney Toons voice acting. It loses a bit of quality when other basketball players get to play their roles. Acting: 5/10 PHOTOGRAPHY Usual 90's bright and flashy colours. I hoped that a difference will be remarked by them between the real and the Toons World but no effort was put in it. Light isn't used in a meaningful manner and sometimes I think that some scenes are too bright and flat. Photography: 5/10 EDITING Nothing interesting to say about it. Slow motion is used one time and is effective. The other stuff is pretty basic. There's a sequence in the climax where it's a bit off and that hurts who's watching just a little bit. Editing: 5/10 SPECIAL EFFECTS These are mediocre most of the time and sometimes are downright awful. I won't say more because I think that the scene I've shared here talk for themselves. Special Effects: 5/10 SOUNDTRACK This is why the movie isn't aging well: it's a mashup of 90's movies. It's boring, redundant and loud and I've hoped that the producers would've gone for something more instrumental. This is the weakest section of the movie by far. Soundtrack: 4/10 COSTUMES There're a lot of hints to the 90's style, which is bad for the movie, because people who're born after the 2000's won't be able to understand them. The basketball kits are cute but don't stand up as something interesting and original. The movie does the essential without trying something riskier, without going all in. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 5/10 Photography: 5/10 Editing: 5/10 Special Effects: 5/10 Soundtrack: 4/10 Costumes: 6/10 AVERAGE: 5,14 It's an enjoyable movie with a lot of flaws and charm. It didn't age well but it's a good nostalgia flick. Is one of the few movies with basketball players which isn't considered a flop. I advise to see it to every person who likes basketball and wants something silly and bonkers to remember the great star of Michael Jordan and turn off the brain for one and a half hour. By @the_owlseyes Director: Joe Pytka Screenplay: Leo Benvenuti, Steve Rudnick Cast: Michael Jordan, Billy West, Dee Bradley Baker, Wayne Knight, Theresa Randle, Danny DeVito Soundtrack: James Newton Howard Cinematography: Michael Chapman Running Time: 88 minutes Budget: $80 million

Reviews by: @the_owlseyes Genius. So rare to the point of nonexistence. Stupidity. So common to the point of boredom. What about both. What about a thing or a person who has both. Someone so ingeniously dumb to be considered a foolish visionary. I'm talking about someone who's ego exceed the dimension of his mind and his dick. Someone who should've sticked to his job. Someone who has a mind so perverse, so wicked and twisted that Ted bundy and Joker would look like abecedarians. Joker would kill himself rather than withstanding someone like him. I'm talking about the Wonderful, Inimitable, His Highness Neil Breen. This is his Magnum Opus. PLOT "A computer-scientist/novelist reunites with his childhood friend, hacks into government databases, and faces the dire and fateful consequences of the mystical actions he obtained as a child" or "Invisible Plot". SCRIPT I don't know. I didn't understand what's the point of the movie. It could be about government corruption and rape. Or about the threat of technology or about magic. I don't know, I'm speechless. The main character isn't likeable and he has superpowers out of nowhere. At times it seems like it tries to approach the problem of marriage's unfaithfullness but I'm not sure. There's a contrived plot actually and the characters are just silhouettes, who don't have an arch, a defined personality and a goal. The climax in the last act is so anticlimatic that it seems like an epic troll. The prologue is as bad as the ending because you're introduced to some characters without any kind of information which could help you understand why they're acting like that. Oh, yes, there're some situations where the movie becomes an horror with no explanation and no resolution. This is incompetence overload. Script: 1/10 ACTING It's bad, all over the place and i don't believe that these are actors. It's so atrocious that drinking acid like beer would be more healthy. And Neil, Neil is the worst of them all because he's incompetent and uninterested. I prefer to watch The Rise of Skywalker on loop rather than watching him acting. Acting: 1/10 PHOTOGRAPHY It's stale and boring. Every shot look like a sh!t and no effort has been put in it. It's basic but it's below, so much below average. Photography: 2/10 EDITING It's shot badly. There're some scenes where you're not able to understand what's happening because the camera is too shaky, others where the camera is too close to the characters face, other's where it's just below the standards. Cuts are sudden and unexpected and some sequences feel odd. There's no slow motion, which is a blessing. I can't imagine what it could've been with it. Editing: 2/10 SPECIAL EFFECTS There're two special effects and they suck. yes, it's that bad. The makeup is bad as well. Special Effects: 1/10 SOUNDTRACK It's absent. There's a random howl which doesn't make sense and doesn't bring something to the movie. Soundtrack: 1/10 COSTUMES Usual clothes you could buy at a discount store, which are usually ripped off. They're not used in a meaningful way. Costumes: 5/10 CONCLUSION Script: 1/10 Acting: 1/10 Photography: 2/10 Editing: 2/10 Special Effects:1/10 Soundtrack: 1/10 Costumes: 5/10 AVERAGE: 1,85 It's bad, all over the place and incompetent. This is what makes this crap so funny, because it's done so badly that you'll like only because there will be a cringe overload. Watch it with caution. By @the_owlseyes Director: Neil Breen Screenplay: Neil Breen Cast: Neil Breen, Jennifer Autry, Klara Landrat, Danielle Andrade Running Time: 100 minutes

Reviews by: @the_owlseyes @augustkellerwrites Superman, as a concept and a superhero, isn't simple to adapt. We're talking about a god who has a few weaknesses and powers which exceed human capabilities. It's hard to get invested in a character like that because he has a little in common with an average earthling. I don't think that's a coincidence because his creators are two jewish cartoonists who took inspiration by the Jewish Cabala and the story of Jesus. They wanted to create a symbol of hope and good but didn't try to make it easy. Probably this is why in recent years started the deconstruction of this hero. Now we have shows like The Boys and Invincible which play with the interesting idea that Superman could be an abusive psychopath, who doesn't care about peace and human beings. Brightburn approached it like an horror story but the audience has mixed feeling about it. There's a movie which came before all of them, something which was supposed to usher a new cinematic universe, a movie that divides the Superman's fandom. PLOT "An alien child is evacuated from his dying world and sent to Earth to live among humans. His peace is threatened, when other survivors of his home planet invade Earth" or "The usual Superman's story but it's a bit twisted". SCRIPT The movie has the same writer of Batman Begins and the plots are similar. Snyder wanted to craft a more grounded iteration of Superman, to bury what came before, exactly like Batman, and explore new concepts. The problem is that most of Clark Kent's characterization doesn't relate with the comics. In fact Superman is represented as a torned, reluctant and cynical hero. Most of it happens because Snyder tried to explore how Superman would live in a relalistic worlds and the figure of Jonathan Kent is used to embody this philosophy. To the point that his death seems comical and dumb. But Clark itself is problematic because he's more angered than hopeful, a bit apathetic and distant from every human. Lois Lane and his mother, Martha Kent, who are supposed to be his moral compass and human bonds, emerges as dull and unuseful. Lois Lane is maybe the worst character of the movie because is the most passive. The supporting characters, like Perry White and others, who are there as sequel bait, don't do much. I think that the best thing about this movie is the Villain, Zod. He has a clear goal, which makes sympathetic and interesting, and he has an imposing presence. The other villains serve their purpose but they don't add much to the movie. I liked the fact that Snyder wanted to flesh out Krypton and its people to understand why the planet was doomed and to set up Zod's character and all the plot in motion. This thing lacked in the Christopher Reeve's movies and that feel refreshing. There's one big issue, which could be considered a merit. The movie showcase how a clash between two superhumans would feel like in real life. That's good, a bit too much but it makes Superman seems like a careless hero, because during his battles die more peoples than he could save. I have hard feelings about this script. Script: 5/10 ACTING Henry Cavill is Superman, no one can deny it. He has the physicality and the charisma to carry this character on his shoulder. This isn't Reeve's Superman, this is his own. The cast is plenty of talent, with actors like Amy Adams, Lawrence Fishburne, Russel Crow and Kevin Costner. They all do a good job but Michael Shannon steals the show. His Zod is played with such passion and dedication which makes him the MVP here. There're a lot of stars here but Cavill and Shannon are the ones who shine the most. Acting: 8/10 PHOTOGRAPHY Snyder instills his movie with his original style, which consists of a lower contrast and a lot of symbolic scenes, which are beautiful in itself. Maybe he's a bit self indulgent and exceeds with the symbolism about Christ. It's a good looking movie even though is a bit color blind. Photography: 7/10 EDITING There're a lot of slow motion and zoom ins, Snyder staples. He's good at making Superman a cool character who stands in epic scenes. It doesn't ahve something particularly original to talk about, besides one thing: the fighting scenes are marvellous. You could feel every punch, the speed, the mayhem and destruction caused by Zod and Superman. Snyder is able to make you feel the power of gods and their consequences. There's a really good scene which involves Lois Lane and Jor-El where every cut is perfectlyy timed and the action seems like a videogame. Editing: 7/10 SPECIAL EFFECTS Cgi is good but a bit clunky. The problem here is that is overused and sometimes it's hard to feel invested in what's happening on the screen. I like the design of Krypton and the Kryptonian ship but I have mixed feelings for the Kryptonian armour, it's all vfx, which seems a bit too bulky. Snyder has a sort of fetish for Special Effects, I don't know how to explain it. Special Effects: 6/10 SOUNDTRACK Hans Zimmer makes this movie special. The soudtrack enhance everything, everything. It's able to be quiet, sweet and hopeful when it's needed but it becomes something marvellous when it has to express dread, power, caos and madness. The action scenes have a pounding soundtrack made of drums and brass, which make them seems like a war march. The Superman's theme which is a strong departure from the Donner's movies, fits perfectly the idea of Clark Kent and it grows with him. It's a simphony, simply epic. Soundtrack: 9/10 COSTUMES I've appreciated the fact that Snyder has made the Sups suit more streamlined and less goofy. Not only that but the suit weave repeats the S on the hero's chest, which assumes a meaning. I like the fact also that Sups has to earn it, in fact the movie takes a while to show it, and that's connected to Krypton's technlogy. I've appreciated Zod's suit, even though is just a black Superman's suit without a cape. The other costumes are decent and fits the setting and purpose of the characters. Costumes: 7/10 CONCLUSION Script: 5/10 Acting: 8/10 Photography: 7/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 9/10 Costumes: 7/10 AVERAGE: 7 It's a polarizing movie with great acting and a beautiful soundtrack. Nonetheless it has a lot of flaws, the weak script is the most relevant one. The concept is interesting but it's executed poorly and the movie comes out as a mediocre and bombastic ride. You'll probably love it or hate it without half measures. At least this movie tries to do something original by offering you something new about Sups backstory and the struggles of Clark Kent. I think that without this movie we would be without series like The Boys and Invincible. By @the_owlseyes Man of Steel is a headache. Oddly, its script is both excessive and rushed. Its overindulgent intro drags with desensitizing action. Then, Clark’s dilemma mixes contradictory themes of hope and fear. Thus, Clark is passive, only acting when confronted. Furthermore, this arc is solely turning points and flowery melodrama, rarely braking for calm relatability. For example, Lois and Clark are artificially romantic after three exposition-heavy scenes together. Finally, the last hour is chaotic and exhausting climax. Its extreme destruction but absent personal connection proves bigger isn't better. Ultimately, Man of Steel has muddled emotions, characters, messages, and structure. Conversely, Man of Steel has technical merit. The cast works to conjure an illusion of drama. The visuals use lighting, mounts, and composition (but also get cluttered and drab). The soundtrack is epic (though it rips off The Dark Knight). The effects are CGI-heavy but convincing. Despite product placements, the production design uniquely suits the tone. Lastly, the sound is symbolic, emotionally muted, and complex. It's unrestrained during the finale, but primarily proficient. Still, the film suffers from disjointed editing and needlessly edgy direction. Overall, Man of Steel might satisfy diehard Superman fans, but it’s not worth the trouble for general audiences. Writing: 3/10 Direction: 4/10 Cinematography: 6/10 Acting: 7/10 Editing: 4/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 6/10 Casting: 9/10 Effects: 7/10 Overall Score: 6.1/10 By @augustkellerwrites Director: Zack Snyder Screenplay: David S. Goyer Cast: Henry Cavill, Amy Adams, Michael Shannon, Kevin Costner, Diane Lane, Laurence Fishburne, Antje Traue, Ayelet Zurer, Christopher Meloni, Russell Crowe Soundtrack: Hans Zimmer Cinematography: Amir Mokri Running Time: 143 minutes Budget: $240 million

