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Reviews by: @modewme 80’lerdeki New York’ta ani yükselişlerin olduğunu ve bitmek bilmeyen sosyal yaşantıları gösteren bu film #Basquiat'ın da bir evsizken birden sanat dünyasında hızla parlaması tam 80’ler New York’unu anlatmakta. 20’lerindeki sanatçının sokaktan galerilere geçişiyle birlikte; ırkçılığı, eleştirel yaklaşımıyla hedef alınmasını, yaşam tarzıyla kendini kabullendirebilme zorluklarından kendini nasıl tükettiğini hüzünlü bir şekilde başarıyla izlettiren bir film. Basquiat’ın çevresinin bir ürünü olarak büyüdüğünü görmek ve #JeffreyWright’ın performansını izlemek son derece keyifliydi. Ayrıca #AndyWarhol’u canlandıran #DavidBowie’nin yıllarca bu rolü beklediği hissi oluştu bende. Ancak film de havada kalan ve oturmayan sahneler vardı. Basquiat’ın sanatıyla hayatı arasındaki bağ neydi? Gerçekte kimdi? gibi soruların cevaplarını tam göremesekte müzikleri ve 80’lerin sosyal patlamalarını görebilmek adına kesinlikle izlenir. By @modewme

Reviews by: @augustkellerwrites Tár is dense and precise. Its naturalistic story tackles themes of control, integrity, elitism, passion, ego, abuse, cancel culture, time, and art identity. The setup is subtle, but the redefining payoff makes Tár highly rewatchable. Its informed dialogue is difficult, but also fitting and wise. Character relationships give glimpses of vast depth. Furthermore, Blanchett elevates her weighty role to supreme levels. She shows meticulous mannerisms, commanding confidence, exact timing, deep layers (a performance of a performance), buried vulnerability, and versatile range as she shifts between lights. Ultimately, Tár requires concentration, but its ambition and execution are worthy. Technically, Tár is rigorous. Its direction is minimalistic and observational, allowing viewers to interpret shining details. The tone climbs, its structure is emblematic, and its restraint maximizes its craft. Consequently, Tár feels both current and timeless. Meanwhile, the visuals use composition, space, lighting, and reflections to create an intimate yet empirical experience. Its pacing is deliberate, shifting from extreme length to jarring smash cuts. The sound design is narratively significant, adding symbolic ambiance and elusive imperfections. Plus, its music is diegetic, the production design is immaculate, and the effects are suggestive. Overall, Tár is an ideological symphony. Writing: 10/10 Direction: 10/10 Cinematography: 10/10 Acting: 10/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 6/10 Overall Score: 9.0/10 By @augustkellerwrites

Reviews by: @picturesinflow @tylersnerdy_review Black Panther: Wakanda Forever closes off Phase 4 of the MCU and with it we get an emotional and slow farewell to its main character (and actor), and not a great Superhero movie. We have a memorial film disguised as a Marvel film and that could have worked (thanks to the over 2 and half hour runtime), but it was dragged on through the whole film. We have variable CGI quality from scene to scene, great acting, solid soundtrack, so-so fight scenes, and an overall highlight being its main villain. Connections to the greater MCU were minimal at best and it seemed it was more concentrated to tell its story, rather than set us up for what’s coming (that I liked). As almost everyone has mentioned up to this point is that the actors really upped their game in this one, and they did, but to Oscar worthy performances. A stand-out was Namor (played by Tenoch Huerta) who has clearly set out morals and would do anything, if it is for better good of his people. He has that specific way of acting with his eyes which serves him great, he is telling you something, be it taking things too far or offering a peaceful way out, but by his tone you can’t actually figure out if that is truly what he means or there is something more going on under the surface. As with the first black panther, the villain outshines the main hero. Since it was a slower film which worked against it at times, we don’t get too much connection to the greater MCU, rather a few lines and a recurring character from the series. The first one had better pacing, this one focuses too much on the tragedy of the passing, and forgets that it should be a Marvel film at the fore-front. I get it, it is tragic, but make another documentary/biography film and not this, and then call it a ‘Marvel’ movie. We again have to witness the MCU have flimsy CGI from scene to scene, not to the extent of the last fight scene from the first movie, but still really bad at times. The main outlier were costumes, and not their everyday clothes, but rather their hero ones. Especially some of the dora milaje (new and improved ones) and the Iron heart final one (which looked to be from a different franchise). Again, as with the last, almost every fight scene is better than the big fight at the end, especially the night time bridge scene. When we have normal people (or semi normal) fight without any powers and flashy CGI shlock it's great, everything can be seen, and each hit can be followed. The bar fight scene in the first Black Panther is better shot and choreographed than any fight scene in this one. Where they didn’t miss at all was the soundtrack with their bombastic mix of new and old to announce each character coming into the scene. Some of their respective songs from the last one can be heard here, but with quite a bit of improvements which worked out great. The first song when entering the underground city and home of Namor is mesmerizing, the new and improver Dora Milaje song is great and much more all were absolute bangers. Black Panther: Wakanda Forever did many great things and some were debatable, it’s a fun time at the cinema and it was better than Love and Thunder (bar was low as it is). If you have any higher expectations from this one, do yourself a favour and lower them a bit so you can have an overall better time. This year Marvel (at least for me) was at an all-time low be it film or series, too many series starting off great, forgetting what they are at the middle (be it ramping up speed thanks to their 6-episode runtime and or introducing newer characters/villains at the penultimate/last episode) and films without a clear vision (some of them), going too hard on their comedic scenes, forgiving heroes (who have become villains) because of tragedy and being let-down because of a horrendous third act. Get your act together Marvel and start acting like the franchise you once were, and not this sorry excuse of failures. By @picturesinflow I hardly even know where to begin with Black Panther: Wakanda Forever. Ryan Coogler crafts an absolute masterful goodbye to Chadwick Boseman and a fantastic story of grief and leadership. Letitia Wright takes on her new list of responsibilities with amazing resilience and power. Her performance goes through so many amazing emotions from the moment the movie opens to the moment it closes. Angela Bassett also delivers a phenomenal performance of a grieving mother forced to rule a kingdom in a dark time. Lupita Nyong’o is finally back as Nakia and they give us some answers on why she’s never around when Wakanda needs her. I really wish we had seen a little more action from her but she does very good with her dialogue. Listen, honestly, the only thing other than Boseman’s memorial I needed from this movie was at least three action scenes with Okoye and god damn Danai Gurira delivers on at least four amazing action sequences and she wears some killer ass outfits that I would have never imagined. Winston Duke takes a big step up in some great ways, his M’Baku has always been an underrated favorite of mine and I’m glad to see the way he’s treated here. Dominique Thorne bursts into the MCU in a big way with a great performance, I am very eager to see her again soon on her own show. Florence Kasumba is another slept on favorite of mine, her Ayo has appeared EVERY time the Dora Milaje have appeared and she gets a big upgrade for this film. Michaela Coel is another great addition but they don’t use her nearly enough, hopefully we get more of her soon. Tenoch Huerta is an absolutely amazing Namor that works really well with Wright! He delivers a great performance and delivers on all of his action sequences. Martin Freeman returns for a small bit but a good bit it is. Alex Livinalli and Mabel Cadena needed some more screen time for me but they are great with action. Trevor Noah would have been my last guess for the voice of Griot, Shuri’s AI, but he does great with it. The question of how they would kill T’Challa was a big one for everyone going in and they not only answer that question right away in Marvel’s most devastating cold open but they handle it very well. Chadwick’s gentle presence and legacy is felt around every corner and is felt in every performance. Everyone delivers career defining performances and the production delivers at every level. From the costume design, the set design, the visuals, the special effects, the writing, the score, the soundtrack the action and everything in between. The entire sequence on the boat in the third act is full of some unique action stunts and the new Black Panther handles their action scenes so well. The Black Panther vs Namor fight is brutal and handled so well in such a unique location for a Marvel third act fight. The use of several languages is a great choice and all of the locations look stunning. The Wakandan world building was great to see, so much lore building was done and so many threads were left open for not just Black Panther 3 but for the rumored Black Panther Disney+ shows. I know a lot of people are disappointed in this movie for different reasons but having stayed away from the dumb rumors, not making my own wild theories, and being easily pleased with Marvel, I loved every single second of this film. Black Panther: Wakanda Forever has made its way into my MCU top 10, coming in at number 7, Ryan Coogler and team pulled off what seemed impossible and I’m so glad I never lost faith in this production team. At this point I don’t think it needs to be said that I’m giving this movie a 10/10, a perfect way to close out Phase 4 of the MCU. However I need someone at Marvel to answer where the Guardians Holiday Special falls. It’s been said this is the end of 4 and Antman is the start of 5 but that leaves the special phaseless so what’s the answer here? Anyway, go see this movie and decide for yourself, I for one can’t wait until I get to see it again. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Black Panther is culturally significant, wildly popular, and formulaic. Themes are underdeveloped, motivations are vague, growth is artificial, worldbuilding is superficial, and the plot is contrived. The acting is committed, raw, and distinct, but that's in service of a shallow script. Specifically, the film introduces debates around imperialism, isolationism, and colonialism, but never fleshes them out. A civil war breaks out and resolves without discussion of either side's merits. Politics are oversimplified, making the conflict ring hollow. Action feels bloated without considering why these battles arise. Representation is important, but Black Panther delivers that in a sterile story. Technically, Black Panther flashes creativity but is weighed down by MCU mediocrity. The editing has an exposition montage and fair pacing, but is otherwise plain. Its effects are ample but heavily CGI, with uncanny valleys and cartoonish action. The production design is culturally informed, but that clashes with the sci-fi elements. Similarly, the music alternates between generic and culturally relevant. The sound utilizes echoes and the cinematography adds a memorable upside-down shot. Still, Black Panther's key is its iconic cast, which is progressive and recognizable. Overall, Black Panther is fine entertainment and significant to many, but it's also a commercialized product. Writing: 5/10 Direction: 6/10 Cinematography: 7/10 Acting: 8/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 10/10 Effects: 7/10 Overall Score: 7.1/10 By @augustkellerwrites

Reviews by: @augustkellerwrites The Good Nurse wraps tense drama inside a crime thriller. Consequently, it avoids cliches by focusing on characters. Plus, its message critiques the broader corruption that enabled the murderer. Fundamentally, The Good Nurse presents a protagonist struggling against an unfair system (instead of an unusual villain), making the story important and relatable. Meanwhile, the acting drives the film with consistent density and energy. Chastain conveys bottled anxiety and quiet sadness as she endures severe pain. Redmayne is subtly sinister, masked behind an unpredictable meekness. There's extreme intensity, natural chemistry, and raw vulnerability. Overall, The Good Nurse is emotionally striking. Technically, The Good Nurse is proficient. Its gradual editing uses cooldown transitions and slow pacing to emphasize feelings. The sound utilizes natural ambiance, split cuts, and silence for symbolic punctuations. Also, there's atmospheric music, distressed production designs, an experienced cast, and makeup effects that highlight a sense of mortality. Finally, the cinematography uses slow movement, off-screen implications, low-key lighting, shallow focus, desaturated colors, obscured foregrounds, confined framing, and divisive barriers to underscore tension and isolation. It's a smaller film, but The Good Nurse does more with less. Ultimately, it's likely to make an impression. Writing: 8/10 Direction: 8/10 Cinematography: 9/10 Acting: 9/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 7/10 Casting: 8/10 Effects: 6/10 Overall Score: 7.6/10 By @augustkellerwrites

Reviews by: @the_owlseyes "They Don't Want Honest. They Want Entertainment." Monroe Fuches PLOT "A hit man from the Midwest moves to Los Angeles and gets caught up in the city's theatre arts scene" or "Bill Hader plays a Hitman" SCRIPT Even though the main characters are well written, especially the protagonist, the series tends to drag a lot due to the fact that the premise becomes repetitive and tedious after a while. Sure, the themes discussed are worth mentioning, like justice, guilt, love and passion, but I've expected much more. It increases its overall quality in the latest seasons but it didn't reach my expectations. Overall it's still good but it's mediocre at best. Script: 7/10 ACTING Bill Hader is pretty good and shows his wide range. I've never expected it from someone who is usually known as a great comedian. He is the heart of this series. Henry Winkler is good as well and I think that he reaches his apex during the last seasons. Sarah Goldberg, Stephen Root and Anthony Carrigan do a respectable job too by infusing every scene with funny comedy and touching drama. Overall I'm satisfied. Acting: 8/10 PHOTOGRAPHY It's stale. The light is mostly flat and colors have no role here. It's underwhelming to be honest. There're some good shots but nothing impressive to be honest. Photography: 6/10 EDITING The editing is ok, it gets better in certain scenes, especially the action's one, and worse and sluggish in other. I think that there's potential here but it's not showing. Unfortunately it isn't enough to consider it a series edited in a impressive way. Editing: 6/10 SPECIAL EFFECTS There're are a few and are imperceptible. Other than that there isn't much else to add because this series is particularly grounded in reality. Special Effects: 6/10 SOUNDTRACK It's just decent. Sometimes it excels at conveying dread and tension but most of it is quite forgettable. Soundtrack: 6/10 COSTUMES Usual costumes which don't add anything to the plot or the characters. 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 decent series with a good premise. Check it out if you're into dark comedies. Director: Bill Hader Screenplay: Alec Berg & Bill Hader Cast: Bill Hader, Stephen Root, Sarah Goldberg, Glenn Fleshler, Anthony Carrigan, Henry Winkler, Sarah Burns Soundtrack: David Wingo Cinematography: Brandon Trost, Paula Huidobro, Carl Herse, Darran Tiernan Running Time: 32 min By @the_owlseyes