Reviews by: @the_owlseyes Human relationships are hard, for everyone. Your life is determined by them from you brith to your death. It's hard not to be influenced from the environment you are growing in. You can't decide if it'll be good or bad, because it's just a matter of chance. Every surroundings, anyway, could be harmful. A soft one could make you weak but extremely loved, an hard one could make you strong but you'll lack affection. Both are going to be stuck in a situation crafted by the family and its culture. Freeing yourself from it by finding you own path and becoming your unique self it's tough, because you'll suffer thorughout the process. What matters is how you live this process: you could face it helped by your friends and loved ones or alone. The second situation is the worse case. Without any kind of support you'll start to sink into a psychological situation which is hard to solve: depression. It'll wrap you up by making you inactive and static. Exploring this dynamics is tricky and risky because it'll be understood by a few people, the same individuals who got through it or are still into it. PLOT "A teenage boy finds himself recruited as a member of an elite team of pilots by his father" or "It's simple and then it isn't anymore". SCRIPT There're two concepts on display here: kaijus against big robots and depression. The first is the main plot, around which turns every event and character. It's well explored, with a plot twist which is shocking but you could be able to pick up the crumbles which concern it along the show. It's a different approach to the Alien Invasion genre, which was massive during the 90's. A concept which will be used in Pacific Rim, to determine a movie which is between a sequel and a reboot. On the surface the series is about that: underaged kids who control a bunch of robots to take down an alien invasion. It's more than that. It's a character study of the protagonist, who goes through a great arch that is unresolved, unfortunately. His story revolves around his relationships with his neglecting father and his inability to satisfy him and it's executed in a good, empathic way. I've liked also the side characters. During every episode each of them is deeply explored, to understand why they're there and why the fight is so relevant to them. As the protagonist, their growth and resolution are left unfinished. But, why it happened? Because the last episodes are a bit disconnected by all the series and seem like a self indulgent trip by the director. You'll understand the meaning of it, after some time, but at first you'll be caught unprepared. The last act could be what will make you hate the series or fall in love with it. It tries to deal with heavy arguments but it does it in an hermetic way, which is pleasing and concerning, because it's to the limit of unintelligibility. This why it's hard to give a correct score to the script. Because it's fractured by a dichotomy of two distincts style and story. Script: 8/10 ACTING The actors do a fine job with their voice but I didn't find it particularly interesting. Sure, the one who gave voice to the protagonist is able to perform different type of emotions but it's not enough to say that this movie has outstanding acting. It works but it isn't above average. Acting: 6/10 PHOTOGRAPHY At first it seems like the usual anime but slowly it grows into a chromatic spectacle. In the last chapter it becomes more relevant because there's a connection between colors and feelings. There're also some good shots of the underground city or the monsters and robots. Overall it's a pleasing ride. Photography: 7/10 EDITING I didn't find it particularly interesting but the ending presents a change of gears. Before the series has the usual kind of editing you could find in every average anime. It's in the end that the director infused everything. A sense of perdition, confusion and disquiet is crafted in the last scenes, and it'll stay with you. The director achieved it through sudden transitions and overlaps. Editing: 7/10 SPECIAL EFFECTS As I said for the editing, it's the usual quality, slightly above average, till the end. The ending is made of different drawing styles and a mix of words, flashy and extremely dark images. The ending is an animation mayhem that push the limits of what you can do with handdrawn animation. I think, nonetheless, that it could be polarizing because it's uncompromising. In the end animation is nothing more than moving art. Special Effects: 8/10 SOUNDTRACK I liked it but i didn't find it exceptional. Yes, it has been made by a Symphonic Orchestra but it wasn't as epic as I expected it to be. Sometimes it's better because it uses classical music, the same one, in different situation to give more weight to these. I think that overall it's good but it isn't memorable. I think that there should have been a theme for the villains and the heroes, to underline more clearly what differentiate them. The point is that it's not simple with a series where the monsters aren't the only villains. Soundtrack: 7/10 COSTUMES I liked the design of the battle suits but the rest isn't interesting. I find it weird because usually animes tend to have costumes which are unforgettable and imaginative. I've expected more from it. I can't say that it's a disappointment but it's a letdown. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 6/10 Photography: 7/10 Editing: 7/10 Special Effects: 8/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 7 It's an original series which falls short in the end due to the director self-indulgence. It explores interesting concept and is able to craft a good story with interesting characters. This is not a simple series to review because it's unresolved and that makes it polarizing. It's not simple to portray certain states of mind and a backlash could be caused by the unintelligibility of the show during the last minutes. You should watch to make an opinion of your own because here I've tried to understand only if it's a valuable product. A question emerges in the end: is art done for the beholder or the artist himself? By @the_owlseyes Director: Hideaki Anno Screenplay: Hideaki Anno Cast: Spike Spencer, Allison Keith, Sue Ulu, Amanda Winn Lee Soundtrack: Shirō Sagisu Running Time: 24 minutes

Reviews by: @the_owlseyes @foxredfilmreviews It's rough to enjoy this life. Most of our time is used to work and, generally, do things which prompt a humdrum living. Not only it happens with the things we are forced to do but also with what we like, call it passions, interests and such. We tend to lose stimulants because we are not sure why we're doing something and what's the end of it. And then everything collapse. We break up relationships, we procrastinate till we're not able to do what we're supposed to do and we begin to lose what used to make us happy. We stop living our life, adrift in the ocean of time, waiting to die and put an end to our suffering. Or we could change our life, grow and evolve into something else, something more powerful and lively. There're multiple means to do it but it all start by doing something different and taking a leap of faith. We deserve happiness, at all costs. PLOT "Four high school teachers consume alcohol on a daily basis to see how it affects their social and professional lives" or "Drink till you drop". SCRIPT The movie is marvelllusly written. The protagonist has a wonderful arch and a good characterization. You get invested in him, in his life and his friends. The movie has a bonkers premise, at first, but it goes beyond that. It explores the central role of friendship, the hardship of love, the burden of teaching and the necessity to express ourselves in a blank world. Every side character is defined in depth, without leaving anything to the case, and every thread come to a well deserved resolution, which gives a sense of closure to the protagonist, his friends and family. It's a beautiful script with one flaw: the ending is forseeable. Overall is a strong, emotional work of art which deal with interesting ideas and concepts. Also, I've noticed a subtle nod to American Psycho when the fun bunch is having dinner at a fancy restaurant, during the first act and the last one. Script: 9/10 ACTING Mads Mikkelsen owns this movie and the other actors improve his acting by bringing more emotions, comedy and tenderness. The acting starts a bit shy but it growns on you by bringing you closer and closer to the characters. The spectrum of emotions shown by the actors is quite a thing: the ability to make the transitions between dramatic and comedic scenes is fantastic. You'll chuckle and smile a lot but you'll also feel for the people who are portrayed here. Acting: 8/10 PHOTOGRAPHY Light is used in a competent way, by giving it a sort of dynamicity, to set up the emotions and the tone of certai scenes. Chromatic symbolism isn't used but the scenes are good looking and the light isn't flat. Anyway it isn't enough to say that it experiments with it and does something original with its photography. Photography: 6/10 EDITING To amp up the importance of some scenes, a shaky camera and the light blurring of some frame are employed to convey a sense of confusion and intoxication. The camera isn't dynamic but there's a high number of cuts sometimes to make the movie less static. I find it interesting the fact that the movie know when to have a section with less cuts and one shots which give more gravity to a situation or a character condition. Because it changes gears when a scene is more comedic. Editing: 7/10 SPECIAL EFFECTS This movie is free of them, which is a blessing. A motion picture like this one is made more by the performances and the concepts explored rather than cheap visual effects. Special Effects: 6/10 SOUNDTRACK The music is used sparely and it used to set the tone of a scene or to amplify a certain emotions. Every track has a reason and the lyrics of some songs are heavily connected to the movie., especially the last one. Maybe it doesn't take risks by using music where is unexpected but the score does exactly what is meant for. Soundtrack: 8/10 COSTUMES The clothes are coherent with the movie setting and tone. It was hard to do fail at it. Nothing more to say about it because these are normal costumes for ordinary people. I liked that a bit of Danish culture permeate from them and the ending scene is the best, and only, example in the movie. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 6/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 7,14 It's a very good movie which have a funny premise but an almost flawless execution. It manages to deal with interesting themes which concern social life, school and work. It could appeal to a wide audience because it touches issues which are recurrent in everyone's life. This movie isn't only carried by it's ingenious script but also by fantastic acting and an original soundtrack. If you want to have a catartic experience this is the best movie for you because it makes you fell and think about your life as a whole. By @the_owlseyes You know those movies where you're watching it and you're just having a great time? No specific reason, no complex psychological crap, you're just enjoying the moment? That's Another Round. The plot follows four middle-aged men in Denmark, all of whom are becoming depressed with mundane day-to-day life. They conclude that alcohol is the solution and this begin daytime drinking. That's the plot pretty much. It's better than it sounds, I enjoyed it a lot. My favourite aspect of the whole film was the unique balance it found within its story. We have seen hundreds of films in the past which depict the negative effects of alcohol, but hardly any depicting the positive effects. Another Round manages to find the balance between the two and portrays it quite elegantly. As a moderate drinker myself, I found enjoyment in the happier moments of the characters being intoxicated, whilst being warned of what could happen to relationships if things turn sour. Both separate depictions of alcoholism are portrayed terrifically through seamless editing and admirable performances from a very talented cast. One aspect which confuses me about Another Round is the age rating it was given. In the UK it was given a 12, which I find extremely confusing given the subject matter. I don't often feel as though films could benefit from a higher age restriction but I do feel that about Another Round. A 15 rating could have provided a more brutal and prolonged depiction of the negative effects of alcohol which the film could have benefited from in my opinion. Overall, I had a great time with this film. While the age restriction was too low in my opinion, there really isn't much else to criticize. Mads and the rest of the cast are wonderful, the cinematography and editing are great, and the ending was one of my favourites from any film of the last couple of years. It gives us a rare look at the joys of alcohol while still providing a satisfying view of its dangers. I will most-likely be revisiting this one in the future. By @foxredfilmreviews Director: Thomas Vinterberg Screenplay: Thomas Vinterberg, Tobias Lindholm Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe Soundtrack: Janus Billeskov Jansen Cinematography: Sturla Brandth Grøvlen Running Time: 117 minutes Budget: $5,7 million