Reviews by: @augustkellerwrites The Banshees of Inisherin blends comedy, tragedy, and absurd horror into a truly unique tone. First, its dark and dry humor uses social customs, naturally clever dialogue, and sharp timing. Next, the drama comes from insightful motivations and layered characters, dealing with connection, loneliness, purpose, kindness, boundaries, and peace. That might sound unfocused, but Banshees finds a striking existential core. Lastly, the outrageous brutality gives the film a timeless fablelike quality. Plus, the acting is complete with chemistry, range, progression, and painful honesty. Ultimately, Banshees unfolds organically, contemplates human vulnerabilities, and presents a captivating voice. Technically, Banshees finds resonance in reservation. Visually, its golden lighting, weighty composition, and scenic landscapes are understated despite their vivid beauty and importance. The music is regional, mystical, and gentle, easing subtle mood shifts and accenting themes. Its editing is gradual and supportive, only proactively intercutting peak moments. The sound remains minimal and silent, heightening sudden stings. Meanwhile, the cast is experienced, the era-specific production design is isolating, and the sparse effects are highly impactful. Overall, The Banshees of Inisherin delicately combines precise ingredients, capturing nuanced emotions through a singular journey. Writing: 10/10 Direction: 10/10 Cinematography: 10/10 Acting: 10/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.8/10 By @augustkellerwrites

Reviews by: @the_owlseyes “There's a part of me that wishes everything could just stay the same. That we could all just stay like this forever. There's a part of me that really doesn't want to grow up. ” Erin Quinn PLOT "The personal exploits of a 16-year-old girl and her family and friends during the Troubles in the early 1990s" or "Quirky people doing weird things with a heart" SCRIPT By far the best aspect of this series who shows us a group of quirky friends in Derry with the 90s confict between England and Ireland in the background. Each character is explored in depth and every situation they find themselves in, not only is good at showing Derry and creating a lot of comic scenes, but it further their growth. Political and Social themes are represented with impressive care and nuance, considering the political scene of the 90s. I didn't expect that, not at all, because I thought that this was the usual teen dramedy without a point. It isn't because it's much better than that. Script: 8/10 ACTING The main actors deliver remarkable performances made of comedy and drama. I like what they brought to each character. Sure, it isn't the best acting I've ever seen but it's good nonetheless. Acting: 7/10 PHOTOGRAPHY The light is just flat and colors don't have any particular meaning. It's acceptable, nothing more. Photography: 6/10 EDITING The comedy is enhanced by a good editing but I don't consider it interesting. It's decent, just that. Editing: 6/10 SPECIAL EFFECTS There're just a few and are imperceptible. This series doesn't nedd CGI to shine and amaze. Special Effects: 6/10 SOUNDTRACK It's mostly made of 90s pop songs which fits the series and define its tone. It isn't impressive but it aligns well with the show's style. Soundtrack: 7/10 COSTUMES Ordinary clothes worn by 90s Irish high schoolers.Some episodes feature interesting costumes but overall there isn't anything remarkable about those. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 6,42 A nice series about quirky teens. It will make you think and feel. You should watch it. Director: Michael Lennox Screenplay: Lisa McGee Cast: Saoirse-Monica Jackson, Louisa Harland, Nicola Coughlan, Jamie-Lee O'Donnell, Dylan Llewellyn Soundtrack: Dolores O'Riordan Running Time: 33 min By @the_owlseyes

Reviews by: @picturesinflow Amazing Stories is an anthology, and in a way, a reimagining of an older series called in the same way from Steven Spielberg. This series promises to transport audiences to worlds that will leave each and every one in pure awe. Offering stories of varying quality with simple to grand ideas, and with sadly more flops than successes. Now, let’s see how that transpires. The first and best one is about a romance spanning a few different generations through time travel. A story about different people stuck in the wrong generation, each wishing that things didn’t have to be as they are. Following these few people and how they manage the various workarounds was interesting, but at times very predictable. The second is about learning to let go and being content with what you have already achieved, and what is yet to be conquered. Following the story of childhood friends following their dream and ultimately trying to make it in the world. We, yet again, have a fantasy twist and that will probably stay true through the whole series, but it didn’t reach the highs of the first one, rather it stumbles from time to time and changes the rules when the plot demands it. The third is the most wholesome of them all and it is about a grandpa forgetting what it means to be a kid, a father trying desperately to be better than his father and about a son struggling to fit in. A story about how each generation is connected in one way or another, and it’s about finding that specific thing or interest. Predictable in every sense of the word, but it didn’t forget what message it’s trying to portray. The fourth one liked to keep things mysterious at the start, and constantly to the ever-growing mystery. It focuses on a mom and daughter relationship that, due to tragic situations, has lost its tightness in the last few years, and that daughter has managed to grow up without her mom. As they are trying to reconnect, something pushes the mother further and further away without any conceivable reason. We later find out what that is, and that particular thing sours the whole story, as it seemed like it was a last-minute inclusion with meaning attached to it. The last one is about a man out of time and a retelling of the butterfly effect, and how much destruction one little thing can bring. Unfinished promises, incomplete missions and a love unfulfilled are at the forefront with a pinch of emotional baggage through newfound friends. This one is the second best after the first one and ends this series in an interesting way. These episodes were standalone and were with varying quality, some started great and grew too big for their own good, while some stood in their own corner, and were better off for it. Being only 5 episodes and without any connection to each other means that you can watch them sporadically, and not with a massive teaser for the next one. Amazing Stories is an interesting experiment, and it did offer some unusual episodes, but it didn’t reach the heights they needed. By @picturesinflow

Reviews by: @augustkellerwrites Weird: The Al Yankovic Story parodies the biopic genre with over-the-top silliness. This brand of comedy is specific but often lands because it's so meta. However, the humor gets slightly stale because its nicheness boxes itself in. Once the trope deconstructions lose their charm, the film ups its outrageousness rather than its cleverness. The refreshingly goofy tone should carry viewers through, but the gimmick is undeniably spread thin. Meanwhile, Radcliffe and Huss play everything straight, Wood has fun, and the cameos ham it up. Overall, Weird's intentional stupidity will polarize some audiences, but most will find its self-awareness admirable. Technically, Weird is reasonable. Its visuals add some movement, its editing gets satirically overdramatic, and the sound leans into corny lip-syncing. Still, those aspects are mostly basic. Conversely, the production design actively parodies celebrities, genres, and the 80s. The effects are surprisingly involved, providing a drug trip, a face melt, animation, and some action. Furthermore, the cast is deep, from leads to supports to abundant cameos. Finally, the music includes all of Yankovic's greatest hits, reminding viewers why he's so beloved. Ultimately, it isn't very artistic or meaningful, but Weird: The Al Yankovic Story offers satisfying laughs, wit, and magnetism. Writing: 7/10 Direction: 6/10 Cinematography: 5/10 Acting: 7/10 Editing: 6/10 Sound: 6/10 Score/Soundtrack: 9/10 Production Design: 7/10 Casting: 9/10 Effects: 7/10 Overall Score: 6.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites All Quiet on the Western Front combines intense drama with epic scale. This narrative isn't new but its execution is potent. Death is surrounding, innocence is obliterated, displacement is crippling, and trauma is palpable. Meanwhile, this misery is juxtaposed with detached politicians who disregard it. Ultimately, All Quiet on the Western Front graphically depicts the futility, insanity, and tragedy of war. Its singular focus gets repetitive and its protagonist isn't traditionally relatable (lacking control or a thorough backstory). However, the film delivers intimate moments, primal motivations, and raw vulnerability. Consequently, it evokes vivid, universal, and pressing emotions. Technically, All Quiet on the Western Front has tragic beauty. Its visuals use golden lighting, smooth movement, picturesque composition, desaturated colors, and dynamic framing. The music is ominous and elegant, uniquely incorporating modern elements that balance atmosphere and active influence. Its production design is grand, detailed, and specific, supporting haunting tones and decaying themes. Also, the pacing is emotionally ranged, the complex sound is immersive, and the significant effects are visceral. Collectively, All Quiet on the Western Front's direction is stylish and physical, serving its messages about humanity. Overall, it's a meaningful and refined experience. Writing: 8/10 Direction: 9/10 Cinematography: 10/10 Acting: 9/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 8/10 Effects: 9/10 Overall Score: 9.2/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Enola Holmes 2 is broad. Its story is accessible, lighthearted, and overstuffed. Its familiar formulas and superficial consideration of feminism and classism give the illusion of entertainment and substance without actually challenging viewers. For many, that's satisfying, but for those wanting a sincere experience, Enola Holmes 2 might feel pedestrian. Mystery puzzles are weak, breakthroughs come too easily (especially regarding political issues), and tension is never real. The cast delivers decent charm and comedic timing, but the lack of range or vulnerability makes their performances monotonous. Ultimately, Enola Holmes 2 chooses feeling safe or being memorable. Technically, Enola Holmes 2 has shallow flash. Its editing pops with consistent intercuts, match cuts, montages, jump cuts, smash cuts, transitions, and rhythmic energy. Unfortunately, this is undermined by a bloated runtime and convoluted structure. Next, the sound adds voiceovers, split cuts, exaggeration, echoes, and stings. Its production design is elaborate but hollowed by CGI locations. On that note, the digital effects are unconvincing but provide engaging animations. Meanwhile, the cast has stars, the music is generic but effective, and the cinematography uses movement. Overall, Enola Holmes 2 is weightless but pleasant, making it an inoffensive encounter. Writing: 4/10 Direction: 5/10 Cinematography: 6/10 Acting: 6/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 7/10 Casting: 7/10 Effects: 7/10 Overall Score: 6.2/10 By @augustkellerwrites

Reviews by: @picturesinflow The Art of Self-Defense is yet another quirky dark comedy, starting as a comedy and uplifting story and then turning drastically into a thriller. It follows the story of a man being attacked/mugged, who then in a way to gain self-confidence joins a local dojo. This instantly went into my list of ‘show to friends when asked to show something unique’ and it rightfully deserves that place. This was a trip from start to end, the start is slow and methodical, giving you just enough context to understand and then ramps up from the middle to the end. Jesse Eisenberg gives a career best as the deeply troubled ‘Casey’, who needs to balance his corporate job and his newfound hobby in the dojo. Imogen Poots as the lovable ‘Anna’ and the dastardly evil Alessandro Nivola as ‘Sensei’, these two round up the film and give the much-needed counterweight for the main. The movie tackles some pretty heavy topics, namely masculinity in both male and female, but does in a interesting way. This is a martial arts movie which pulls absolutely zero punches and shows to what extend man can be evil, if left uncontrolled by society. A definite must watch at least once and, as said before, goes straight into the recommendation pile and the favorite pile. Be warned though, this movie is not for everyone and includes some pretty triggering and gory scenes. By @picturesinflow

Reviews by: @cheticonsiglio_ The story draws inspiration from the novel I never had my age, by Antonio Dikele Distefano, creator of the series itself. To mark the rhythm of this "street" story, the songs and the soundtrack of various Italian and international artists of the rap scene. The story of Zero is a story of inclusiveness, as said by the creator himself, the goal was to create a product with black Italians who had a story to tell and not just define them by the color of their skin and the result is certainly excellent, as the cast of the series has repeatedly reiterated during an interview. From the beginning, one is overwhelmed by the stories of the protagonists and by the continuous needs of the Barrio, allowing the viewer to completely forget the ethnicity of the actors or their origins. Zero is a story of invisibility, the one that all kids feel during their adolescence, a sense of bewilderment that often leads you not to be understood, to feel judged. Zero is the story of Omar, a boy who has always spent his days locked up at home drawing his beloved manga, for fear of being judged by the world, but one day he discovers that he has great power, becoming invisible and us cinephiles will we know better than anyone: with great power comes great responsibility. Precisely thanks to these responsibilities, Zero finds himself living a different life, discovers love, friendship and a sense of belonging to his neighborhood and thus begins a fight against South American criminals who actually hide something bigger, Deeper. The idea behind this project is to focus the viewer's attention on the lives of those "forgotten" kids to make the world understand that they exist, they are not invisible, and the result is a metaphor that strikes like a punch in the stomach. Dikele's stated goal was to represent characters and a story that belonged to everyone, a normal world made up of kids and stories without getting lost in those twisted events that are fed to us daily in the various TV series and to do this we needed young guys with the strength to get involved. Hence the choice of almost totally novice actors, who most of the time are immature on the screen, they eat a few words and this more than becoming a defect of the series, it only makes it more real, precisely because Zero wants to reach everyone and wants tell the story of every boy who has felt invisible at least once. The common thread that binds them and makes them a solid group (quoting Momo) is the difficult and turbulent past, which has made them stronger and more courageous boys, who do not hold back in the face of danger. Although the screenplay does not make certain secondary characters important, thanks to the actor's strength they too are able to be appreciated: just think of Awa (played by Virginia Diop), who in a future second season will certainly have a more central role given the final premises, or characters like Sharif (Haroun Fall) and Momo (Dylan Magon) who are the real glue of the group. The special effects and the actual invisibility staged were created with great care and it seems like we are witnessing an overseas product, but then we focus on the Bosco Verticale, on Piazza Duomo and on the thousand facets of Milan and we further appreciate a product that for the first time does us justice. Antonio Dikele declares several times that he is passionate about manga and comics and it shows in his product. An atypical superhero is developed, out of the classic canons who doesn't want to save the world and doesn't need to fight against large mechanical robots or monsters from other planets. He faces human beings, he defends his people and does not place himself on a pedestal from which everyone can admire him, but puts himself on the same level as his "crew". A young boy who can afford mistakes caused by inexperience can give dreams to an entire neighborhood and can fall for a girl like anyone else in the world. In short, a story of a normal boy. Last note, but fundamental, is the choice of the soundtrack guided by Mahmood and other artists of the rap panorama who, during the episodes, punctuate the events that flow on the screen almost as if they were telling a second story, a deeper part of the characters, a still hidden narrative. Zero is therefore a teen drama that has very little of the genre, it is a product that tries to send an even bigger message and succeeds in its intent with a disarming lightness, without weighing down the vision and without continuously quoting those speeches that have already been seen . It brings a revolution to the stage of Italian series and the fact that it can arrive in 190 different countries can only make us happy, bearing in mind that they are people like us, each with their own dream, each with their own pains, but above all, each with their own past and their own life. At the end we are shown something further important by opening the doors to a second season which, given the initial premises, will almost certainly be done. Times aren't ripe yet, but for now we're enjoying our first Italian superhero who doesn't fight supernatural forces but ordinary people with dodgy purposes. By @cheticonsiglio_