Reviews by: @the_owlseyes @the_film_twins We take a lot of things for granted. We're used to see but sometimes we aren't able to understand. We're used to taste but sometimes we're not able to enjoy. We're used to smell but sometimes we're not able to splay. We're used to touch but sometimes we're not able to reach. We're used to hear but sometimes we're not able to feel. Sometimes we're not able to be. Change happens only after a loss. Death makes us appreciate life, dark makes us appreciate light, silence makes us appreciate noise. Because there's always life after bereavement. PLOT "A heavy-metal drummer's life is thrown into freefall when he begins to lose his hearing" or "An artist learns the importance of human connections". SCRIPT It's a character study. We're with him since the first beat. And the last one. We get to know him, his past, his passion, his love and his anger. It's an extremely realistic depiction of deafness but it doesn't focus on the downside of it. It shows us that you can still be part of something, that your life isn't a waste without hearing. The choice made by the protagonist isn't as simple as it seems and, probably, you'll think that he's ungrateful but you'll understand his choice. The other characters function as background noise and it works, because the movie gets you totally invested in the protagonist. The plot is pretty simple but the script elevates it. Something which is remarkable at the end of the movie, when everything comes full circle, creating a sense of closure and satisfaction. Script: 9/10 ACTING Riz Ahmed gives a spectacular performance. He displays a lot of talents, like drums playing and sign language. What makes him special is his ability to play a flawed character without shying from going deep in every kind of emotion. Sadness, anger, relief and desperation are all here, shining in their true form. The supporting cast works but I've fond Olivia Cooke well casted, cause she's able to shift between two different version of his character without making it seems avulsed. We should also consider the effort, a musical one, who was put here by Cooke and Ahmed, which makes the movie believable and sincere. Acting: 9/10 PHOTOGRAPHY The first minutes are interesting. After it the movie becomes pretty stale and scholastic. I've liked some shots but there isn't a lot of them to bring up the quality of this section. Photography: 6/10 EDITING Like photography, it isn't patricularly interesting. I've liked the parallelism between the first and the last scene and nothing else. It becomes a little better during the moment of confusion because the camera's shakiness improve the sense of disorientation. Editing: 6/10 SPECIAL EFFECTS There's a lack of it because it's a realistic movie and the make-up is plain and simple. I would've considered it bad there has been any trace of cgi here. Special Effects: 6/10 SOUNDTRACK This movie isn't made of a particular soundtrack because it's completely focused on the absence of it. This is why the producer have edited the sound in a way to make it seems like you're experiencing it as the protagonist. You'll understand what does it mean to lose, to live with it, how you'll perceive everything and how sound feels like when you have an implant. Sound is also used to counteroppose and parallel the first scene and the last one, to symbolize a character growth. I think that this soundtrack is a technical achievement and it's used perfectly in the movie, to underline a theme which becomes clear at the end. Soundtrack: 8/10 COSTUMES The clothes which wear the characters fit well their essence and purpose but there's nothing more to add about it. As I said before, this is what you can expect from a movie about a plausible situation in life. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 9/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 7,14 It's a movie which is very competent at making you feel what a deaf person sense. It doesn't revolve only around the drama but it shows that there's a way out of it, a new life after hearing loss. There's a great care for ever detail, to represent the life of deaf people as believable as possible, something which is visible in Riz Ahmed's performance. It's a motion picture which require a lot of patience because the narration is slow and could result boring but the payoff is well deserved. I think that you should watch to understand what does it mean to lose something that we take for granted. To appreciate sound and silence more. By @the_owlseyes القصه: تنقلب حياة عازف طبول رأسًا على عقب عندما يبدأ يفقد سمعه ويتعين عليه مواجهة مستقبل مليء بالصمت. _الفيلم تحفه وهذه التُحفة الفنية لم تكن لتخرج بهذا الإتقان لولا الأداء العظيم للممثل Riz Ahmed الذي أستحق الفوز بالoscars بعد ترشحه السنه الماضية 🏆. _أصعب رسائل الفيلم هو مدى قسوة الحياة، وكيف أنها لا تتوقف أبدًا عن المسير في طريقها، لن تتوقف من أجلك. سيتابع الناس حياتهم اليومية بشكل طبيعي ولن يلتفتوا إليك. ⭐التقييم الشخصي: 8.4 ⭐IMDB: 7.8 By @the_film_twins Director: Darius Marder Screenplay: Darius Marder, Abraham Marder Cast: Riz Ahmed, Olivia Cooke, Paul Raci Soundtrack: Abraham Marder, Nicolas Becker Cinematography: Daniël Bouquet Running Time: 120 minutes Budget: $5.4 million

Reviews by: @federica.marchica New York, year 2030. Ted Mosby (Josh Radnor) is a 50-something architect and professor, father of two teenagers. He asks his kids to sit on the couch, because he’s gonna tell them an incredible story. The story of how he met their mother. To do it, he needs to flashback to year 2005, starting from the evening his friends Marshall and Lily (Jason Segel and Alyson Hannigan, who also starred as Michelle in the American Pie movie series) got engaged. That very same night, with the help of his friend Barney (actor, magician and showman Neil Patrick Harris), he met Robin (Cobie Smulders), a young journalist who would steal both their hearts. Watching episode 1 is enough to understand the whole story, but we couldn’t know it back then. At least, I didn’t know it, because I belong to that part of fandom who trusts executive producers blindly and refuses to see all the evidences they throw on our faces. And yes, they did it, let’s be honest. As I was saying, since the end of episode 1. And that, kids, is the real story of how I met...your aunt Robin, says future Ted, laughing and inviting his kids to relax, because their mother would pop up in the story any time soon. And she did, eight long years later. She had been dreamt, waited for, talked about. The Mother was finally introduced at the end of season 8, and became a series regular during season 9. She remained unnamed, though, even when she met Barney, Lily, Marshall and Robin before getting to her future husband, who was ready to leave and start a new life in Chicago. But she didn’t need a name to gain the hearts of the audience. We learnt to know this sweet, dorky, nerdy 20-something woman who loves knitting, medieval fairs and making her breakfast sing (One-tasty English muffin-maybe this is what I am-dadadadadadada) and we couldn’t help but being overwhelmed by her irony and sensitivity, which convey strength to Cristin Milioti’s acting. Carter Bays and Craig Thomas made us love the Mother, but apparently, she didn’t fit their plans. After showing the way to the wedding bells to the former womanizer Barney, offering Lily dumbitches cookies to cheer her up, saving Marshall from an endless walk at night and preventing Robin’s escape from her own wedding, the future Mrs Mosby didn’t seem to deserve her happy ending. She died in 2024, after an illness we will never know anything about. A quick hospital scene with a voice over was all they gave the viewers to process such big information. No death scene, no funeral, no mourning scenes, no closure. At least, that’s what I thought after watching this bitter sweet finale for the first time. During the past seven years I have rewatched this last episode a million times, and then the truth finally came to my mind. There are no mourning scenes, because the whole damn story is nothing but a way of Ted’s to elaborate his loss. But still, How I met Your Mother’s finale turned out to be a slap on the fandom’s face; a rain of reality, a pain that was harder to elaborate, maybe harder then it was for the Mosby Kids, Penny and Luke, who show no particular attachment to their mother during all of their scenes. «We don’t buy it» they say «this is not the story of how you met mom. This is the story of how you totally have the hots for aunt Robin» and «come on dad, mom has been gone for six years. it’s time». But we, the audience, had bought it, because we had waited for Tracy for nine years. She had been gone for, like, thirty seconds, and there Ted was, stealing another blue French horn and going back to the love of his youth, the woman who never wanted kids nor marriage, who never loved him back and who was never able to stop in a city to settle down. Sometimes that’s how reality goes and well, reality sucks. The good girl has to die; leaving two young kids and a husband. And that’s why Last forever: part two is the mother of all unhappy endings. This show used to be about hope, emotional endurance and the collateral poetry of love, but there’s nothing of it in Ted going back to Robin in 2030. There is no magic in gaining your ex back after the death of your soulmate. This is not predestination, but reheated soup. And of course, bays and Thomas not having the guts to change a finale they had decided since day one. By @federica.marchica

Reviews by: @the_owlseyes Oh god. Oh god. Oh goddddd. No, I'm not able to be restrained with this piece of hot sh%t made by a-holes who thinks that this is cinema. This is an abomination. What should I say? That's "so bad it's good", no, this is the Antichrist of Hollywood, the nightmare of Kubrick, Scorsese and Tarantino, the end of all things. This is a dangerous movie and I don't know how it aired on Netflix but I understand why it was removed. This is below The Room and Who Killed Captain Alex? and this movie is just the iceberg's tip because there's an entire world, the animation's dark side, who waits to see the light. I wasn't alone when I saw it, this is why I kept my sanity but I hate it a lot. Ok, I'm done with the ranting and cussing. PLOT "Leo is a young vegetarian lion who has trouble fitting in, so he leaves the jungle to go on a quest to find himself" or "The Lion King junkie, dumb, adopted and hated nemesis breeded by a drunk hooker". SCRIPT It's so ill conceived that I don't understand if it's a joke or just the product of a twisted and disturbed mind. It's the bad copycat of The Lion King with some dumb changes and elements which are bonkers. There're a lot of character, only of them is "developed". Every side character is a stereotype of someone: elefants represent the oversized people(DUH!), monkeys represent afro-american people(subtle racism), chameleons are magic creatures like penniless fortune-tellers and other which you'll figure out by yourself. There's an heavily marked sexual innuendo which is revolting. I don't know, how you ever wanted to watch a lion f#£&!ng an elephant? No? Me too, but unfortunately I did. Let's talk about Leo, the protagonist. First, a vegetarian lion doesn't make sense. This is a thing which is approached in a song of The Lion King but here, here is used to brainwash the viewer. He doesn't have an arch but he's a vaguely likeable character. There's nothing more to say about him because his charcaterization is poor and limited. A lot of the problems are in the plot itself, made of a non linear and incomprehensible plot. Also, it's narrated in first person by two characters but it isn't clear till the end who is the stortyteller. This is a bad, uninspired, plagiarist, offensive and boring script. It's a 77 minutes feature but it feels like a century after 15 minutes. Script: 1/10 ACTING It's the only decent thing about it. The actors do what they can with poor dialogues and try to be as professional as possible. They should have sticked to dubbing and their inability to sing is clear. I want to give a lot of credit to Daniel Amerman for making Leo a likeable character, because it should've been a gargantuan feat. Acting: 5/10 PHOTOGRAPHY Colours are flat and the background is fuzzy and uninteresting. I think that all this flashy colours could create a schizophrenic seizure in a any kid who decides to watch something like that. At least it's clear, sometimes too clear, what's happening on the screen. Photography: 2/10 EDITING Not only it's below average but it's also tedious. There're random jump cuts and some shots are idiotic, like they wanted to hide what's on display here. There's also a weird and tedious use of slow motion which is harmful for the movie's flow and the logic of it. At least it isn't the worst section of this review but it's a good warmup for what's coming next. Editing: 2/10 SPECIAL EFFECTS Lion-elephant hybrids. I think that's enough to give nightmares. The animation is pretty basic and stale. A lot of times doesn't make sense in terms of physics but a lot of things are trashy here, so I'm not surprised. Look the cover image and you'll get the level of this shitty production. There's worse but it's still bad, for the industry's standards. Special Effects: 2/10 SOUNDTRACK The songs are bad and the soundtrack is just background music. I don't like it because it copies certain songs of The Lion King, Scar's one is warped and twisted to fit an elephant, and because they are useless. This is why it's hard to make a good musical and a good animated music. I guess that the producers felt too cocky without reconsidering what they've done. Soundtrack: 1/10 COSTUMES The movie blows this section up even though it shouldn't be an issu for a movie about animals. There's only one costume and is used with a racist connotation: the monkey's jamaican hat. I have no words. I'm beyond desolation, I'm disgusted. Costumes: 1/10 CONCLUSION Script: 1/10 Acting: 5/10 Photography: 2/10 Editing: 2/10 Special Effects: 2/10 Soundtrack: 1/10 Costumes: 1/10 AVERAGE: 2 It's one of the worst thing ever created and just the thought of it is revolting. Don't watch it alone and don't show it to any kid if you don't want to be sued. This is everything that's wrong with the art of cinema and it disrespects an household name like The Lion King for a cheap laugh. I'm gonna leave it here if you wanna try it but be careful. I've told you. Now go, return to your life and think about the good things of your life. By @the_owlseyes Director: Mario Cambi Screenplay: Mario Cambi, Pierstefano Marangoni Cast: Daniel Amerman, John Cygan, Matthew Mercer Soundtrack: Alessandro Molinari Cinematography: Marco Carosi Running Time: 77 minutes Budget: $ million

Reviews by: @lorenzo_massari_ Have you ever experienced something that simply breaks the boundaries of judgement? Something so stupid that goes around the entire circle until it's enjoyable, so ascending that it simply refuses to play by the rules? This film is one of those things. It's so single-handedly wholesome despite its huge faults and clamorous shortcomings just because of the sheer smiling confidence of Shaquille O'Neal who always manage to irradiate his personality on any movie he appears in, such as the DC box-office flop Steel. Despite being patently talent-less in acting and singing, if it wasn't for him this trash movie wouldn't be such a good memory, something that once finished you might tell yourself "Yep I could even bear to watch it again". PLOT What if Aladdin was a rapper and a basketball player, the story happened in the 90s with all its clichés (such as the misunderstood kid who finds a friend in a magical/otherworldly creature) and the genie belonged to a radio instead of a lamp? Yes, they actually made it. SCRIPT Overwhelmingly cheesy, lacking of originality and at the same time it does not manage to pay it off through skill. I actually moderately enjoyed the evolving friendship and personal growth (or at least the attempt) between the genie and Max, the emotional struggle of Max feelings towards his mother and the real father. But outside of that it's enormously corny and I also felt bored for much of the movie. And the rhymes of the rap pieces and dialogues of Shaq are so forced, so badly thought. I hope he improvised them at the moment, it would save the screenwriter from stoning. Script: 4/10 ACTING Needless to say, it's bad. Don't get me wrong, it's barely bearable, Shaq is sometimes even funny and I saw worse performances. Max is good enough considering he was a kid and the actor (Francis Capra) did not know much about his father just like his character, but that's it. Acting: 4/10 PHOTOGRAPHY Mostly flat, nothing exceptional and the quality of color and lightning is mediocre and no attempt were made to make it more appealing. Let's lay the blue screen of death on this at once. Photography: 3/10 EDITING It's unacceptable, utterly poor. Sudden, unjustified and unneeded jumps of framings, pointless slow-motions and they defied the lower limit of decency by repeatedly zooming details to the point you can almost see the pixels. If they did less stuff and less cuts, it would actually looked better because simple things are more reliable, but they put the hands on it and ruined pretty everything. Editing: 1/10 SPECIAL EFFECTS Luckily the awful quality of special effects actually contribute to the nonsensical humor. You can't simply take them seriously, even if you tried, it's a kid movie after all. Being aware that Drive did incomparably better with less budget, I will be a little less amenable in this department. Special Effects: 2/10 SOUNDTRACK They tried. They tried so hard to be cool, to appeal to 90s kids by attempting to look cool and in it. What can I say, they misfired, a huge blow in the water. The genie (Shaquille O'Neal) is supposed to be good at rapping, but beside the fact that he is the opposite of that the music itself is dreadful. So insignificant to the point I couldn't even remember a grasp of it hours after seeing it. Soundtrack: 1/10 COSTUMES It's okay, not terrible but not great, one of the only coherent things in this movie, the genie changes frequently throughout quirky apparel that fits in the jokes and funny scenes, even proving funny from time to time. For people who grew up in the 90s it could even wake up nostalgia. Not that bad really, sarcasm mode off. Costumes: 5/10 CONCLUSION Script: 4/10 Acting: 4/10 Photography: 3/10 Editing: 1/10 Special Effects: 2/10 Soundtrack: 1/10 Costumes: 5/10 AVERAGE: 2,86 This is not a good movie by any measure but at least Shaq seems to be aware of it and plays it off with his laugh and (bad) humor. At the very least it doesn't take itself seriously, which would only have made the fall more painful. I felt that they really tried to make a genuine, funny and cool kid movie without being pretentious and even if they failed it avoided ending up in the worst level of trash films. By @lorenzo_massari_ Director: Paul M. Glaser Screenplay: Christian Ford and Roger Soffer Cast: Shaquille O'Neal, Francis Capra, Ally Walker, James Acheson Soundtrack: Christopher Tyng Cinematography: Charles Minsky Running Time: 94 minutes Budget: $20 million

Reviews by: @the_owlseyes Superheroes have existed since 1902, with the creation of Hugo Hercules, the first version of a Superman, even though the concept of hero goes back to the birth of our civilization. In more than a hundred years a lot have changed and today we're experiencing the Cinecomics Golden Era. Once the superheroes where created as a propagandistic tool or as a form of escapism. Once the concept of justice was simple: a villain who wanted to rule the world, like the Nazis, used to represent what's bad and a hero, who's goodness stand as a symbol for all humanity. Unfortunately a lot of different events happened between the World Wars and today. We experienced a Cold War, which created conflict based on infromation, Terrorism, which underlined the fact that we're not really safe, internet, which changed our perception and consupmtion of infromations, another economic crisis, which plunged a lot of people in deep poverty. One thing, which is last but not least, happened: cynicism started to be our common ideal, to counterbalance the cruel reality we live in. Morality and ethics has become blurred. Taking the right choice is hard. Taking the best one is harder. PLOT "The first generation of superheroes has kept the world safe for nearly a century. Now their children must live up to their legacy in an epic drama that spans decades and navigates the dynamics of family, power and loyalty" or "Superhero boomers with sons create a lot of trouble" SCRIPT The idea behind the show it's interesting but it's hard to keep it interesting in the long run. The decision to have two timelines is both exciting from a storytelling pint of view and detrimental if you're looking for entertainment. This is why the story isn't well paced and the action scenes doesn't seem worth the time. It's easy to say that the show is unfocused because it's trying to be both an origin story and a character study about too many characters. I would've preferred if the show first would've been about the origins of the Union and its members. The storyline about the present and their sons could've been explored in the next seasons, by introducing every character in an organic way. Most of the characters have an unresolved arch and I could count only one character who has an actual growth throughout the series. The villain, which isn't well defined(and for some time is forgotten to introduce more characters), introduced with a plot twist, doesn't work because it has a weak motivation which goes against everything that came before. There're also a lot of cliches and recurrent dialogues which you could hear in every other superhero movie or series. I've appreciated one thing, beside the main concept, which is the light gore and the sense of danger for almost every hero. Script: 6/10 ACTING It works but it's mediocre, because the newcomers contrast a bit with the older actors, who are able to do a better job with their characters. Sometimes the line delivery is a bit corny but overall isn't something exceptional. Acting: 6/10 PHOTOGRAPHY Some shots are good but most of them are pretty stale and unoriginal. Colors isn't used as a symbolic tool and light doesn't have a meaning. One time colors are instrumental to the plot but, after that, they become just a bunch of pixels on a screen. Photography: 5/10 EDITING The fight scene aren't well edited because you're not able to feel the punches and the character's strength. the flight scene felt a bit odd because you're not able to feel the speed. Slow motion, at lower and higher fps, sometimes it's well placed, sometimes is out of nowhere. It's supposed to be used for a dramatic reason, not to make someone cooler. The good thing about this show are the transitions, which are fluid and don't disrupt the series flow. I've expected more from a Netflix production. Editing: 5/10 SPECIAL EFFECTS The cgi is mediocre and sometimes it seems fake. There're scenes where there's only cgi, a bad cgi. It's below average for a Netfix series but the worst thing is the "old man" makeup, which is clunky. The actress who plays Lady Liberty has a grey wig and this is how the producers thought that her ageing would've been believable. I'm disappointed. Special Effects: 4/10 SOUNDTRACK It's there but it doesn't add much and function more as background music rather than an accompaniment which sets emotion and goes beyond the simple jingle. Soundtrack: 5/10 COSTUMES As I said before, the beards and wigs look a bit fake. The suits are ok but there's nothing remarkable about them. Blackstar makeup, on the other hand, looks fine and it's a good adaptation of the comic book character. Overall is a mixed section. Costumes: 5/10 CONCLUSION Script: 6/10 Acting: 6/10 Photography: 5/10 Editing: 5/10 Special Effects: 4/10 Soundtrack: 5/10 Costumes: 5/10 AVERAGE: 5,14 It isn't on the level of The Boys, Invincible or Wandavision, to mention other show of the superhero genre. It's stained by a weak script, which tries to be too many things at the same time. I think that the series explores an interesting idea but it isn't able to adapt it well. It's a shame because this is a waste of Mark Millar's talent and Netflix's money. Sure, if you want to turn off your brain for some time it's okay but after a while, a short while, it becomes boring cause of its lack of good storytelling. It's funny how a show about time isn't able to manage time in a competent way. By @the_owlseyes Director: Steven S. DeKnight, Charlotte Brändström Screenplay: Julia Cooperman Cast: Josh Duhamel, Ben Daniels, Leslie Bibb, Andrew Horton, Elena Kampouris, Mike Wade, Matt Lanter Soundtrack: Stephanie Economou Cinematography: Danny Ruhlmann, Nicole Hirsch Whitaker Running Time: 45 minutes