Reviews by: @picturesinflow See How They Run is one of those films where it just comes from within to say, ‘they don’t make ‘em like they used to’ and that is all you need to know before deciding to watch this one. Now, for those who actually require more, let’s get into it. See How They Run is a comedy/mystery, and at times thriller, that is set in the West End of London about a film version of a smash-hit play, but it all comes crashing down when one of the crew members dies. We follow Inspector Stoppard (played by Sam Rockwell) and Constable Stalker (played by Saoirse Ronan) on their merry way to uncover who did this monstrous act and bring him/her to justice. Both the main leads have perfect chemistry with each other with Stoppard acting as the old and gruntled policeman who just comes in day by day, but if a case becomes too much of a hassle, there is no second thought, and it is ultimately left in the gutter. In complete contrast we have Stalker who is your new recruit into the office and is still filled with hope and takes every case too close to her heart, and at moments, too close. However, while the main leads are for sure the stars here, the whole case is star-stubbed from start to finish and with some surprising appearances along the way. See How They Run, or so I think at least, is heavily inspired by Wes Anderson and that is mostly down to their heavy use of production design, shot composition, quick and snappy dialogue and editing. Not to downplay this film, it’s just a cute little homage to someone else, and again, not sure if that is in fact the case. Story is predictable, but interesting as you slowly and methodically cross one by one each of the suspects. See How They Run urges its audience to immerse themselves through actively trying to solve it and how it will all play out, however, at about the midway point, one character just plainly lays out how the story is going to continue and what the climax will be. See How They Run is a small and cute film about a play that went sideways quickly, filled with charm thanks to its production design and star-studded cast. If you can and it is showing, preferably watch it in the cinema, but not in IMAX or any of the other bigger screens, just a small 2D will do the job perfectly, and if you can’t make it to the cinema, it's a perfect night watch at home. By @picturesinflow

Reviews by: @the_owlseyes You know you're in love when you can't fall asleep because reality is finally better than your dreams.” Dr. Seuss PLOT "Nathan Fielder gives people a chance to rehearse for their own lives in a world where nothing ever works out as expected" or "The Truman Show in real life" SCRIPT There is a script but the script is the point of the show. Nathan has script for every situation, where he has a different output for every different imput. It's a meditation over the theme of fate and self-agency, over control and emotions. It's a deep show who doesn't pretend to be more, because this series is also about that. I think that this is the most meta-ish series I've ever seen after Rick & Morty. You will ask yourself what is real and what is not. The terms 'lie' will also be put in discussion because nothing is as it appears. Script: 10/10 ACTING This is a show about acting and living. It isn't about being good actors and such, it's about investigating the way acting in real life can improve or create issue. This series is meta, to a point where it's hard to understand if Nathan and the other actors are lost in their characters, like it happen to him, or not. It's scary and wonderful at the same time. Acting: 8/10 PHOTOGRAPHY It's stale and it doesn't add anything to the show. Colors and lights are just there, with no meaning or texture. Photography: 5/10 EDITING This series does a ot of justaxposition between the rehearsed piece and the real piece to understand how different or how close those are. It would seem irrelevant but it adds a lot of depth especially in the first episode. Editing: 7/10 SPECIAL EFFECTS Most of it is practical and only the mirror are CGI but it's impressive. He managed to build perfect replicas of real places without the use of green screen or stuff like that. Usually I don't give high valuations with series which lack the presence of CGI but here I will go higher because everything is there for a reason. Every detail and object exists there because he needs it to. Special Effects: 8/10 SOUNDTRACK There isn't an actual soundtrack and there's no need for it. The show stands on itself easily without an accompaniment. Soundtrack: 6/10 COSTUMES You would say that this show doesn't bring anything new because everyone wear normal clothes. But this is exactly the point. There's a maniacal attention to details, especially in costumes, which are meant to be as faithful as possible to the real people. There is even a scene where Nathan asks where a woman has bought her maglione because he needs to embody her to perfection. Costumes: 8/10 CONCLUSION Script: 10/10 Acting: 8/10 Photography: 5/10 Editing: 7/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 8/10 AVERAGE: 7,42 Just watch it. This show is something you've never seen before. Director: Nathan Fielder Screenplay: Nathan Fielder Cast: Nathan Fielder Running Time: 35 min By @the_owlseyes

Reviews by: @the_owlseyes Eric André "After you take a poo, do you take some of the turds out of the toilet with chopsticks and you try to put them back inside your body just in case you missed out on any nutrients?" This show is one of the most ingenious series I've ever seen while being disguised as a quirky, outlandish, out of mind, crazy, wack mess from start to finish. It's satirical and irreverent with hosts and casual people while talking about deep themes and stuff like that in the most outlandish way possible. This is what makes this sh!tshow awesome, because it's marvellously rude, true, sincere and sharp. Considering that the show has only 10 minutes, a lot of things happen on the screen which are compelling and extremely fun to watch. Probably the opening scenes are the ones which makes this series so distinctive. The music used mocks talk shows and the fact that the bands are used in various and out of this world way, makes it unpredictable. It's so randomly calculated that it's hard to foresee what will happen next. EVERYTHING CAN HAPPEN HERE. EvEryThinG!!!!!==== I adore this show, man. Sincerely this show is going to be ranked as 8,257574983224589037249183402 384758419357139482333337128942508341234273892q00. For f?=(k sake! F888K And that's it. It. It. It. It. It. It. It. By @the_owlseyes

Reviews by: @picturesinflow The Greatest Beer Run Ever is a hefty amount of fresh air through and through. The trailer heavily undersold this one with it focusing on highlights such as shootouts, fast moving vehicles and jokes. I get that, the trailer should be able to hype up everyone and should invite as many people as possible to witness it. However, this film does all that is shown in the trailer in spades, but focuses on something else, and that is the human connection in the midst of all-out war. Plot wise, as mentioned above, it’s not something the viewer would expect. The Greatest Beer Run is about a man called Chickie Donohue (played by Zac Efron) who, in the midst of the Vietnam War, is safely staying in America, while about half of his friends are on the other side of the world. One day he has it, and with only negative information coming out of Vietnam, he decides to show his support in the only way he knows how, and that is to bring each and everyone one of them a beer. To put it simply, it’s about a man going into an active war zone to bring beer to his friends, and from that a viewer would expect a comedy, at least the plot makes it sound like that. The Greatest Beer Run Ever rather focuses on loss and tragedy, with slight glimpses of humanity sprinkled about, and with a whim, you are brought back to reality. It moves around and touches a lot of genres from comedy and action to thriller and documentary. To put in some context, if you have watched something from Taika Waititi and how he manages to make you laugh, and then BAM, someone important dies or something else very tragic, and that makes you change emotions on the whim. The Greatest Beer Run Ever tries to do the same at times, not to the same effect nor the same quality, but pretty respectable nonetheless. Zac Efron, as every main star should be able, carried the whole film from start to finish. He managed to show emotions I have never before seen by him, and that is with little dialogue, but just with his face. However, he had so much help along the way, but that shouldn’t undermine everything he managed to achieve. Let’s round up a few: Lt. Habershaw (played by Matt Cook) a guy too good to be at war, but sadly has to stay at his post. Hieu ‘Oklahoma’ (played by Kevin K. Tran) a traffic policeman, as well a good guy, just trying to be heard and make friends. The Colonel (played by Bill Murray) is a barman from an older war, being a tough guy, but ultimately looking out for the younger. Arthur Coates (played by Russell Crowe) a war photographer trying every way possible to get as much coverage as possible, without trying to die. Each and everyone did a marvelous job on this one and elevated the whole film. Dialogue was another unexpected highlight, it wasn’t anything too high-and-mighty nor preachy, and for a war film it can get preachy fast, rather it focused more on different and unique relationships that each character had with each other, while the war was left in the background, but always visible. The Greatest Beer Run Ever is not a masterpiece, many films are not, but it excels in bringing a fresh take on many war movies, not focusing on the bigger picture of the war, but on human perseverance in dire times. A definite watch for any war buffs and it’s a perfect film to recommend or watch with your dad (we don’t need to kid ourselves, most dads love these). Personally, I loved this one, but go on watch it and form your opinions, because this one will be heavily divisive. By @picturesinflow

Reviews by: @thenerdreview •Content- 6/10 •Gameplay- 6/10 •Overall- 6/10 When EA developed a Battlefront reboot they took on a monumental task: pleasing Star Wars fans. All jokes aside, recreating a fan favorite series was no simple task. The Battlefront reboot is an ambitious project, yet it didn't quite hit the mark. There's not much for me to discuss with this game, because the game's content is lacking. Outside of multiplayer, there isn't much to do. The arcade style levels get boring quickly. Even in the multiplayer itself, it doesn't have that much content unless you want something that's locked behind a pay wall. The game leaves a lot to be desired in terms of more maps, characters, and game modes. The gameplay itself is fine. It's an arcade style shooter and the game looks good, however, the game doesn't really innovate anything. It's not gameplay that's gonna send your socks flying off. Really not much to say about it because it's not anything special. That's not to say I don't enjoy the game, because I'm a massive Star Wars game and loved to play this game when it first released, but it could be better. Overall, the Star Wars: Battlefront reboot leaves much to be desired both in content and in fresh gameplay. If you're a Star Wars fan, this game will be fun, but otherwise it doesn't outshine any other shooters. By @thenerdreview

Reviews by: @the_owlseyes "Already So Many Have Suffered For What You Call Order." Yaddle PLOT "It showcases animated shorts that feature Jedi from the prequel era" or "Star Wars is back at doing what's best at" SCRIPT This is where the series excells, by telling short stories about Ahsoka Tano, the fall of Dooku and the righteousness of Qui-Gon Jiin. Even though every story has little more than 10 minutes of screen time, it manages to presents characters with an arch and a conflict which is remarkable. The thing I've liked the most is the fact that they show us Dooku's path toward the Dark Side, which deepen an interesting villain by making us sympathise a bit for his reasons and point of view. I'm surprised and satisfied by this Star Wars and I hope that Dave Filoni will finally get to write a movie or a trilogy, because he knows his stuff and is passionate about the Star Wars universe. Script: 9/10 ACTING The voice actors are good but they don't add much to the characters. Even though I've expected more, their performances are still decent enough to garner a seven in this section. Acting: 7/10 PHOTOGRAPHY It's good because the light isn't flat and colors play a relevant role. Nonetheless I don't consider it remarkable. It's on par with the rest of animated content about Star Wars. Photography: 6/10 EDITING It isn't remarkable or impressive, even though it has the usual transitions of Star Wars. Editing: 6/10 SPECIAL EFFECTS The animation is wonderful and in line with the latest season of The Cloen Wars. I like how the designs have evolved since the first episode of TCW. Special Effects: 7/10 SOUNDTRACK Faithful to the Williams score with some variations in it. Even though it isn't as remarkable as The Mandalorian's, it's still pretty good, as it sets the tone of this universe perfectly. Soundtrack: 8/10 COSTUMES Usual Star Wars costumes but here there's a Sith who have a sick costume and elevate the quality of its episode. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 8/10 Costumes: 6/10 AVERAGE: 7 Just watch it. Director: Nathaniel Villanueva, Saul Ruiz, Charles Murray Screenplay: Dave Filoni Cast: Ashley Eckstein, Corey Burton, Janina Gavankar, TC Carson, Liam Neeson, Micheál Richardson, Bryce Dallas Howard, Ian McDiarmid, Matt Lanter, James Arnold Taylor, Phil LaMarr, Dee Bradley Baker, Clancy Brown Soundtrack: Kevin Kiner Running Time: 10 minutes By @the_owlseyes