Reviews by: @the_owlseyes In 1786 our species exstinguished another one. The last grey wolf exaled his last breath by the hand of a fierceless hunters. This what we do, when we fell threatened by someone else, we annihilite it. Not just animals, because a lot of them are extincted for other "indirect" reasons, but we do the same between ourselves. What's different and better is usually worth our hatred and jealousy, which bring us to wars, alienations and loss. It has been like that since we've started to lose our attachment with nature and feelings. Two things deeply intertwined. Two aspects that we have to rediscover. By living emotions to the fullest and experiencing art to its best. This movie is emotional art. PLOT "A young apprentice hunter and her father journey to Ireland to help wipe out the last wolf pack. But everything changes when she befriends a free-spirited girl from a mysterious tribe rumored to transform into wolves by night" or " A tender and emotional take on the Werewolf's legend". SCRIPT There's a lot of maturity and emotional intelligence in this screenplay, which manifest through great characters and an ingenious plot. Every character goes on a journey and is transformed by the end of the movie. Robyn, who starts as a girl who's trying to emulate her father and who's lost in a new environment, becomes what she's meant to be, by pursuing friendship and finding a place in the world. His father, who is a man slave of burocrats and social norms, finds a new life and a new purpose which makes him free. Mebh, who sets off as a childish girl with a predetermined idea about men, opens up and is able to achieve what kept her down and immutable. Her mother, who stays in the background but her present is felt since the first scene, represents nature and its powers. The villains are the uneducated people, the sheeps, who believe everything which is told them by the church. Ignorance is the enemy. Well written character archs and a satisfying finale which settles all the conflicts scattered subtly and explicitly throughout the story. The villain could have been fleshed out in a better way but the result is still appreciable. Script: 9/10 ACTING The girls who voice the main characters have done a good job but it's still a bit flawed. I can't the same for Sean Bean who is the main strenght of the movie, because he's able to convey a large array of emotions with his distinguishable voice. The side characters are voiced in adecent way but they don't add anything interesting to the movie's quality. Acting: 8/10 PHOTOGRAPHY That's amazing. Have you looked at the review's pictures? The colors are what touch our feelings and the movie k ows how to use them effectively. It's extremely noticeable the fact that they wanted to represent the city as a cold and colorless element to contrast it with the marvellous tints of the forest and the nature. The wood which is usually represented as a dark and fearful place, here becomes the life's centre and the lack of color has an integral role in the plot, you'll understand it. It's like watching a dynamic paint with lifelike characters. This is very powerful imagery. Photography: 9/10 EDITING There isn't much to say about it because it isn't original. It's enough. There aren't jumpcuts and slow motion. Usually the camera lies on a character without cuts to enhance the relevance of a scene but there's nothing interesting about that. Editing: 6/10 SPECIAL EFFECTS The design is beatiful and it distances itself from the usual Pixar and Dreamworks stuff. It's a wonderful mix of digital and natural drawings. It's a technic which, i think, is more effective than cgi. In a lot of ways this movie is closer to Hayao Miyazaki's stile than Disney's. There're a lot of pictures here which shows the level of care which has been used to make this animated masterpiece. It isn't just good but it's also symbolical, by giving squared shapes to the city and its people and freer forms to the wood and its fauna. Special Effects: 8/10 SOUNDTRACK It's pleasing and tender, with some moments of dynamic movements but overall isn't memorable. There's only a moment, during a song with lyricss, when the soundtrack gets better but it's just that unfortunately. Sure, it fits the movie and its tone but it didn't convince me, not enough. Soundtrack: 6/10 COSTUMES The art developers sticked to the historicic period and country in which is set the movie. Apart from the two magical creatures who have clothes which are strogly linked with the Irish culture and their bond with nature, the other characters wear the usual stuff you could find in every historic or fantasy movie. A bit underwhelming considering the delightful design which is on display here. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 9/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 7,42 It's an animated movie which amazes and moves with great visuals and a great story, made by well written characters. The themes approached here are mature and bear a good moral for the kids who wants to enjoy a funnny and heartwarming movie. The studio deserves more attention by the media because it flew under the radar at the 2021 Oscars, to favor a more distinct producer like Disney and its Soul, which is a good movie nonetheless. Indie Movies are what keep the industry alive, freed by corporate greed and its reduced care toward riskier productions. We need original stories, we need passion. By @the_owlseyes Director: Tomm Moore, Ross Stewart Screenplay: Will Collins Cast: Honor Kneafsey, Eva Whittaker, Sean Bean, Simon McBurney, Tommy Tiernan, Jon Kenny, John Morton, Maria Doyle Kennedy Soundtrack: Bruno Coulais, Kíla Running Time: 103 minutes Budget: $10 million

Reviews by: @the_owlseyes @movieejunkiee Ageing. It sires fear and casts insecurities. The slow, ineluctable and unstoppable decay of our body and our mind. A process which transforms us, bringing us to the zenith of our life and then plunging us in oblivion. We start to be slack, forgetful and, year after year, we become the shadows of ourselves. It's hard to get through it, hard to accept the fact that we're not in control anymore, that we're detaching from reality to prepare ouserselves for what's after all of that. Our relatives suffer with us, understanding that times is limited, but, after a while, it becomes unbearable. Sometimes this is what help a family in mending its past wrongs and finding a new unity. Reality isn't like that and most of the people aren't moved by it, because they don't want to lose their indipendence in favor of an elder and because there's a visceral egoism in our species code. Death, in the end, is the moment when thruth emerges. PLOT "A man refuses all assistance from his daughter as he ages. As he tries to make sense of his changing circumstances, he begins to doubt his loved ones, his own mind and even the fabric of his reality" or "What's the boundary between senile dementia and insanity?" SCRIPT It's simple but extremely well crafted. Every word has a weight and time isn't wasted in frivolities. It starts as the ordinary drama movie but it evolves into a haunting, eerie experience which will make you feel closer to the protagonist. A lot of things will seem random and werid at first but slowly and surely you'll start to see the big picture: the secrets, the role of every people who transits in the house and what's really happening. Most of the relevant informations are subtle and permeate through witty, emotional dialogues. At first you'll despise, just a little, the protagonist because you think that he's a bad guy but the plot twist, which occurs quietly, will get you all of a sudden. You'll rethink about it and all the movie will assume a different meaning afterward. And you'll understand the sadness and commotion which get all of a sudden the main character. You'll realize it because you'll take in the fact that you've been him all along and that his misfortune could happen to you too. Script: 9/10 ACTING Anthony Hopkins and Olivia Colman deliver an outstanding performance. The relationship between the father and his daughter is very believable and the actors are able to give a lot of gravity and emotionality to every scene they're in. Hopkins plays the ill father to perfection, creating a character both hateable and sympathetic. Olivia Colman does the same with her character, to the point that you're confronted with the hard choice of choosing between two flawed but likeable people who are going through a tough moment. The supporting cast keeps the level high, accompanying the central characters through their troubled journey. I liked the small part which was given to Imogen Potts, who is able to transform a simple meeting in an emotional experience which spans from discomfrot to dreariness. Acting: 9/10 PHOTOGRAPHY Lights is used cleverly to underline the tone and the sensation expressed by a scene but it isn't just about that. Colours are subtly used to underline the changes which occur to the protagonist. There's a great parallelism and opposition between the second shot and the second-last shot of the movie. This is pretty powerful symbolism which is strongly linked to the plot and helps you understand what is coming. It'sa also very noticeable the fact that lights become dimmer and dimmer toward the last act is a great gage of the impending desolation which is set to fall on the protagonist. Photography: 8/10 EDITING Usually it follows the soundtrack and the protagonist's emotions and mind. It's done in a way to create a sense of uneasiness and confusion, almost like gaslighting. Although it's well shooted, there aren't really original shots. I liked, as I said in the previous section, what has been done with the first and last establishing shots but it isn't enough to say that it uses interesting technics of editing. Surely it's appreciated the fact that the movie doesn't waste slow motion or things like that but sticks to realism. Editing: 8/10 SPECIAL EFFECTS This is a realist movie and there's no need for it. The fact that the director didn't use any kind of cgi is a merit in an industry which is satured by VFX. Special Effects: 6/10 SOUNDTRACK This is what propels the movie to sky high levels. The music fits the tone of every frame, setting your mood up for a creepy ride. I liked the fact that the recurrent classical piece, What Power art thou?-King Arthur by Purcell, is strongly linked with the movie's theme. There's nothing more to say, this is a beautiful and effective soundtrack. Soundtrack: 9/10 COSTUMES I've expected more effort in this section...and I got it. As everything else the protagonist clothes reflect how reality around him affects his life and the transition from the first scene to the last one is extremely noticeable because it seems like he has lost all of his freedom and indipendence. The other costumes serves their purpose but these don't bring something interesting to the movie. Costumes: 7/10 CONCLUSION Script: 9/10 Acting: 9/10 Photography: 8/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 9/10 Costumes: 7/10 AVERAGE: 8 This is an amazing movie made of great performances, a sharp script and a beatiful soundtrack. This is the kind of movie which could leave with a lot of thoughts afterwards, because it deals with heavy stuff and it's an emotional ride which brings you into the feeble mind of an aging men. Just see it with the correct mindset and try to get the deep meaning of all that's on display here. Because today it's one your parents but the next, the next one will be your turn. And a time will come, a time to understand if you've ever really lived your life or wasted it. By @the_owlseyes Introduction I saw this film last week in my local Omniplex (it was the first time I went to that cinema). The environment and atmosphere of the cinema was spectacular and seriously enhanced the movie experience. This film is one of the best depictions of any disease in film history! It shows the mental trauma that people with alzheimer's go through and you witness this madness through the eyes of the patient for just over an hour and a half. I was truly stunned by this film. I knew going in that I would like it, but coming out of the theatre I was blown away. Everything from the outstanding performances to the wonderful screenplay was simply perfect. Olivia Colman Obviously the acting is one of the biggest hilights of the whole film. Anthony Hopkins was unbelievable, but he wasn't the only good actor in the film. Olivia Colman also plays a big part in The Father. She represents the hurt that relatives of people with alzheimer's go through and how it affects them as well. Her facial expressions were on point, especially every time Anthony says something that simply isn't true. Also, the way she could show her sadness but also bring the Olivia Colman humour into the role was truly outstanding. Everyone else also gave great performances, but let's move onto Anthony Hopkins. Anthony Hopkins Hopkins might simply be my favorite part of the movie, and I'm sure lots of others feel the same way. He brought a sense of realism to the character and simply brought the whole film together. I also loved how he brought a couple tics to the character, which I'm guessing were improvised. The tics I'm talking about are when Anthony rubs his hands together, or when he brushes his left eyebrow when he's thinking. These tics made the character and his disease more believable/convincing. There are two moments from his performance that I find truly fascinating and they might just be one of the reasons he won Best Actor. One of these moments is when he is shouting that he will not leave HIS apartment. The other moment is the final ten minutes. He shows his emotional acting capability in the final scene and his long monologue is heart-breaking. Anthony Hopkins still has HUGE talent. Screenplay Florian Zeller and Christopher Hampton truly captured the realism of this disease. They created the script in a way that we were witnessing the disease through the eyes of Anthony. Also, this film is based off of the play by Florian Zeller, "The Father" and you can feel the play like vibe through this movie. The long takes and great dialogue adds to the play like feel of the movie. I also wanted to talk about the ending. The ending of this film stays with you weeks after watching it. You slowly piece what is actually going on during the final scene and it's really impressive writing. I also loved the dialogue in the final scene and the final shot is beautiful, and almost brings you to tears. Anyway, I feel that the screenplay is one of the best parts about the whole film. Directing/Editing I was actually pretty surprised by the directing and editing in The Father. I didn't know what to expect from it but I was actually really pleased. The editing made the long shots and takes seamless and it really added to the play like feel of the movie. One of my favourite parts of the directing, bar the long shots, is the framing through doors, doorways, and hallways. Most of this film is set in the one apartment and in-between scenes Florian Zeller took shots of doors and doorways to emphasize the feeling of being trapped. Whenever a character was in a doorway it would either be Anthony or Anne as they are the characters who felt the most trapped/restricted. At least that's what I interpreted from the framing. Music Finally, I want to talk about the musical score. The score for The Father was created by Ludovico Einaudi. He actually scored two films in 2020, those being Nomadland and The Father. Even though I think Nomadland had a better score compared to The Father, I still really like the music in The Father. It emphasized the confusion Anthony was living through. The music in the final scene slowly grew louder and more calming as the scene went on and it really improved the ending of the film. Conclusion This is a beautiful film with an on point representation of Alzheimer's and the affect it has on the patient and their close ones. The Father has unbelievable performances, a perfect script, great directing, heart warming music, and an excellent ending. I seriously loved this movie and if you haven't watched it yet I truly recommend you to. Anyway, that is today's review. I am sorry I haven't posted anything in a while. More regular posts coming soon (and a June Film Log). I hope you enjoyed my review, if so, let me know your thoughts on the movie and my review in the comments. By @movieejunkiee Director: Florian Zeller Screenplay: Florian Zeller, Christopher Hampton Cast: Anthony Hopkins, Olivia Colman, Mark Gatiss, Imogen Poots, Rufus Sewell, Olivia Williams Soundtrack: Ludovico Einaudi Cinematography: Ben Smithard Running Time: 97 minutes Budget: $6 million

Reviews by: @the_owlseyes @tylersnerdy_review Rick & Morty has changed everything. It's a show which has everything and, if you're deep into pop culture, you'll love it to the point of worship and madness. This is the massive impact which has had the series created by the bonkers minds of Dan Harmon and Justin Roiland. Anyway, this isn't Rick & Morty and I'm still trying to understand how to wrap this introduction. You're in my blog and this a review about Solar Opposites, which happens to be a creation of Justin Roiland. Such a coincidence. Actually I don't believe in coincidence because it's a dumb concept. Things happens without no reason, like politcs, love, ignorance and politics. I'm trying to imitate the series voice over of the opening credits. I'm so bad at it, sooo bad. Anyway, this is my review of the show. PLOT "A family of aliens move to middle America, where they debate whether life is better there or on their home planet" or "Four aliens wreak havoc in the American suburbs". SCRIPT This is not the usual sitcom. Here everything is done to subvert your expectations and bring new ideas. The fact that a "family" of aliens is front and center is original. Usually the aliens are relegated as supporting characters or villains. Usually this create a weird situation but in this universe everyone seems to have assimilated them as humans. The show isn't just about oddities but it's also about human relationships. Even though the main characters are aliens, they display almost the same quality of humans, which make them more relatable. If you're familiar with Rick & Morty you'll notice the same structure for each episode and the series: at the end of every episode everything turns back to normal but the experiences and new informantions will carry on for the rest of the show. This is a clever way to stick to the sitcom's baseline and play with it. Each character has a well defined personality and an arch, which is subtle. I liked the fact that the kids are a reflection of their parents and how you can get it through a visual and verbal way. Every episode deals with a different kind of topic which is studied in deep by two parallels side plots and a subplot, which, I think, deserves it's own show because it's a pretty interesting idea. Just imagine a grittier and more realistic version of Gulliver and Ant-man. I find it particularly remarkable the fact that, evem though it isn't explicit, Justin Roiland has been able to portray a couple of bisexual androgynus being who have an open relationship with such an ease. I think that it sums up what's the main strength of this show: a witty, cynical, biting, gritty and fanciful script. There's just one issue. One character is a blatant copy of Rick, the mad genius of Rick and Morty. Script: 8/10 ACTING The actors are well cast and their voices fit the characters. This isn't on the level of other animated series like Invincible but the talent is there. Unfortunately Justin Roiland isn't able to detach himself from his most beloved character and his performance is a bit alienating sometimes. Probably you'll love the fact that a lot of great voice actors will appear for a brief period, to reinvigorate the show with their talent. Just to mention some of them: Christina Hendricks, Jason Mantzoukas, who has a distinct and unforgettable voice, and Alan Tudyk, he's been in a lot of Disney's productions. Acting: 7/10 PHOTOGRAPHY It's characterized by a cornucopia of bright colors and a large use of gore. The producers have fan with it, crafting a reality which is interesting and inventive. I liked the symbolism behind the aliens colour, for example blue represents knowledge and green naivety. The main character which is strongly linked with colour simbolysm and diversify its texture is The Pupa(the one below). She ranges between yellow, orange and purple. There's also something, which is subtle, about the recurring subplot which makes it differ a bit from the main one: it has slightly more shadows to underline the fact that, although it's a weird situation, it has to be taken more seriously. Photography: 7/10 EDITING It employs a bit of slow motion, used to enhance a comedic moment, but it's mostly made of jump cuts, used to keep the plot more dynamic and create comedy and uneasiness after a catastrophe(like Rick and Morty there's a lot of it). Another type of shot is the backward one, which is usually used to undermine the drama in favor of comedy and a moving shot left-right(and vice versa) to create laughable situations. It's funny but it isn't exceptional. Editing: 6/10 SPECIAL EFFECTS The design is simple but smooth and fluid. It takes a lot of risks by going all in with the gore and fantasy. I would say that it's extremely witty because the creators have poured in a lot of easter eggs. Some are easy to pick up and some are blatantly thrown at your face, which is a thing that I didn't like a lot. The best visuals are delivered in the weird world of the Wall, where the sketchers impress with a lot of disturbing imagery and uncomfortable situations. It's slightly above average but it isn't something new. Special Effects: 7/10 SOUNDTRACK Most of the time it's in the background but, when it needs to be serious and epic, it evolves into something beautiful. The show use also pop music to appeal to a younger audience and make some scenes more light hearted. Although it's harmless, the soundtrack is below mediocre because it doesn't have a lot of memorable moments(most of them are in the Wall). Soundtrack: 5/10 COSTUMES There isn't a lot of originality here. That's strange, because it's a show about aliens. I've expected more from Justin Roiland but it's hard to craft something outstanding when your setting is limited to the suburbs. Costumes: 5/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 7/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 5/10 Costumes: 5/10 AVERAGE: 6,42 If you're a fan of Rick & Morty you'll love it, if you are not I think that it could be hard to watch or feel like a novel thing to be explored. The show deals with a lot of interesting questions and it's able to represent a LGBT+ couple without problems, which isn't common for animated show. It breaks the mold with new ideas and marvellous graphics, which please and disgust the eye. It's a light hearted show with a lot of wit and subtlety, which makes it even more engaging. I recommend it to every reader who isn't in touch with Roiland's style and wants an animated series above average or as a test before watching Rick & Morty. By @the_owlseyes Last night I stayed up a little late and binged all of Hulu’s third season of Solar Opposites. Every season continues to blow me away at how funny they can make it. I continue to want just a pure drama spin off of the wall people. They take up so much of the show’s time and are still such an interesting story line that could use its own full length episodes. But the amount of references they’re able to get away with, the massive fourth wall break, so much of it is just so much fun. It always shocks me to hear Sean Giambrone with such a potty mouth after getting so used to him on The Goldbergs. Justin Roiland does so many voices on this show and they’re all so great. Thomas Middleditch sounds so unrecognizable as Terry and I always forget it’s him, he does such a good job here. Mary Mack is so good as Jesse, she remains my favorite on the team with some of the best interactions with other characters. Sagan McMahan doesn’t get too many lines as the Pupa but they do the job so well, the Pupa is easily the best character on the show. Tiffany Haddish is so much fun as the AI system the family uses. She is so funny here. I continue to be shocked at what Hulu allows them to get away with and the jokes they make about Hulu allowing them to do something are so good. Usually the seasons are 8 episodes but this one is 11 episodes this time so get ready for an extra 3 episodes of laughter and crazy adventures. From new politics on the wall to the wild adventures of the family. If you aren’t watching Solar Opposites get over to Hulu and have fun with not just three amazing seasons but a great Holiday Special as well. I’m giving season 3 of Solar Opposites a big 9/10 and an even bigger recommendation to go check it out. If you like Rick and Morty you’ll love this, if you don’t, it’s possible you’ll still like this. -Tyler. By @tylersnerdy_review Director: Anthony Chun Screenplay: Mike McMahan, Justin Roiland Cast: Justin Roiland, Thomas Middleditch, Sean Giambrone, Mary Mack Soundtrack: Chris Westlake Running Time: 22 minutes