Reviews by: @the_owlseyes “The 3 types of terror: The Gross-out: the sight of a severed head tumbling down a flight of stairs, it's when the lights go out and something green and slimy splatters against your arm. The Horror: the unnatural, spiders the size of bears, the dead waking up and walking around, it's when the lights go out and something with claws grabs you by the arm. And the last and worse one: Terror, when you come home and notice everything you own had been taken away and replaced by an exact substitute. It's when the lights go out and you feel something behind you, you hear it, you feel its breath against your ear, but when you turn around, there's nothing there...” Stephen King PLOT "Bizarre nightmares unfold in eight tales of terror in a visually stunning, spine-tingling horror collection curated by Guillermo del Toro" or "Horror Tales good and bad" SCRIPT The issue of this series is that only half the episodes are interesting and well adapted because half of them have a good setup and a underwhelming payoff. I like the fact that each episode has a deep meaning and embrace the genre to its full, but its not enough because some episodes seem random and tone down regarding gore and horror. I've expected more from a Del Toro's production to be honest. Nonetheless I can't acknowledge the episodes which are worth watching. I hope that they will correct some of the issues above in the second season because, for now, it looks like a lost chance. Script: 6/10 ACTING The main actors deliver decent performances without peaks and the less relevant ones are on par with them. Overall it's acceptable but there's nothing remarkable or impressive about it. Acting: 6/10 PHOTOGRAPHY This show has wonderful photography. Lights, shadows and colors are used masterfully and create the right tone for this show, by making the episode creepy, tense, psychedelic and terrifying. This is probably the best aspect of this series and I'm glad that they managed to exploit it to its full potential. Photography: 9/10 EDITING The editing is mostly interesting but there're some episodes where the quality of it drops. There're a lot of fast camera movements, shaky cameras, POVs and more. The potential is there, and it shows, but the payout could've been much better. Nonetheless it isn't bad. Impressive in a way. Editing: 7/10 SPECIAL EFFECTS There're some which are VFX and other which are full CGI. Regarding the first I think that they've done a remarkable job, an aspect which is in line with Del Toro's philosophy. The second are...underwhelming, almost subpar and alienate the audience a little. Special Effects: 7/10 SOUNDTRACK It's unremarkable. The only trach which is memorable is the opening theme. Soundtrack: 6/10 COSTUMES These are impressive, especially regarding monsters, which are mostly practical and very effective. The human characters wear clothes which fit the time period but don't bring much. I think that overall this section is satisfying. Costumes: 7/10 CONCLUSION Script: 6/10 Acting: 6/10 Photography: 9/10 Editing: 7/10 Special Effects: 7/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,85 A nice anthology which explores an interesting genre. Watch it with caution. Director: Guillermo Navarro, Vincenzo Natali, David Prior, Ana Lily Amirpour, Keith Thomas, Catherine Hardwicke, Panos Cosmatos, Jennifer Kent Screenplay: Guillermo del Toro, Vincenzo Natali, David S. Goyer, Haley Z. Boston, Lee Patterson, Mika Watkins, Panos Cosmatos, Jennifer Kent Cast: Tim Blake Nelson, David Hewlett, F. Murray Abraham, Glynn Turman, Ben Barnes, Crispin Glover, Rupert Grint, Peter Weller, Eric André, Sofia Boutella, Essie Davis, Andrew Lincoln Soundtrack: Tim Davies, Jeff Danna, Christopher Young, Daniele Luppi, Michael Yezerski, Anne Chmelewsky, Daniel Lopatin, Jed Kurzel Cinematography: Colin Hoult, Jeremy Benning, Michael Ragan, Anastas Michos Running Time: 45 min By @the_owlseyes

Reviews by: @tylersnerdy_review Netflix and Mindy Kaling deliver another amazing season of Never Have I Ever. The third season of this show is probably one of the best and leads perfectly into the upcoming fourth and final season. It was so nice to see Devi not have any friends or family issues this season, the fist two seasons stressed me the fuck out with how bad a friend and daughter she was. But this season it’s all about relationships (the romantic type). Maitreyi Ramakrishnan is still the stand out star of the show, she is so good on this series and after next season ends I hope she continues to find acting success. Poorna Jagannathan is such a good mother character and her flashback scenes with her husband this season destroyed me. Sendhil Ramamurthy doesn’t get much screen time but his scenes never cease to make me either very happy or very sad. Darren Barnet and Jaren Lewison are great this season, this is the closest to team Paxton I’ve ever been but I will die on the team Ben hill. Lee Rodriguez, Ramona Young, and Megan Suri are such fun characters that all get a nice moment to shine this season along with Benjamin Norris who gets a lot more than normal to do. John McEnroe is easily one of the best parts of the show, I’ve never had more fun with a narrator of a show before, he has so many great, quotable lines. Richa Moorjani and Ranjita Chakravarty deserved a whole lot more screen time, I loved them both so much. Utkarsh Ambudkar is just so good everywhere I see him, hope to see him more next season. Sarayu Blue and Anirudh Pisharody were great additions to the season with Pisharody making me question my team Ben loyalties. Love how much more time we got with Jack Seavor McDonald, Eric is so much fun! Niecy Nash doesn’t fail to brighten up her scenes but they are so far in between. If you’re not watching Never Have I Ever then what the hell are you using Netflix for? It is funny, heartbreaking and heartwarming, and full of amazing representation and relatable characters. There is something here for everyone. Please go and binge these three seasons and tune in for the final season. Season three of Never Have I Ever gets a big 9/10 from me, this show is just so so much fun. -Tyler. By @tylersnerdy_review

Reviews by: @picturesinflow White Boy Rick is a hard-hitting drama about risk, greed, life and knowing to just get out when you can. As with more and more movies nowadays, you get the occasional ‘Based on the True Story’ subheading put in to elevate your immersion. The story follows Richard Wershe Jr. who becomes an undercover informant for the FBI during ye olden times of 1980s trying to bust a drug-trafficking and illegal weapon possession charge, and it just gets worse from there. Richie Merritt plays the aforementioned Richard and he brings a glowing performance to the screen, accompanied by his father played by Matthew McConaughey and his sister played by Bel Powley. The biggest plus for this movie is definitely the acting game here, all three of them bring something unique here to liven up this, from time to time, pretty slow movie. Immersion is something all movies strive to achieve, through various aspects like set design, costumes, soundtrack and many more. White Boy Rick reaches that height and carries it though its whole runtime. Where the movie faulters is some plot points payout way too far in the movie to have any dire consequences. This movie is definitely not for everyone and some may even turn it off after about 10-20 minutes. It takes its time to start and when it does, it changes speed constantly from sprinting to just a light walk. A more consistent pace would have done wonders here. By @picturesinflow

Reviews by: @augustkellerwrites Poltergeist is a classic blockbuster. It has a simple plot, general themes, and common protagonists, yet it captures a precise feeling. Specifically, it considers the terrifying wonder of the unknown by thrusting an all-American family into an alien situation. The character choices might weaken suspension of disbelief since their openness allows the conflict, but that's a metaphor for mankind's experimentation with the unknown. Plus, the acting offsets this questionable relatability by adding intensity, chemistry, range, and sincerity. Moreover, there's optimized pacing, iconic dialogue, and textbook story structure. Overall, Poltergeist efficiently blends drama, spectacle, and substance. Technically, Poltergeist is superb. Its editing employs jump cuts, intercuts, smash cuts, and match dissolves. The music is dated, but it's still suspenseful, endearing, and organized. Its production design blends the everyday with the supernatural. The imagery uses pronounced movement, lighting, composition, colors, and angles. Meanwhile, the sound contributes stings, layering, distortions, peaks, and ambiance. Lastly, the immersive special effects utilize green screens, CGI, mechanics, prosthetics, Matte paintings, makeup, wires, pyrotechnics, and puppetry. Consequently, Poltergeist is extravagant, reflecting its themes of wonder. Ultimately, it's a film for everyone. Writing: 6/10 Direction: 8/10 Cinematography: 9/10 Acting: 8/10 Editing: 7/10 Sound: 9/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 8/10 Effects: 10/10 Overall Score: 8.0/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Prey for the Devil is stale. It skims over topics like guilt and faith, but its clumsy conclusions are mixed and insulting. Also, despite being so cautiously formulaic, it's oddly judgmental. Besides these incompetent themes, Prey for the Devil is incredibly bland. Emotions are hurried, dialogue is blunt, motivations are unclear, humor is forced, rules are inconsistent, scares are ineffective, developments are unearned, characters are useless, the plot is predictable, and the climax is weak. Meanwhile, the acting shows range but mostly feels monotonous, obvious, and unenthused. Ultimately, Prey for the Devil is scattered, purposeless, and completely disengaging. Similarly, Prey for the Devil has hollow filmmaking. Its unpleasant cinematography is drab, shaky, and dark, misguidedly attempting to heighten fear. Plus, the pacing is rushed with nowhere to go, diminishing drama and worldbuilding for needless filler. Furthermore, the music is generic, the effects look silly, the cast is obscure, and the production design is forgettable. The only aspect that works is the sound, which adds decent split cuts, stings, distortions, heartbeats, echoes, and whispers. Overall, Prey for the Devil doesn't have a consistent plan outside of recycling dull cliches. Consequently, it's wholly redundant and a meaningless bore. Writing: 2/10 Direction: 2/10 Cinematography: 3/10 Acting: 5/10 Editing: 4/10 Sound: 6/10 Score/Soundtrack: 4/10 Production Design: 4/10 Casting: 2/10 Effects: 5/10 Overall Score: 3.7/10 By @augustkellerwrites

Reviews by: @the_owlseyes “I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.” Francis Ford Coppola PLOT "Oscar-winning producer Albert S. Ruddy's never-before-revealed experiences of making The Godfather (1972)" or "How to make a legendary movie" SCRIPT It's the thing which keeps this series afloat. I like the fact that they wanted to tell how The Godfather was made, because it's pretty intriguing, considering everything the producers had to endure to make it happen. The main character has a good arch, as well as the others, but the characters like Coppola, Pacino and Brando are just blurs. Ultimately this show feels a bit hollow because it doesn't dare to tell the story in an unconventional way but, instead, prefer to be lazy. I'm a bit disappointed. Script: 6/10 ACTING The cast deliver good performances but that's just it. Miles Teller is ok but I've expected more from the lead of this series. The others are ok too because they don't bring much to their characters or add anything else to them, like Fogler who seems more like himself than Coppola. I think that the best one is Matthew Goode who disappears in his character by changing his voice and his mannerism. This is acting. Not behaving like yourself. Acting: 7/10 PHOTOGRAPHY Sometimes the light is used well by alternating it with shadows but most of the time is just flat. Colors don't have any kind of meaning. At least there're some beautiful shots. Photography: 6/10 EDITING It's there. Mediocre and unremarkable. Medriocre at best. Editing: 6/10 SPECIAL EFFECTS Those are mostly used for the background. The point is that in two scenes are bad, like really bad that it's clear the fact that the car is in front of a green screen. This isn't ok for a series which is supposed to be as realistic and grounded as possible. Special Effects: 5/10 SOUNDTRACK The instrumental part of it is invisible because there're a lot of songs, which don't bring much to the show and serve only to remind us the time period this story is set in. Soundtrack: 6/10 COSTUMES Those fit the era and the real-life characters but don't add anything to the plot. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 5/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6 A decent show. Watch it casually, if you want, with low expectations. Skip it if you're not interested in the plot's hook. Director: Dexter Fletcher Screenplay: Michael Tolkin Cast: Miles Teller, Matthew Goode, Dan Fogler, Burn Gorman, Colin Hanks, Giovanni Ribisi, Juno Temple Cinematography: Salvatore Totino, Elie Smolkin Running Time: 60 min By @the_owlseyes

Reviews by: @augustkellerwrites Wendell & Wild is a vision. Its story is fairly cluttered, ambitiously blending personal drama, political commentary, silly humor, and offbeat surrealism. However, it's executed and motivated well enough to be forgiven and appreciated. Plus, the united resolution makes everything satisfying and justified. Its dialogue is exposition-heavy but also quite funny. The character moments are slim but consistently connect. Meanwhile, the acting is solid. Voice acting is naturally limited, but this skilled cast brings comedic timing, potent emotions, and relatability. Ultimately, doing too much can be a virtuous flaw, especially when a story is progressive, efficient, and meaningful. Technically, Wendell & Wild is electric. Its visuals use highly stylized lighting, color, movement, angles, cross-sections, and composition. The editing occasionally sags but employs superimposition, split screens, and abundant match cuts. The symbolic sound utilizes echoes, stings, split cuts, layers, heartbeats, and weather. Its trans-diegetic music mixes punk rock, hip-hop, and choirs into a balanced mood of comedy, drama, and creeps. Furthermore, the cast is deep, the claymation is detailed, and the production design is uniquely surreal. Overall, Wendell & Wild is a distinct dream of energized creativity. Despite its slight convolution, everyone can agree it's inspired. Writing: 7/10 Direction: 9/10 Cinematography: 10/10 Acting: 7/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 10/10 Casting: 8/10 Effects: 9/10 Overall Score: 8.6/10 By @augustkellerwrites

Reviews by: @picturesinflow Save Yourselves! is a quirky dark comedy based following a young Brooklyn couple unplugging from the internet and then, out of nowhere, aliens decide to invade and conquer the world. Dark comedies have a special place in cinema, they always have that easy flow going for them with jokes and overall wholesomeness. These types of movies always have that one moment where it makes a 180 and just turns into something different entirely. Part of the fun is finding that one turning point and just how crazy it will be. The best aspect are the two leads, these two elevated the whole movie in an interesting way. Bringing quirky comedy about masculinity, feeling behind in life, not fitting in, can’t live without technology. Most of us can relate to something here and some to even multiple. Comedies covering relevant topics which are highly relatable is a winning strategy and then you are left with this. A fun little minimalistic movie about an alien invasion. Where it falls short is the ending, I don’t know if it is highly intellectual or just plain stupid. In some movies an ending doesn’t break the experience at all, it is highly enjoyable through 80% of its runtime, but that ending just leaves a bittersweet taste. Funny and cute is how I would categorize this one and would recommend for a late afternoon or evening watch. By @picturesinflow