Reviews by: @the_owlseyes War doesn't make sense and it'll never do. We, as earthling, have never stopped doing it because we're against change and recidivism is in our culture. Conflicts aren't just about two countries nuking each other but also about people arguing in a destructive way. There're a lot of political motivations about it but the core is just about our pride, our everlasting need to show to other people that we got the balls and a penis. This is nosense. Most of the people in this world knew and know about it but they've never been listened by politicians who were engaged in increasing their power and showing it off, without doing ther job: the common good. Today we are experiencing it with a pandemic, which should've brought together to fight a common enemy, and yesterday, and I'm talking only about the previous century, were the World Wars, the Cold War, the Vietnamese War, the Korean War and the Islamic Terrorism. This movie is about that. People who stood up for what's right and got clogged by the government. It's a movie about other times but, in fact, we're going through it right now. PLOT "The story of 7 people on trial stemming from various charges surrounding the uprising at the 1968 Democratic National Convention in Chicago, Illinois" or "A bunch of guys tries to do the right thing but an old judge isn't able to do his job properly". SCRIPT This is a movie which grows on you. At first the characters aren't fleshed out well and the events are told in a systematic and boring way. All change during the second act where the Chicago Seven are deeply explored and their motivation become front and center. The movie divides the characters in two fronts, the opposition and the defendants, by making both likeable, even though is clear that the screenwriter don't like the opposition. The defendants are also splitted in four factions, the students, the Hippies, the Black Panthers and the lawyers. The least explored faction are the Black Panthers, who get sidelined to avoid being a movie just about racism. There aren't character archs because it wanted to stick to reality and our reality is made of unchangeable people. Nonetheless the trial is compelling because, even though you'll take the Chicago Seven side, the movie gives a lot of material to address your position and doubt about it. Also, I think that this motion picture is extremely professional in representing different ideologies and ways of life without stereotyping anyone. Aaron Sorkin, who is a renowned screenwriter, has delivered an outstanding job at representing a controversial fact, a thing which could've been easily misfired today. Script: 8/10 ACTING There's an high level of acting here, delivered from a cast of young and veteran actors. I want to underline the outstanding performances of Jeremy Strong, Mark Rylance, Yahya Abdul-Mateen II and Eddie Redmayne. The last one is who elevates the movie and make it believable. He plays his character with great charisma and emphasis, especially in most of the scenes in the third act, where there's a heated confrontation with Rylance's character. I've expected more from Sascha Baron Cohen, because his character seemed a more empathic iteration of Borat, but he did a good job. The supporting cast does a good job but Joseph Gordon-Levitt, who is a very talented actor isn't used very well, even though his character works. Acting: 8/10 PHOTOGRAPHY It's very well shooted, with some peaks and some lows. The court's scenes are a bit stale but everything else, from the riots to the conventions, is good looking. The light is flat most of the time but it doesn't hurt because sometimes it tries to break the mold and it's very pleasing. It's not enough to say that it's an outstanding movie in terms of photography but it isn't bad. Photography: 6/10 EDITING It's used in a pretty effective way, by synching it with the soundtrack rythm and the scene's tension. It becomes so dynamic when stress rises, without catching a break until the stress explodes. It becomes more common toward the last act and it revives your attention. There's a mild use of slow motions wich is usually used during the aftermath of a riot, to make it more dramatic. I liked the wide angle used to shot the court's outdoor to emphasize the government's stance against the Seven and the use of archive's scenes, which are alternated with movie shots during lively sections. Editing: 8/10 SPECIAL EFFECTS There isn't a lot to talk about here. Most of the movie is practical and I think that only some shots were cgied to make the set looks more realistic for the period the movie is set in. That's nothing amazing but it's enough. Special Effects: 6/10 SOUNDTRACK Most of the time it's quiet and it doesn't improve the experience. This is interesting because when it's needed it rises and overwhelms you with a pounding rythm that fits the scene's levity and keep you on your seat. This thing explain why most of the time is in the background: to enhance the importance of some scenes and give you goosebumps. It isn't a great soundtrack but it's extremely effective and that has to be acknowledged. Soundtrack: 7/10 COSTUMES The clothes fits the characters and the period but they don't bring anything interesting to the plot. This section is acceptable in it's simplicity. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 6/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 7 It's a good movie with good ideas, a great cast and an inventive editing. It lacks a bit of bite in the first half but it grows a lot during the second one. I advise you to see it because it poses very good questions and it's objective, for the most part. We need more movies like that today because our people need to be more conscious about the politcs sins and what we can do to change it, to make a better world. Now more than ever we have to come together and think as a united people, as earthling, to get past wars and pandemics, to evolve into something better, something beautiful. By @the_owlseyes Director: Aaron Sorkin Screenplay: Aaron Sorkin Cast: Yahya Abdul-Mateen II, Sacha Baron Cohen, Daniel Flaherty, Joseph Gordon-Levitt, Kelvin Harrison Jr., Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Noah Robbins, Mark Rylance, Alex Sharp, Jeremy Strong Soundtrack: Daniel Pemberton Cinematography: Phedon Papamichael Running Time: 130 minutes Budget: $35 million

Reviews by: @the_owlseyes Usually the fantasy genre uses elements of the Nordic and Middle European culture, like Dragons, dwarfs, elves and mediaeval concepts like nobiliary titles, the clash between bad and good, the wandering knight and the courteous love between a dame and a hero. The best specimen of this genre is The Lord of The Rings saga, which has laid the groundwork for Harry Potter and The Witcher, to mention some of them. Recently we are experiencing a slue of fantasy series, which, I think, originated, after the popular behemoth which was Game of Thrones. This one broke the mold, representing a type of fantasy more grounded which revolves around political-economic scheme and it tries to go against the genre's tropes, while mantaining the recurrent elements of it. Fortunately something new has emerged, a best selling saga which does something new. Tsarist's Russia has never been so interesting as the background for fantasy stories. PLOT "Dark forces conspire against orphan mapmaker Alina Starkov when she unleashes an extraordinary power that could change the fate of her war-torn world" or "A Fantasy Teen Drama with Russian kids who try to solve problems made by selfish adults and politician". SCRIPT This is a mixed bag. There're a lot of interesting ideas here but most of them are executed mediocrely. First, there's the usual chosen one's trope, which is harmful for the protagonist. In fact she has more agency before her powers awaken, to be precise she takes relevant choices only in the first and last episode. The first choice is bad and selfish and I don't know why the showrunners didn't explain why there wasn't any kind of consequence. The last one is ok but they chose to fall in the Captain Marvel's trap: she becomes too powerful only because the plot demands it, wich is a bit annoying. The villain as mild motivations and it's easily spottable: conveniently he wears completely black clothes, because black is bad, and his magic is visually linked to the story's conflict.That's why the plot twist doesn't work, in fact it's pretty lame. The love interest, which for a while seems forgotten by the protagonist, is explored relatively well but he isn't as interesting as other characters. He's also an excuse for the female audience to have a good time, which is a bit cheesy in a Teen Drama. As the protagonist he's always told what to do and when to do it. There's a side story about two characters who represents the possibility to have two people of different origins involved in a love story. The point is that it seems aimless and it wrap ups without a lot of logic. Substantially their character development is dumbly thrown out o the window. The brightest side of the series are the thieves and Ravka's underworld. An ethnically diverse group composed of three thieves, which have very interesting personalities. The leader is a mysterious cinic who is extremely resourceful even though is crippled, an aspect which makes him stand out. The girl who, at first seems like a stone cold murderer, cements a more kind, caring and talented image of herself during the show. The sharpshooter, who has the most sparkling personality, shines in every scene. He's flawed but he's also a good person, something which emerges in the last episodes. He's also a good representation of homosexuality, which isn't his main feature. Overall it's a mediocre script but it has to be more subtle and improve the main players characterization, because the best characters are the one which aren't front and center. It should also be more focused and erase side plots which aren't instrumental to the main one. Script: 6/10 ACTING Overall it's ok but I think that the thieves trio and Ben Barnes steal the show. The first ones are played with passion, I think because the characters are fun and dynamic. The second is a guarantee, especially after the outstanding performances he delivered in other shows like Westworld and Marvel's The Punisher. He injects the villain with charisma and a suave, attracting personality, which marvellously degenerates in a wicked, possessive and obsessed one. The main character is acted in a sufficient way, as its love interest, and most of it is caused by the script. Unfortunately them receive most of the screen time and it lowers the shows quality. Acting: 5/10 PHOTOGRAPHY This is one of the thing which makes the show better. There're a lot of good shots and colours have a relevance here. I think that the best scenes are the one under the snow because they craft an interesting narrative. I've also liked the palaces and generally the set, which stick to the Russian style to perfection. Light and Darkness take a central stage here and it's a delight. Some shots use a flat lighting which is right but it doesn't add anything to it. Photography: 7/10 EDITING Nothing new and interesting here. It respects the industry's standards but doesn't try to do something new. Slow motion is used a lot and sometimes it fragments the flows but it doesn't hurt a lot. Editing: 5/10 SPECIAL EFFECTS Even though they're not flawless they're used well to create some interesting visuals. Sometimes there's too much of it, especially during the climax and it could be hard to get through it. I think that it has the same flaws of The Witcher, which is to confident with the cgi to the point of creating a something bad for our today's standards. The best scene, in fact, are the one where there's little cgi which blends with the background, like the Stag's one. Overall it's acceptable. Special Effects: 6/10 SOUNDTRACK It's interesting and seems to have a lot of eastern european influences, which fit the show perfectly. Sometimes is a more like a background sound but it sets a tone and enhance the drama of some scenes. It's original but it could've been much better, maybe by giving to every character its own theme. Soundtrack: 6/10 COSTUMES This the series strength. Every costume is interesting, because every character has a different one, and is inspired by the period in which the story is set. They're colourful and light up a lot of scene. They're used to symbolize the growth of a character or to tease the downfall of the villain. Yes, the villain clothes are a bit cheesy because they throw away his role, but fit his personality. I liked the large variety of them, which could make the show some kind of period piece. Costumes: 8/10 CONCLUSION Script: 6/10 Acting: 5/10 Photography: 7/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 8/10 AVERAGE: 6,14 It's a good series which has a lot of flaws and some strength. It should focus more on it's best character, even though they aren't the main ones and avoid useless subplots. I think that there're the basis for a good show but the writers have to be more subtle to have good plot twist and avoid cliches. It's a world which is being slowly built so it needs time to be done in the best way possible. We'll look forward to it, to a second season which could be better and more interesting than this one. By @the_owlseyes Director: Mairzee Almas, Lee Toland Krieger Screenplay: Vanya Asher Cast: Jessie Mei Li, Ben Barnes, Archie Renaux, Freddy Carter, Amita Suman, Kit Young, Zoë Wanamaker Soundtrack: Joseph Trapanese Cinematography: David Lanzenberg, Owen McPolin Running Time: 50 minutes