Reviews by: @the_owlseyes “The thing about football - the important thing about football - is that it is not just about football.” Terry Pratchett, Unseen Academicals PLOT "Docuseries chronicling the purchase and stewardship of Wrexham AFC, one of professional football's oldest clubs, by two Hollywood actors, Ryan Reynolds and Rob McElhenney" or "Ted Lasso in real life" SCRIPT This is an underdog story about a team and a town who is being lifted up by two hollywood actors who want to bring joy and leave something in the world. There isn't really a script but I like how the documentary is built and what is shown of the city, the people and the reality of Wrexham. It's an heartfelt letter to football and its fans. It's a documentary worth watching because it's lead by two charismatic actors and it's poignant by showing us the different faces of a sport and town who just wants to something to joy about. I can't wait to see Wrexham in the Premier League in the next 10 years. Script: 8/10 ACTING Ryan Reynold and Rob McElhenny are between their real personality and the manufactured one. It's hard to understand, most of the time, what is scripted and what isn't. Sure, most dialogues were registered in post but they feel real in my opinion. It's hard to value a documentary because the border between fiction and reality is thin. Acting: 6/10 PHOTOGRAPHY There're some good looking scenes but the light is mostly flat and colors don't have a meaningful role. Photography: 6/10 EDITING This series is edited well. I think that because it looks original, funny and emotional. The last episode has the best editing which aligns with the series events. Slow motion and fast cuts are usually used to make the series more dynamic. Sure, it isn't the best kind of editing I've ever seen but it works well in this context and the game of football. Editing: 7/10 SPECIAL EFFECTS The CGI isn't used here, as it is a realistic documentary about real people with real lifes. Special Effects: 6/10 SOUNDTRACK The soundtrack is made of pop songs and a bit of instrumental music. I like most of the songs, especially the one below which is relevant to Wrexham's supporters. The instrumental parts are ok. Overall I think that it's good but not impressive. Soundtrack: 7/10 COSTUMES Usual clothes worn by normal people and footballers. I like the fact tha Ryan and Rob changed the kits style nonetheless. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 6/10 Photography: 6/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: A wonderful series which is worth watching if you're a football fan or not. Director: Bryan Rowland Screenplay: George Dewey Cast: Rob McElhenney, Ryan Reynolds, Humphrey Ker, Fleur Robinson, Shaun Harvey, Phil Parkinson, Paul Mullin, Jordan Davies, Aaron Hayden, Ollie Palmer Soundtrack: Giosué Greco Running Time: 32 min By @the_owlseyes

Reviews by: @the_owlseyes “That proves you are unusual," returned the Scarecrow; "and I am convinced that the only people worthy of consideration in this world are the unusual ones. For the common folks are like the leaves of a tree, and live and die unnoticed” L. Frank Baum, The Land of Oz PLOT "The adventures of an idealistic mad scientist and his field team of superpowered outcasts" or "One of the Best DC's shows". SCRIPT This is one of the weirdest, funniest, heartbreaking, most bonkers show I've ever seen. I won't spoil anything but a lot of dumb, original and downright strange sh!t happens in this series. All of it is instrumental in propelling the characters development and the main plot. You get to care about the heroes and the villains, in a word which isn't black and white. A lot of differen themes are issued here, too many to list them all. Mr. Nobody is the core of this series and his departure in the second season leave a large hole to fill. The series doesn't drag a lot, mainly the second season, and it has a well defined style and rules, which seems more like guidelines. This show is able to be meta and is pretty aware of its nature, goofiness and weirdness. Nuff said. This series is too awesome to spoil anything. Script: 8/10 ACTING Every actor delivers an impressive performance, especially Brendan Fraser, who just through his voice is able to make Robotman likeable and charismatic, Diane Guerrero, who is able to play different characters with such an ease, Timothy Dalton, who steps in the shoes of The Chief with charm and deceptiveness. Matt Bomer and April Bowlby are weaker but they are still good. Joivan Wade is good but he isn't as good as the main actors. But, the real MVP is Alan Tudyk. He's perfect as Mr. Nobody and he elevates the show's quality. Unfortunately he's missing in the second season and this is why the second season felt weak. He has to be everywhere because he's so entertaining and funny and threatning. I want him in the MCU, because he could be a great addition. More than satisfied. Acting: 8/10 PHOTOGRAPHY This show plays a lot with colours and lights and it offers pretty good visuals. There aren't a lot of good looking scenes but the way they're presented is striking, cause they're outworldy a lot of times. It's never corny or boring and that helps keeping th show fresh. There's too much of it to write here. I think that you should see it by yourself. Photography: 7/10 EDITING It's good but this isn't the best thing about this series. In the first episodes it's more original but it loses its originality after a few episodes. Nonetheless it works. It's just mediocre. Editing: 6/10 SPECIAL EFFECTS Even though they aren't top notch, they work well and they don't hurt the overall experience. I wish they've spent more on them, because sometimes they look clunky. What balances the cgi is SFX. Larry and Cliff are mostly made of practical effects and a lot of episodes feature the characters in practical sets and stuff like that. I'll give it more than 6 before I think that, considering the budget, the series is able to do something remarkable. Special Effects: 7/10 SOUNDTRACK It's made of a lot of pop songs and a quirky and interesting score. I like it a lot, because it defines perfectly the series tone and makes it more appealing. It's a bit like The Umbrella Academy but it's able to do his own thing. Another strength of this series, even though this isn't the main one. Soundtrack: 8/10 COSTUMES Not only they're faithful to the comics but they're also beautifully crafted and impressive. There's a multitude of them and this is one of the things which makes this series a gift. Jane changes costumes a lot of times cause of her personality and it's interesting how every personality gets its own characterization. Larry Trainor is nothing wihtout his costume, which has a relevant role and goes behind aesthetics. Rita's clothes are in line with the character's nostalgia and behaviour. It's hard to find something bad about it. I'm impressed. Costumes: 9/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 7/10 Editing: 6/10 Special Effects: 7/10 Soundtrack: 8/10 Costumes: 9/10 AVERAGE: 7,57 One of the best DC series and products. Just watch it already! Director: Chris Manley, Harry Jierjian Screenplay: Jeremy Carver Cast: Diane Guerrero, April Bowlby, Alan Tudyk, Matt Bomer, Brendan Fraser, Timothy Dalton, Joivan Wade Soundtrack: Clint Mansell, Kevin Kiner Cinematography: Christopher Manley, Noah Greenberg Running Time: 50 minutes By @the_owlseyes

Reviews by: @the_owlseyes "You May Know What Is The Right Thing To Be Done, But Love Stays The Hand. Love Is A Downfall. Best To Make Your Way Through Life Unencumbered" Larys Strong PLOT "An internal succession war within House Targaryen at the height of its power, 172 years before the birth of Daenerys Targaryen" or "The best of Game of Thrones" SCRIPT This is more about politics and intrigues than fantasy, even though the dragons have a supportive role and the lore is mostly in the background. This show is about the downfall of a powerful family due to egoism and hunger for absolute power. I like, especially, the fact that the women have a central role in it, as well as non-white characters, which is progressive without looking politically correct. I like that this show brings back and enhance tha traits which made GoT a success and build on them. Like violence, sex, nudity and a compelling plot. It's a long character study which is surrounded by wars, fights and intrigues. It's more about the people which populate the story rather than the fantastic element which are in it. I like the decision to dig deeper into the dragons lore by giving them different traits, characters, shapes and a doctrine. Sure, sometimes the series drags a bit and some characters act in a too melodramatic way but this is a great show, a rare example of what every series should strive to be. Script: 8/10 ACTING All the cast do an incredible job and deliver remarkable performances. Especially Paddy Considine, Milly Alcock, Matt Smith, Emma D'Arcy, Olivia Cook and Emilia Carey. Considering the average age of the cast is low, this is impressive. Sure, some of them aren't as good as them, especially the newcomers, but they all manage to bring something to the characters. I can't wait to see how they will evolve in the next seasons. Acting: 8/10 PHOTOGRAPHY There're a lot of wonderful shots here, where Martin's world shines in all its magnificence. I like especially the scenes where the dragons are involved because these are majestic. Light and shadows are used carefully and colors have great relevance. Photography: 9/10 EDITING It isn't the best aspect of this show but it's acceptable, even though most scenes are shooted in a boring and derivative way. I've expected more to be honest. Editing: 6/10 SPECIAL EFFECTS The CGI is flawless and it shows with the dragons, which have a large variety of design and details. Not only that but most of the landscapes are special effects but those are smooth and gorgeous. I think that as a series, this has special effects which are above the usual quality displayed in movies and series. Special Effects: 9/10 SOUNDTRACK It has elements of GoT in it and it's wonderful nonetheless. I like the work that Ramin Djawadi did on this show because most of its success is due to an epic score which enhances drama, tension and joy. Soundtrack: 9/10 COSTUMES These are cool and are used well to identify the characters, like Daemon's hood or Aemond crystal eye and patch, and their standing, represented by the color of their clothes. There's a sublime attention to details here. Costumes: 8/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 9/10 Editing: 6/10 Special Effects: 9/10 Soundtrack: 9/10 Costumes: 8/10 AVERAGE: 8,14 Just watch it, if you're a GoT fan or not. Director: Miguel Sapochnik Screenplay: Ryan Condal Cast: Paddy Considine, Matt Smith, Emma D'Arcy, Rhys Ifans, Steve Toussaint, Eve Best, Sonoya Mizuno, Fabien Frankel, Milly Alcock, Emily Carey, Graham McTavish, Matthew Needham, Jefferson Hall, Olivia Cooke, Harry Collett, Tom Glynn-Carney, Ewan Mitchell, Bethany Antonia, Phoebe Campbell, Phia Saban Soundtrack: Ramin Djawadi Cinematography: Fabian Wagner, Pepe Avila del Pino, Alejandro Martínez, Catherine Goldschmidt Running Time: 60 min By @the_owlseyes

Reviews by: @trashbabygames The fallen leaves tell a story… of how Elden Ring became GOTY 2022. This was my first ever FromSoft game that I was able to enjoy and finish. I tried playing Dark Souls and Sekiro but was unsuccessful, confirming my initial thoughts: I was not made for these games. I blamed the linear aspect of them and the lack of opportunity for new players to get better at it. Somehow FromSoftware read my mind and 3 years after Sekiro released they brought Elden Ring to life. Everything that I ever wanted from a FromSoft game was materialized in Elden Ring. This is a very accessible game for everyone that was stuck like I was in the previous titles. You get the chance to explore the world, get familiar with the mechanics, the animations and how your character’s stats work. It still is a challenging game but there’s nothing you cannot surpass. If you’re stuck at some point, there’s always something else you can do and come back later. You can explore the dungeons and caves, fight some mini-bosses and farm some runes. You can meet NPCs and start their questlines. You also get the chance to have some help along the way: the summons! Multiplayer is so good, too! I decided to fight two of the most difficult bosses in the game with the help of some other people and I had so much fun every time. I loved seeing everyone’s badass builds and realizing mine was terrible lol. Overall, I loved that FromSoft decided to expand their target audience by creating this incredible world where everyone can play. I also appreciate that they learned from past games; you can see how the studio grew through the years and became its best version. By @trashbabygames

Reviews by: @augustkellerwrites Midsommar is deeply intense. Overtly about cult mindsets, its subtext explores emotional support and painful relationships. Thus, Midsommar is equally interpersonal and psychological. Its introduction is disturbing, establishing the horror tone and sparking a dramatic thrust that mirrors the finale's payoff. From there, Midsommar methodically builds tension. Meanwhile, Pugh is a powerhouse of ranged sadness. From general anxiety to desperate clinging to turbulent sobbing, Pugh maximizes each beat. Plus, the cult members are eerily serene. Altogether, Midsommar examines isolation, anxiety, and twisted unity. It's slow, but the resolution integrates suspense, themes, and characters perfectly. Technically, Midsommar is stunning and exact. The precise cinematography uses overheads, movement, framing, reflections, upside-down shots, distance, continuation, symmetry, tilt shifts, focus, and composition to build atmosphere and punctuate moods. The editing uses potent match cuts, smash cuts, dream sequences, and psychological dissolves to create unsettling undertones. The sound is highly symbolic, using ringing, muffling, breathing, laughter, and silence to heighten emotions. Also, the production design is detailed, the effects are visceral, and the cultural soundtrack is ominous. Overall, this is a work of art that's both thrilling and significant. Writing: 9/10 Direction: 10/10 Cinematography: 10/10 Acting: 9/10 Editing: 10/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 9/10 Casting: 7/10 Effects: 9/10 Overall Score: 9.3/10 By @augustkellerwrites

Reviews by: @plano.general * Susan: “¿Qué es lo que quiere de esta casa?” * Barrett: “¿Qué quiero?, Soy el sirviente” 🎥 A la muerte de sus padres en Kenia, Tony, joven, rico y perteneciente a la aristocracia, adquiere una mansión. Aunque aparentemente sólida, la casa está semiabandonada. Tony contrata a un sirviente, Barrett, para que le ayude en los quehaceres diarios. 📖 Inquietante y desconcertante película. El cineasta Joseph Losey, huyendo de las garras del Macartismo, se instaló en Inglaterra para continuar su carrera cinematográfica. Colaborando con el dramaturgo Harold Pinter, adaptaron la novela de Robin Maugham convirtiéndose al instante en una obra de culto. Joseph Losey leyó la novela en 1956 e inmediatamente le ofreció el papel a Dirk Bogarde, pero tuvieron que esperar seis años por la censura del momento para empezar a rodarla con un escuetísimo presupuesto. ‼️ El realizador disecciona la condición humana y las relaciones de poder, creando un drama psicológico muy al estilo del teatro de Bertolt Brecht. Una radical oposición a la forma de vida burguesa muy en línea de su pensamiento político. 🪞A través de una cámara sugerente y un simbolismo presente en toda la película (como el espejo o la escalera), Losey consigue atraparnos en una historia de manipulación, dominación, subyugación y finalmente de anulación contra una persona. 🎭 En los papeles protagonistas, aparecen un por aquel entonces novato James Fox, también Sarah Miles que años más tarde protagonizaría "La hija de Ryan" de David Lean y Dirk Bogarde que aquel año se llevó el BAFTA a mejor actor y otros reconocimientos más por encarnar al manipulador sirviente en un alarde impresionante de versatilidad en diferentes registros. By @plano.general

Reviews by: @augustkellerwrites Scary Movie is crude. Its humor is tacky, rarely crafting setup and payoff. Instead, it ridicules marginalized groups, mentions sex and drugs, and references pop culture. These topics can create comedy but that requires insight or wit. For a so-called parody, it does little to actually mock the genre. Usually, satire will recontextualize tropes, but Scary Movie just inserts juvenility. Ultimately, humor presents new ideas in digestible ways. Whether it's observational, situational, or slapstick, comedians recognize something that viewers don't. Clearly, that isn't the case here. Some jokes work and the actors have timing, but that's vastly outweighed by Scary Movie's annoying nature. Technically, Scary Movie is similarly unpolished. Its cinematography parodies recognized films, but mostly the visuals are overlit and flat. Meanwhile, the editing drags, the sound is corny, the effects are unconvincing, and the production designs are weak imitations. Together, these aspects make Scary Movie cheap. Likewise, the music is either generic, arbitrary, or replicating a better movie. Finally, the direction is nonexistent. Scary Movie's tone is definitely goofy, but its disorganized style is almost insulting. Overall, Scary Movie started a trend and is marginally better than the sequels it spawned, but it's still a heap of low effort. Writing: 3/10 Direction: 2/10 Cinematography: 3/10 Acting: 4/10 Editing: 3/10 Sound: 3/10 Score/Soundtrack: 3/10 Production Design: 3/10 Casting: 4/10 Effects: 3/10 Overall Score: 3.1/10 By @augustkellerwrites

Reviews by: @picturesinflow Into the Pit is a fast-paced boomer-shooter (DOOM style) roguelite about saving villagers from a downtrodden city in need of serious help due to an overwhelming evil. With it being reministact of old-school shooters, each player from that time or someone who has an interest with them will feel right at home. Fast moving and hard-hitting enemies which demand some serious back-peddling and side-strafing are at the fore-front of those shooters, as is in Into the Pit. Those said enemies could have been more aggressive and or annoying, rather than just waiting for you to kill them. Gameplay bordering on the grindy with (surprisingly) little variation in terms of weapons do set it back quite a bit. Story is placeholder at best, implemented to make you do the same repetitive dungeons over and over. However, the soundtrack is great and perfectly matched each atmosphere. In addition, we have difficulty which shouldn’t be this easy at all, no game should strive to be as hard as possible, as to not feel cheap, but each player should be encouraged to die in a roguelite. That is the magic of roguelike/roguelite style games is that you die constantly, and by dying you are learning more and more, which in the end, after you defeat the treacherous boss, that earned feeling cannot be beat. I failed to die in Into the Pit (these are words which shouldn’t be stated for any roguelite). Gameplay: Being a roguelite adventure, Into the Pit is doing the same few dungeon runs with different variations in terms of enemies, weapons, buffs/debuffs ,locations, hazards, and much more. Let's get into how gameplay feels first and that would be floaty, due to heavy restrictions of weapons, and enemies starting to aggravate when you are way too close, most of the game is just a breeze. There are only about 5-8 different dungeon room layouts and those hinder the game in a big way. Down in the ‘Music and soundtrack’ category you will see me nagging about how the enemies will give out their position constantly. Here in the gameplay section we will be talking about behaviour and overall AI. Let's start off with behaviour, enemies are normally spawned in when you reach a certain position in said route and on the way to that said position, there are between 2-3 and none enemies there to offer a challenge. Now, I don’t know if it's to save on resources or something else, but normally Unity doesn’t suffer that much when it tries to render more than what is present in Into the Pit. Onto the second point and that would be AI, and how needlessly careful it is. Down in the Music section I stated that they give out their position thanks to them making constant sounds, so in that logic there is no reason to put them behind corridors as they wouldn’t scare anyone or move fast enough to end you (if you have more than 1 HP present). Since turret/flying type enemies can shoot you use them to create considerable tension, make the flying ones move faster but deal less damage (just to balance things out), in a way make them annoying and not just stronger. The other archetypes I would make them more aggressive, add an option to make them roam around and when they see you, and if they are ranged, stay where they are and just shoot, rather than moving in a straight line just asking to be shot. You are tasked to travel to a few different dimensions each with their own biome and enemies, these dungeons are divided into 5 floors with the fifth being the boss room. Each floor has 8 doors each with a different sign above them to signal what kind of room it is, with differences in terms of what resources you get from them that all come to what you need for upgrades. When a door is chosen and (hopefully) completed, you are brought back into the lobby area where you pick another upgrade to make upcoming challenges easier. It all comes down to what you need at this particular time, as when a door is finished, the door next to it becomes unavailable, sort of a small minigame in between all the action. Read a book, learn some spells, enter literal hell and destroy demons. The normal way to any reader's heart. Story: An overarching villain is at the forefront here with, he is there after every successful dungeon run to taunt you into going back and to stop your good deeds because they are futile. You get little tidbits of lore mostly through banter between each character in the village, where each does want to work with you and help you, but first you need to get enough villagers back before they can open. Graphics: Old timey but respectable, as previously mentioned, Into the Pit is mainly focused around fast-paced movement and killing enemies in a few hits. Since that is the case, graphics are only needed as a framework so that other mechanics can shine. Each dungeon has an unique biome and with that different terrain (at least those 5-8 different variations), unique enemies, colours changing depending on which upgrades you pick and much more. Furthermore, the area between picking different dimensions is where it’s unique, and that would be the village area.That said area is deeply set in fog (in a reddish colour), tight roads, broken and or darkened windows, barricaded and or locked doors, you can’t see anything or anyone, but those villagers can see you perfectly, a rather unnerving feeling to be honest. Music and soundtrack: In terms of overall soundtrack Into the Pit offers a mix of heavy-hitting but fast paced to slow and methodical pieces with deep seated dread. Each dimension has its own ‘feel’ thanks to the level design, but to an extent even the soundtrack. The arcane bolts depending on which variation you choose have a pretty accurate sound mix to elaborate with how much force the enemies are being struck. And now we get to another sour point and that is enemies grunts and roars, I can hear them from the other side of the dungeon and I can pinpoint from where they are going to come from. Rather than them giving out their position even before you lay your eyes upon them, it would have been better for some to sneak up and startle you. You're a mage set out to kill enemies in a bottomless pit, but that doesn't mean you don't have a killer taste in music. Characters: Into the Pit is about a few people around the village and your playable character, however only your character is actually 3D and present, all the villagers are just doors with which you can interact and you get static 2D pictures with some accompanied text. With the game being as short as it is, we didn’t really need more in this aspect to be honest. Weapon variety: In the world of Into the Pit you are playing a mage to an extent, who has very few options in terms of what actual magic that can be cast. Here we have a few different arcane bolts, normal (1 click 1 bolt), burst (3 quick succession bolts), sniper (long range with high damage), explosion (1 explosive AoE (area of effect) but small range). Each of these does change up your approach to combat and with the addition of having different stats attached to it, be it faster shooting speed, bleeding or fire damage, slow down enemies, enrage after being hit and more. These additional stats can be gathered after finishing each subsequent run, however, since we are doing almost the same dungeons, in the same rooms, with the same enemies and weapons, it still isn’t enough. In my opinion it would have been better to have more of a balance between weapons and stats, reduce possible affliction to each weapon and add more variations of arcane bolts. Difficulty: If I failed to die in a roguelike then something is seriously wrong, there were times where it got seriously close, but those were far in between. Implementing those stated above changes in the Gameplay section would do wonders. Into the Pit is a cute little indie game with simple mechanics, an element of nostalgia, limited variation in terms of dungeons and weapons, but made with passion from the fellas over at Nullpointer Games, and this being their first game is promising for sure. You can find Into the Pit on Windows (Steam, GOG.com, Humble Bundle, Green Man Gaming, Xbox App) and on Xbox One. By @picturesinflow

Reviews by: @augustkellerwrites Black Adam has nothing to offer, overstuffed with derivative tropes. There's blunt dialogue, obvious exposition, awkward comedy, predictable twists, flat characters, excessive plotlines, rushed emotions, weak motivations, repetitive battles, and contrived devices. Consequently, the film is tensionless, tedious, and cliche. Some will say The Rock carries the film, but he's very one-note and much less polarizing than intended. Black Adam introduces a debate about extrajudicial execution but avoids honoring the serious topic. Plus, the peripheral acting is mild or weak. Ultimately, Black Adam sticks to tired formulas, underdeveloped substance, and insincere connections. Technically, Black Adam is inconsistent, unoriginal, and misguided. Its visuals use movement, contrast, and composition, but that's outweighed by drab colors, cluttered frames, confusing action, and a sterile atmosphere. This coincides with the excessive CGI, which overtakes imagery and undercuts grit. Meanwhile, the music is uninspired, the generic production design is convoluted, and the cast is thin. Its sound adds narrations, abstractions, stings, and complexity, but comes across noisy because it's missing intimacy. Similarly, the editing is rushed, overcut, and exhausting. Overall, Black Adam has an uneven tone, halfheartedly committing in all directions. Consequently, it's a routine mess. Writing: 2/10 Direction: 3/10 Cinematography: 4/10 Acting: 5/10 Editing: 3/10 Sound: 6/10 Score/Soundtrack: 6/10 Production Design: 4/10 Casting: 6/10 Effects: 5/10 Overall Score: 4.4/10 By @augustkellerwrites

Reviews by: @mr.cinemaaa Project Details Director: Abhishek Kapoor Written By: Abhishek Kapoor, Supratik Sen & Tushar Paranjpe Produced By: Bhushan Kumar, Pragya Kapoor, Krishan Kumar & Abhishek Nayyar Production Houses: T-Series & Guy in the Sky Pictures Cinematography: Manoj Lobo Sachin–Jigar Music Director: Chandan Arora Edited By: Bindiya Chhabria Production Design: Roshan Vichare Art Director: Shruti Kapoor & Akshay Tyagi Costumes: Sanjay Maurya & Allwin Rego Sound Design: Sanjay Maurya & Allwin Rego Fights/Stunts: Allan Amin & Vishal Bhargav Run Time: 1 Hour & 57 Minutes CBFC Rating: "U/A" Direction & Story Manu, a bodybuilder from Chandigarh falls in love with Maanvi, a Zumba instructor. All seems well until a shocking revelation causes turmoil in their love story. Abhishek Kapoor, Supratik Sen, and Tushar Paranjpe's story based on a novel idea given by Simran Sahni is progressive, refreshing, and the need of the hour as it drives home a very important message. The screenplay by Supratik Sen and Tushar Paranjpe is entertaining and thought-provoking. The balance the story maintains to not get preachy along with keeping a point in an entertaining way is commendable. Director Abhishek Kapoor does a superb job with his craft. The way he has handled the subject with a lot of care without being preachy deserves special mention. Especially all the scenes with the heroine, she fearing to express her issue, and when she expresses it are handled in a mature manner without any discomfort. Lead Performances Vaani Kapoor is undoubtedly the best performer in the film. She is simply outstanding and is sure to surprise audiences with her bold choice of character. She carries out her role with utmost perfection & sensitivity and gives out her career-best performance. Ayushmann Khurrana is in top form as always. And this time too, he gives everything to his role, including a very impressive physical transformation. He deserves praise for yet again stepping out of his comfort zone and taking up a role that not many actors would have dared to accept. He carries his role with ease as Manu, Karishma Singh leaves a huge mark as the heroine's friend while Goutam Sharma and Gourav Sharma are good as the twin brothers cum hero's sidekicks. Tanya Abrol & Sawan Rupowali provide some laughs here and there with their comedy. Kanwaljit S, Satwant Kaur, Abhishek Aanjjan Srivastav & others are fine Detailed Analysis From sperm donation, erectile dysfunction, premature baldness, middle-aged pregnant mum, overweight wife, feminine phone voice, and gay romance, Ayushmann now comes up with another interesting point where he falls in love with a trans woman. The film introduces the characters neatly at the start. The romantic track is refreshingly believable &the lovemaking scenes are intense but not too bold as well. The scene where Maanvi makes the big confession is arresting but even more impactful is the intermission point. These are the best scenes of the film. The second half looks a bit dragged with a few boring scenes but it’s the hospital sequence from where the film gets back on track. The climax is convincing but the bold track & the idea would not be easy for a large section of the audience to digest. The convos between the lead pair & all scenes of Vaani are written well. Technical Team Direction: 4/5 Story: 4.5/5 Screenplay: 3.5/5 Dialogues: 4/5 Music/Songs: 4.5/5 Background Score: 4/5 Production Values: 4.5/5 Cinematography: 4.5/5 Editing: 4/5 Costumes: 4/5 Choreography: 4.5/5 VFX/Graphics: 4/5 Sound Design: 4/5 Plus Points Vaani Kapoor's Bold Act & Performance Ayushmann Khurrana's Performance Unique Love Story & A Bold Thought All Scenes Of Vaani Kapoor Pre Interval & Interval Episodes Convincing Narration & Direction Songs & Background Score Cinematography & Production Values Minus Points A Bit Dragged Second Half Hero's Family Scenes Half Backed Sub Plots Final Verdict This Aashiqui has a startling twist and some brilliant performances. P.S.: Watch this only if you are matured enough to accept a point like this. Recommended: Yes Mr.Cinema Rating: 3.5/5 0.5 - Unbearable 1.0 - Avoid 1.5 - Flop 2.0 - Below Average 2.5 - Average 3.0 - Watchable 3.5 - Hit 4.0- Super Hit 4.5 - Blockbuster 5.0 - Mega Hit By @mr.cinemaaa