Reviews by: @the_owlseyes @augustkellerwrites @hk_movieaddict We worry a lot about our death and our objectives that sometimes we lose contact with the present. We think that our job is our purpose, that we live for granting ourselves an economic sustainability. We think that our dreams, once fullfilled, will make us feel successful. All of that is just smoke's pall hiding what makes life beautiful. This movie approach this argument, it tries to make the audience, made of kids and adults, understand an idea which is overlooked today. PLOT "After landing the gig of a lifetime, a New York jazz pianist suddenly finds himself trapped in a strange land between Earth and the afterlife" or "Talking to the phone while walking arounf could get you killed but it isn't just about that, otherwise it would be a long commercial". SCRIPT I don't want to say that this movie has an almost perfect script but this is the truth. The story revolves around two characters who have different ideas. They both start their journey with a lot of stubbornness. Their archs collide and then intertwine, furthering the growth of both. The interesting thing is that, even though the movie is about life, it explains through a concept which is hard and risky: death. Even though it present a situation which is bonkers, you'll understand why when you'll see it, the movie results grounded and mature, not just in reality but also in science. Obviously every scientific concept, one is about physics and the other about psychology, are well cooked to make them seem less boring and more intriguing. It's interesting how this movie is able to represent abstract ideas without making them seem clunky or corny. Even though both the characters have a satisfying stoy arch, I have just one criticism. The end could have been more powerful if Disney didn't decide to make it the usual Disney's resolution. Yes, it's good but the happy ending could mean a step back for one character from a pure storytelling perspective. Overall is a very good script with a proper character development and a lot of good ideas. Script: 9/10 ACTING Every actor pours his talent in every character, especially Jamie Foxx. He's the movie's core and he's able to deliver an heartfelt performance with a lot of charisma and a good range of emotions and tones, which swing between comedy and drama. Also the supporting cast does a very good job, crafting a background of interesting side characters like Moonwind and Counselor Jerry. Tina Fey, who voices the co-protagonist, is ok but I didn't find her acting particularly outstanding or interesting because her character delivered most of the jokes in a visual way. Acting: 8/10 PHOTOGRAPHY It's gorgeous. The movie does a good job by representing life and death in their unique way. Life is well defined and it's rigid, with uninteresting scenarios, until it isn't. The movie change the representation of our world once the point of view shifts from Joe to 22. There're also moments where Joe's point of view becomes more visually stunning, which are a masterpiece to watch and feel. And Death and the Great Beyond, well this are what makes this movie special. Death is something unexpected because it's represented as a warm, cozy feeling, without any kind of hurry. I think that they wanted to represent it like that to make it less frightening and, in a certain sense, to show the beauty of it. The Great Beyond is where the movie experiments with it's graphic, taking a lot of inspiration from abstractionism and cubism. This style overlaps in one scene with a different set and the result is eye pleasing. I think that visually this is one of the best animated movies I've ever seen. Photography: 9/10 EDITING Unfortunately this a pretty stale section. The shots are good but I don't find anything particularly inventive about them, maybe sometimes it tries to break the mold but it isn't very common. It's enough to say that it's sufficient but I've expected more from a movie like that. Editing: 6/10 SPECIAL EFFECTS Photography's quality, especially in an animated movie, is strongly linked to special effects. The cgi is amazing and it keep Pixar's standards pretty high. As I said before what's after and before death is a visual cornucopia. There's a lot of experimentation with shapes and textures, ranging from high complexity to perfect simplicity. This isn't on the same level of originality of Spider-Man: Into the Spiderverse but it's still good looking. Special Effects: 8/10 SOUNDTRACK It's a mix of jazz and techy tones. The first characterize the real world and it gives a lot of characterization to Joe's character, who grows with his music. The movie's jazz is dynamic and it ranges between moment of extreme pathos and moment of dynamism. Here jazz is celebrated and there're some marvellous tracks here, which could get you interested in the genre. The Great Beyond and Death, which are metaphisical world, have an ambient score which is simple but it fits the visual style. If you'll think that it resembles a bit what you get in The Social Network, a David Fincher's movie, that's because this movie has employed the same composers. I prefer the Jazz sections of the soundtracks but in its entirety it's a pretty solid work. Soundtrack: 8/10 COSTUMES The characters wear cothes which are coherent with the universe they're set in. I like the soul of a dead person mantain retains clothes of accesories which are useful to identify who was that person. The movie doesn't go beyond that but at least, even though there isn't a lot of originality, it does its job. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 9/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 7,71 It's a wonderful movie which poses good questions, represents good concepts and beautiful characters and it's a visual delight. I think that everyone should see it because it spokes to everyone and everyone could learn something from it. Because it touches your mind and your heart with elegance and tenderness. By @the_owlseyes Soul is a spiritual journey. Using metaphorical plot points to represent abstract concepts, this film is intentional animation. Pixar is known for familiar narratives in strange places, but Soul uses that tactic to its fullest. Superficially, Soul is about a man stuck in purgatory, trying to return to his life. Viewers see various afterlife realms and meet diverse spirits. However, in reality, Soul is about the beauty of life and its everyday miracles. Soul utilizes these creative writing devices to emphasize a powerful message about living life to the fullest. Combining unique imagination with mighty emotions, Soul delivers a striking story. Meanwhile, Soul's filmmaking is colorfully artistic. First, the music weaves fitting jazz on earth with its ethereal sythwave in heaven. Because music is central to the plot, this suggestive pattern is potent. Next, the production design is unique. Earth has Pixar's usual look, but heaven is symbolic and surreal. Plus, sound design is manipulated for emotional impact, graphics are stylistically detailed, and insert editing strengthens themes. Lastly, the direction balances the lighthearted tone with deeply spiritual ideas, while also orchestrating figurative set pieces. Overall, Soul has inspired craft and important meaning, making it a memorable treat. Writing: 9/10 Direction: 9/10 Cinematography: 8/10 Acting: 7/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 8/10 Effects: 10/10 Overall Score: 9.0/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites “𝙸 𝚍𝚘𝚗’𝚝 𝚔𝚗𝚘𝚠 𝚠𝚑𝚊𝚝 𝙸’𝚖 𝚐𝚘𝚒𝚗𝚐 𝚝𝚘 𝚍𝚘 𝚠𝚒𝚝𝚑 𝚖𝚢 𝚕𝚒𝚏𝚎, 𝚋𝚞𝚝 𝙸 𝚍𝚘 𝚔𝚗𝚘𝚠 𝙸’𝚖 𝚐𝚘𝚒𝚗𝚐 𝚝𝚘 𝚕𝚒𝚟𝚎 𝚎𝚟𝚎𝚛𝚢 𝚖𝚒𝚗𝚞𝚝𝚎 𝚘𝚏 𝚒𝚝.” As mentioned in the previous review, Pixar’s films have the power to capture interests from kids to mature audience alike. This is increasingly evident since #InsideOut (core memories and abstract thoughts) and #Coco (afterlife). In Soul, they’ve turned up the level with some challenging concepts that no other major animation studios dare to explore. While children would find Jerry or Soul 22 adorable, the adults would - hopefully - delve into deeper thoughts or reflections, from the message Soul intends to convey. Our careers occupy a majority of our time. We can rarely sit back with a cup of skimmed latte and relax, let alone enjoy life. The “Epiphany” scene here emits a moment of serenity. Quoting Soul itself, it brings audience “into the zone”. Movies and scenes like these remind me why I love watching films all along. We don’t always have time to ponder life, but at least for 2 hours, with all lights out, we may have the luxury to immerse into a different world, while at the same time cherish our real one. I don't know when this pandemic would be over, but I do know I’m going to cherish every minute of dining out, traveling, and meeting my friends and family, whenever it happens. Sincerely hope my friends would also have this same enlightenment after watching Soul. 𝕯𝖎𝖗𝖊𝖈𝖙𝖊𝖉 𝖇𝖞: 𝐏𝐞𝐭𝐞 𝐃𝐨𝐜𝐭𝐞𝐫, 𝐊𝐞𝐦𝐩 𝐏𝐨𝐰𝐞𝐫𝐬 𝖂𝖗𝖎𝖙𝖙𝖊𝖓 𝖇𝖞: 𝐏𝐞𝐭𝐞 𝐃𝐨𝐜𝐭𝐞𝐫, 𝐊𝐞𝐦𝐩 𝐏𝐨𝐰𝐞𝐫𝐬, 𝐌𝐢𝐤𝐞 𝐉𝐨𝐧𝐞𝐬 𝕻𝖑𝖆𝖈𝖊 𝖔𝖋 𝖔𝖗𝖎𝖌𝖎𝖓: 𝐔𝐒𝐀 𝕽𝖚𝖓𝖙𝖎𝖒𝖊: 𝟏 𝐡𝐨𝐮𝐫 𝟒𝟎 𝐦𝐢𝐧𝐮𝐭𝐞𝐬 𝕭𝖊𝖘𝖙 𝖘𝖈𝖊𝖓𝖊: (~𝟕𝟐 𝐦𝐢𝐧𝐬) “𝐅𝐢𝐬𝐡 𝐒𝐭𝐨𝐫𝐲” + “𝐄𝐩𝐢𝐩𝐡𝐚𝐧𝐲” 𝐬𝐜𝐞𝐧𝐞 𝕸𝖞 𝕽𝖆𝖙𝖎𝖓𝖌: 𝟖𝟓/𝟏𝟎𝟎 By @hk_movieaddict Director: Pete Docter Screenplay: Pete Docter, Mike Jones Cast: Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Alice Braga, Richard Ayoade, Phylicia Rashad, Donnell Rawlings, Questlove,Angela Bassett Soundtrack: Trent Reznor, Atticus Ross Cinematography: Matt Aspbury, Ian Megibben Running Time: 100 minutes Budget: $150 million