Reviews by: @the_owlseyes "You can die, but you can't unlive. I lived" Jessica Roach PLOT "Jimmy Keene is sentenced to 10 years in a minimum security prison but he cuts a deal with the FBI to befriend a suspected serial killer. Keene has to elicit a confession from Larry Hall to find the bodies of as many as eighteen women" or "You need to dance with the devil to find redemption" SCRIPT Even though the story is a bit generic and derivative, the plot is well written and the themes are on the front. The main character gets a wonderful arch and the "villain" a tragic one. This story is inspired by real events but the showrunners don't take sides, by showing the struggles which regarded the victims and the murderer. A murderer who looks unable to do evil actions, a naive individual who feels out of place in a prison. This show is also about that, the fact that even simple and limited people can be monsters. I think that the best message of this series is the fact that everyone can have a second chance. It's all in our hands to change ourself and our fate. Script: 8/10 ACTING Taron Egerton, Paul Walter Hauser and the late Ray Liotta deliver wonderful performances, especially Liotta and Hauser who show a wide range of emotions and bring a lot of gravitas to their characters. Egerton is good as the main protagonist and makes his character likeable, charming and charismatic. Not only that but he also gets to show his dramatic acting chops, which are remarkable. The other actors are good too but not worth mentioning. I think that the acting, with the script, elevates the overall quality of this show. Acting: 8/10 PHOTOGRAPHY Light and shadows are used well but colors don't have a deeper meaning. There're a bunch of good looking scenes but most of it is pretty stale. Photography: 6/10 EDITING I think that this series doesn't have a particularly remarkable editing because it doesn't do anything new or outlandish with it. Sure, this is a thriller but there're a lot of ways to make each scene interesting. Editing: 6/10 SPECIAL EFFECTS The series is pretty grounded and those are imperceptible, as they should be. Special Effects: 6/10 SOUNDTRACK I don't find it remarkable or memorable. Is more like some sort of background noise. Soundtrack: 6/10 COSTUMES Nothing impressive about those. Ordinary clothes worn by police, convicts, businessmen and ordinary people. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,57 A thrilling series about a man who went to hell to be reborn as a better person. Director: Michaël R. Roskam Screenplay: Dennis Lehane Cast: Taron Egerton, Paul Walter Hauser, Sepideh Moafi, Greg Kinnear, Ray Liotta Soundtrack: Mogwai Cinematography: Natalie Kingston Running Time: 57 min By @the_owlseyes

Reviews by: @darkkev95 I wish you all a happy new year and best wishes for 2022. Although I have seen a lot of films in the past year and have reviewed them to have a fresh opinion on them. I watched Chronicle, a Josh Trank movie. A film that I've been watching for some time and having only seen the Fantastic Four made by the same director. To say that I liked the film, we feel that the film is made on a low budget and that Josh Trank masters his subject in relation to the superhero genre: I describe his film as a UFO in the genre and he succeeds in given deep themes on the genre building the hero and the villain (which Dane Dehaan and Alex Russell do and their development this fact little by little) in short although for my part the only problem of the film is that it does not not manage to land especially towards the end and we feel that this film is sometimes clumsily cut but its side filmed in the first person gives its charm to the film. It was a pleasure to see this film which shows that Josh Trank knows these words. Just a good superhero movie. By @darkkev95

Reviews by: @_gameing_dude Story: There is a lot of ayory in this game and a lot of lore and to be honest i dont undesrstand 40% of it some im going to put it simple.You play as Sam Porter Bridges who is a porter in a post apocalyptic where with the help of the delivery company Bridges and Fragile you connect America again while delivery packages avoiding BTs (pretty much ghosts) and other dangers. Gameplay: Besides all the BTs and Enemies your real enemie is the terrain.At first i tought oh its just walking from A to B but with yime i was blow away by the depth of the game.You see there are a lot otimes to use to help you on the way like ladders and climbing anchors but there are also floating carries,repair spray,a PCC which allows you to build a lot of diffrent stuff from a generator to a bridge.This game has a very interessting multieplayer.Its not so much like you play with other players but things player have build will show up in your game to help you out and its the other way around things you build will help others. Visuals: Playing this game is relaxing for the most part since the visuals are just so appealing. I really like that you start the game in these green smaller hills and then the more the game goes on you come across rocky and showy mountains.There were a lot of times where i would just rest with Sam and take the world in around me lisen to the wind and the timefall rain.The game was done with motion capture and its a amazing choice that they did it that way since these kind of great performances you can only get that way. Final Thoughts: Death Stranding is a misunderstood game.A lot of people were quick to label it a walking simulator where you go from A to B but its not a straight line sonetime you need to get over huge mountains so you have to think wjat to bring with you or even go before and a make a path for yourself.That interessting gameplay okus with amazing visuals and performances from the actors and stuning music which i never heared this type of music in my life before i could not tell you what genres this is.Yet i found it hard to play this game on a day to day bases since after some time the gameplay still gets dull and repetitive after time.There is a lot more i would talk about im only talking about the simple stuff there are 7 hour reviews about this game showing how amazing it is.Death Stranding gets a.... 8/10 By @_gameing_dude_

Reviews by: @tylersnerdy_review @augustkellerwrites @michaels_movie_bay Yesterday I got out and finally got to dive into The Wizarding World again with Fantastic Beasts the Secrets of Dumbledore. The third Fantastic Beasts movie was just a blast to me. Granted I really liked the other two as well. I never really understood all of the hate for them other than JK Rowling is a massive bigot and should step away from this franchise. The Wizarding World of Harry Potter gets a lot bigger with this movie as we see for the first time, Germany, China, and Bhutan, as well as returning to Scotland, England, France, and America. We learn a lot about the politics of the world which is something that always interests me about fantasy worlds. But what I really love is how crucial they make Dumbledore and Grindelwald’s love to the story. I’m proud of Warner Bros for committing to such a queer centric story but they went and edited it for China. Eddie Redmayne is still the adorable Newt we know and love but this movie felt like a passing of the torch from Newt to Albus. Jude Law is just so good as Albus and gives him so much charisma and depth. I loved Johnny Depp’s Grindelwald but Mads Mikkelsen is a fantastic replacement that works perfectly with Law. Ezra Miller continues to be the weak link of this franchise. I don’t hate his character I just wish they’d give him more depth. Dan Fogler continues to be the heart and the comedy of the series and his love story with Alison Sudol is just so good. Callum Turner gets so much to do this time with a much more crucial role. Jessica Williams is absolutely fantastic here and I really hope we get to see more of her. Katherine Waterson is listed pretty high for someone with so few scenes here. William Nadylam is back and still just as meh, I like his acting but his character has no emotion. Richard Coyle is a pretty good Aberforth and sells the twist of this movie. Oliver Masucci, Maria Fernanda Candido, and Dave Wong show us new politics in a cool way. Victoria Yeates is good as Bunty and gets her a few good moments. Fiona Glascott is back as McGonagall and steals the few scenes she’s in. David Yates clearly knew what he wanted to do with this film and it pays off. The movie is acted well, looks and sounds fantastic, and has a really good score that knows the perfect times to kick in the established themes of the franchise. This movie is two hours and twenty two minutes but it feels way shorter. When it ended I was like… this is a fake out, there’s more right. The ending is super sweet but there’s no set up for the next movie. I know it’s possible there won’t be, so if this is the end, it’s a good ending. So despite the fact that I really like this entry, it just felt a little lackluster, it just needed something more. And don’t worry I’m not talking action, there’s quite a bit of really good action in this. Fantastic Beasts the Secrets of Dumbledore is a fun addition to the Fantastic Beasts series and adds a lot of the Wizarding World overall. I’m excited to see what they might do next. I’m giving this one a pretty big 9/10, I really liked it. -Tyler. By @tylersnerdy_review The Secrets of Dumbledore is convoluted by inconsequential plotlines and redundant characters. It's so unfocused, it doesn't have a consistent tone or protagonist. The film centers around wizarding politics, but doesn't elaborate on them. This shrinks the Potterverse and satisfies nobody. Meanwhile, Redmayne and Law's protagonist duet is equally unsatisfying. Oddly, no character feels essential (besides Grindelwald) and action sequences don't progress the story. Ultimately, the movie is overstuffed and develops nothing. Mikkelsen and Fogler excel in their limited roles, but they're sparse in this jumble. Without streamlining, The Secrets of Dumbledore is emotionally uninspired. Technically, The Secrets of Dumbledore is disappointing. First, the effects are overdone. Earlier action is compelling, but the finale is undercut by excessive CGI. Plus, the production design in that final act feels empty. Squandering the union of fantasy and period dressings, the climax is woefully shallow. Furthermore, the editing is bloated and arbitrary because scenes don't influence one another. Lastly, the imagery is drab due to needlessly muted colors and plain framing. The solid music, impressive cast, and meaningful sound can only go so far. Overall, The Secrets of Dumbledore might please some, but is unlikely to leave an impression. Writing: 5/10 Direction: 5/10 Cinematography: 6/10 Acting: 7/10 Editing: 5/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 6/10 Casting: 8/10 Effects: 6/10 Overall Score: 6.3/10 By @augustkellerwrites 3/5 With Grindelwald (Mikkelsen) and Credence (Miller) now aligned, Dumbledore (Law) enlists the help of Newt Scamander (Redmayne), Jacob Kowalski (Fogler) and some fantastical beasts to break an unbreakable vow and reveal Grindelwald’s evil to the wizarding world. The Secrets of Dumbledore is not a bad film, but it is not a particularly good or interesting one. To its credit, the story is much more stripped down and intimate than its predecessor which lacked any significant human connection. The characters in this film evolve and grow in interesting ways and some charming new animals and wizards are introduced to the film canon. But while the Harry Potter films were able to capture both the wonder and grandeur of Rowling’s narrative creativity, the Fantastic Beasts saga continues its turn towards the dour, providing only glimpses of the fanciful magic of the films it tries so hard to emulate. Mads Mikkelsen assuming the role of Grindelwald provides a definite boost. He embodies pure evil but his undeniable charisma makes his acceptance by the wizarding community believable. His replacement of Depp is never discussed or referenced in the slightest, a choice I found quite odd. And as much as I enjoyed Lally (Williams) as a new character, her appearance and role seemed to be a clear replacement of Katherine Waterston’s Tina Goldstein. Tina’s absence from the film is never explained and she awkwardly appears in two short scenes which barely even qualify as a cameo. Her centrality in the first two films and unexplained disappearance from the third was, for me, the film’s greatest weakness. While many of the previously established story arcs from the previous two films are addressed, many felt overly rushed. Tina and Newt are inexcusably sidelined, Queenie and Jacob’s life-altering story is resolved far too quickly, and Credence’s evolution is also hurried and resolved poorly. These choices detract from the overall narrative leaving the audience with barely a cliffhanger ending. Despite all its flaws, Crimes of Grindelwald went out with a bang. Sadly, Secrets of Dumbledore ends with a whisper. The standouts here continue to be the animals in Newt’s magical briefcase with old favorites and new additions eliciting the most charming and magical moments of the film. Similarly, James Newton Howard’s score builds upon its previous themes and delivers something memorable and beautiful. Otherwise, The Secrets of Dumbledore feels cobbled together, rushed, and unsure of what it wants to accomplish. It is forgettable and offers no significant improvement over the previous films. I didn’t hate it, but that hardly feels like much of an endorsement. Hot take: Sidelining Tina is unforgivable, and I expect this to be a commercial failure. I would be surprised to hear about plans to continue the franchise. By @michaels_movie_bay

Reviews by: @the_owlseyes "One thing we can do better than any creature in all Middle-earth – we stay true to each other, with our hearts even bigger than our feet.” PLOT "Epic drama set thousands of years before the events of J.R.R. Tolkien's 'The Hobbit' and 'The Lord of the Rings' follows an ensemble cast of characters, both familiar and new, as they confront the long-feared re-emergence of evil to Middle-earth" or "A LOTR Prequel Series" SCRIPT This is the weakest aspect of this show, which affects the enjoyment of the series. That's because the show feels disjointed, rushed and unfocused. In my opinion there's a lot of filler which shoud be cut and characters which aren't explored well. I like the Sauron's twist but this series is too much plot and not enough character. Sure, Galadriel has an arch but it's underwhelming, especially considering what could've been. The narration at first is sluggish and then too fast, the pacing is an issue which needs to be fixed in the next seasons. I think that this series serves just for worldbuilding and to lay the ground for what will come next. The intriguing, fascinating and complex lore of Tolkien is there. The showrunners just need to find a way to adapt it in a better way. Overall it isn't bad but it's surely underwhelming. Script: 6/10 ACTING The acting seems good but I don't find the performers particularly remarkable. Sure, Morfyyd Clark and Robert Aramayo are well casted as Galadriel and Elrond but, considering the fact that most of the actors are newcomers, I've expected more because I'm used to the top-notch level of LOTR and The Hobbit. Nonetheless the acting is effective and the actors do what they can with what they have. I think that there's a lot of potential there. Acting: 7/10 PHOTOGRAPHY Wow. This series is just wonderful to look at. A true eye pleasing experience, which surpasses the movies. Every shot is beautiful and fascinating. This show is just beautiful and its hard to describe it. You have to experience it. Not only that but all the colors have a deep meaning and light and shadows are masterfully used by the directors. Photography: 9/10 EDITING This is one of the weakest aspect of this show, because it seems boring and derivative, without anything remarkable about it. Sure, a lot of shots are shot in interesting ways but I've expected much more to be honest. It's mediocre, just that. Editing: 6/10 SPECIAL EFFECTS Considering the budget, this series goes above and beyond expections in terms of CGI, VFX and SFX, to the point that these are so smooth that its hard to differentiate what is CGI and what isn't. It's a different approach than the LOTR Trilogy but it's very effective. This is one of the few series where the CGI is used to its full potential. Special Effects: 8/10 SOUNDTRACK The soundtrack has a lot of influences from the LOTR Trilogy and it fits this series to perfection, because it gives it a continuity with the overall universe, even though this isn't canon. I think that the theme is superlative as it was composed by Howard Shore, the composer of the Jackson's Trilogy. The score is able to generate feeling of awe, wonder, dread and create a light mood when its necessary. Well done. I don't consider it memorable yet, but it will be. Soundtrack: 8/10 COSTUMES This series features costumes which are on the same level as the LOTR trilogy and The Hobbit Trilogy. There's a maniacal attention to detail for each costume. Every species gets his own style and colors. The ones I've liked the most are the Orcs and Harfoot's costumes, which are in line with their lifestyle and goals. I also think that the Orcs makeup is outrageously good. This is one of the few shows which manages to get an high score in this section. It's rare. Costumes: 9/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 9/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 8/10 Costumes: 9/10 AVERAGE: 7,57 A good looking series which is technically and visually good but lacks a better script. Watch it if you're a LOTR fan. I think that it will get better and better with each season. Director: J. A. Bayona Screenplay: J. D. Payne & Patrick McKay Cast: Morfydd Clark, Ismael Cruz Cordova, Charlie Vickers, Markella Kavenagh, Megan Richards, Sara Zwangobani, Daniel Weyman, Cynthia Addai-Robinson, Lenny Henry, Lloyd Owen, Nazanin Boniadi, Dylan Smith, Alex Tarrant, Tyroe Muhafidin, Robert Aramayo, Geoff Morrell, Thusitha Jayasundera, Maxine Cunliffe Soundtrack: Bear McCreary Running Time: 70 min By @the_owlseyes

Reviews by: @natsfilmreview The Lord of the Rings: The Return of the King. (2003)(4h 11m) ⭐ Ian McKellen, Elijah Wood, Viggo Mortensen (plot) This is the third film in the LOTR trilogy, presenting the final confrontation between the forces of good and evil fighting for control of the future of Middle‑earth. (rating and review) 9/10 🍿This film is a fantastic end to the trilogy. The majority of the much loved characters get their happy ending, with much hope for their newfound future of peace and prosperity, after a gruelling war against Sauron and his forces. 🍿There are so many powerful scenes in this film with some of my favourites being: the lighting of the beacons of Gondor, Eowyns battle against the Witch King, the re-forging of Narsil and the reunion of the fellowship amongst many other amazing scenes. 🍿The soundtrack by Howard Shore also adds to the emphasis of the story, beautifully heightening the going-ons of each scene. 🍿The costumes and sfx makeup all add to the realistic feel of the film, with very little CGI being used. In short it's all down to traditional acting and filmmaking, which makes the story feel so natural to watch, even though it's surreal fantasy. 🍿This film does differ very slightly from the book which is why I am marking it at 9, but regardless it is a brilliant film, with natural acting and filming techniques, a gorgeous soundtrack and cinematography and a satisfying bittersweet ending to one of the best trilogies to have graced our screens. By @natsfilmreview

Reviews by: @kenny.jones_19 Now Streaming on Disney+ After the murder of his family, Marine veteran Frank Castle becomes the vigilante known as "The Punisher," with only one goal in mind: to avenge them. I`ve been a fan of this character since i saw the Dolph Lundgren movie in the early 90`s and then saw the terrific Thomas Jane version, i thought that and he was really good, "War Zone" was okay and i enjoyed this and i was really excited to watch this series, Well Sunday morning i started this series at 4am{ i don`t sleep good these days, so i made tea and started my day} and man this show is INTENSE and graphic with VIOLENCE, So no child really under 14 should watch this show without a adult and now with the new TV-MA feature you need a pin number to get into these shows. This is all about Frank Castle where his family was killed and that`s all i`ll say about that because i want you to enjoy the story along with me. This series is AWESOME. My hope with Disney plus they`re bringing back these terrific series. The Punisher Series 1 gets 5 Whoppers out of 5 Whoppers AWESOME SERIES!!!! By @kenny.jones_19

Reviews by: @ilcommentatore_serietv_film One evening, looking for something to watch, I came across this anime. I won't tell you anything about the plot.... I'm just saying WATCH IT! It is in the fantasy genre, so get ready to meet Heroes, Kings and Queens, Princesses and magical Powers. Following the story, the only ones who use a little brain are Naofumi, protagonist and Hero of the Shield, the team of him and the Queen. All others are simply from "outline", often causing more damage than it should repair (e.g. other Heroes' deeds) The growth of the characters is the most interesting part, Naofumi and Raphtalia in the first place, who together embark on a journey of growth that will make them better. Raphtalia then, is the character I loved the most, who from a simple "medium" becomes really fundamental for Naofumi. However, the characters are well characterized, in order to be deep, believable and interesting. The character design of each character is well done and very particular; the settings are well done and cared for. The technical sector of the work is very well done, from the animations to the effects, the audio sector is also good, with non-invasive music capable of giving emotions. The ending leaves many questions open... And so I'm confident of a second series that will answer the questions left open. If you love anime... Watch it! Really recommended! Rating: 🌟🌟🌟🌟/5 By @ilcommentatore_serietv_film

Reviews by: @mr.cinemaaa Project Details Director: Diya Annapurna Written By: Ghosh Sujoy Produced By: Ghosh Gauri Khan, Sujoy Ghosh & Gaurav.V Production Houses: Red Chillies Entertainment & Bound Script Production Cinematography: Gairik Sarkar Music/Songs: Vishal–Shekhar, Anupam Roy Clinton Cerejo & Bianca Gomes Background Score: Clinton Cerejo & Bianca Gomes Edited By: Yasha Ramchandani Production Design: Rajesh Choudhary, Madhumita Sen & Ajay Sharma Costumes: Jia Bhagia & Mallika Chauhan Fights/Stunts: Alister Mazzotti & Paramjeet Singh Sound Design: Anirban Sengupta Run Time: 2 Hours & 11 Minutes CBFC Rating: "U/A" Direction & Story This movie is a spin-off on a fictional character named Bob Biswas from Kahaani (2012). An amnesiac Bob has emerged from an eight-year coma, reunited with his wife Mary and two children, and is slowly coming to terms with the fact that he may not be a good man. What happens later needs to be seen in the film. Sujoy Ghosh's story is interesting and serves as a nice origin story of the iconic character from Kahaani [2012]. The screenplay though isn't as effective as it should be. There are some nice dramatic & emotional moments in the film but the flow never looks organic and there are several questions that are left unanswered. Diya Annapurna's direction is good. She has extracted good work from all the actors & succeeds very well in treating it just like her 2012 father's film, but she seems to have sacrificed the intrigue value of the plot at a few places. There is always a hurried feel in the narrative. Lead Performances Abhishek Bachchan comes out with flying colours in a complicated role as Bob Biswas. His body language, dialogue delivery & looks look perfect. He has minimal dialogues & he communicates with his eyes & silences, and it is something to watch out for in the film. He is the only reason one can sit throughout the run time. Chitrangda Singh shines as Bob's wife Mary and she lights up the scene whenever she enters the frame. Paran Bandopadhyay is outstanding as Kali Da. Samara Tijori leaves a fantastic mark as Mini Biswas. Vishwanath Chatterjee delivers a neat performance as Kharaj while Kaushik Raj Chakraborty is effective as Ustaad. Bhanu Uday Goswami, Rajatava Dutta, and Kunal Verma are decent in their roles. Amar Upadhyay is fine as Mary's boss while Purab Kohli is good in a cameo. The rest of the supporting cast are okay in their respective parts. Detailed Analysis The film starts off well with a dark theme and a drugs mafia angle to it. The initial scenes of Bob look flat and have nothing special. It is only when Bob kills his irritating neighbour that the film goes on a different level. The pre-interval bar scene maintains the interest. The interval is fine. Post-interval too the film has some good scenes and nice family emotions, but there is always an incompleteness in the narrative with the hurried & flat scenes which don't create an impact. A major problem is that a few bits are not explained, like how Bob lost his memory, the intentions of Jishu and Kharaj behind killing Bubai, Rahul, etc. Also, there is no attempt made to explain the motive behind these killings which shows the poor writing. The twists come in too late and too inconsequential to make any difference to the plot. Another biggest drawback is the weak antagonist roles in the film. Technical Team Direction: 3/5 Story: 3.5/5 Screenplay: 2/5 Dialogues: 3/5 Music/Songs: 4/5 Background Score: 3/5 Production Values: 4/5 Cinematography: 4/5 Editing: 3.5/5 Costumes: 3.5/5 Choreography: 4/5 VFX/Graphics: 3.5/5 Sound Design: 3/5 Plus Points Abhishek Bachchan's Performance All Supporting Cast Cinematography Background Score Basic Plot Minus Points Weak Writing Many Unanswered Questions In The Plot Incompleteness Slow Pace With A Hurried Narrative Uninteresting Antagonists Half Backed Sub Plots Songs Final Verdict A crime thriller that does not involve the viewers as much as it should. P.S.: Can give it a try once only for Abhishek Bachchan!! Recommended: 50-50 Mr.Cinema Rating: 2/5 0.5 - Unbearable 1.0 - Avoid 1.5 - Flop 2.0 - Below Average 2.5 - Average 3.0 - Watchable 3.5 - Hit 4.0- Super Hit 4.5 - Blockbuster 5.0 - Mega Hit By @mr.cinemaaa

Reviews by: @picturesinflow The Princess is in the same vein of John Wick (just swap city and neo-noir feel for castle in a medieval countryside and comedy. Tight knit choreography is the main selling point here and they use it to its absolute maximum. Story is at the backend and, at least for me, that is where it should stay, as the main focus is on the feeling of ‘badassery’, and we needed a placeholder story about redemption filled with heroic moments to sell that. Dodgy visual effects (you’ll know when you see them), unbelievable physics with a teenage girl beating men 3 times her weight, not always by speed, but sometimes by strength is purely fanfiction. Let’s first start off with story which is about a princess filled to the brim with anger about her arranged marriage to a neighbor lord. That was a pretty normal occurrence in ye olden medieval times and most fair maidens were made to do just that, but our main character The Princess (Played by Joey King) will not have it. Due to the fact that not a single boy was born to the kind, he must find a way to continue the kingdom and must therefore search for outside help, hence our noble lord Julius (Played by Dominic Cooper) who so happens to be not such a noble lord after all. One night the whole royal family has been captured thanks to a surprise attack at night, with both the King and Queen captured, and their other younger daughter, all is in the hands of Princess to hopefully save them and earn their freedom. Remember that John Wick mention at the start of this? Well, that was solely due to the tight choreography, it isn’t to the level of John Wick, but in an ocean of jump-cuts filled with varying quality of CGI effects, The Princess stands out. Using all manner of objects carefully placed in the environment to their maximum extent to disorient each bigger foe or outright end them. The castle is filled with different options to use for upmost strategy with a pretty spacious area between rooms as to traverse them faster and appear in places unreachable in span of time in normal circumstances. However, and this is for those who failed to turn off their brains, a girl is beating fully grown men with full plate armour, this would be advantageous due to her small stature and swift movement, she could hit them in the crevasses in between the armour for maximum damage. Our main character does land many hits in those said weak spots and she almost always goes for them if they are heavily armoured, but at times, she does overpower them with strength which for people standing more than a head above her in height and 2x-3x her weight is just unbelievable. Now on to the weaker parts and that would be the atrocious visual effects and bad use of green screen in wide shots of the vast countryside. Those shots pull you straight out the film and not in a good way, as mentioned a plethora of times already, if you don’t have the budget or don’t have qualified personnel to make those specific shots great, it is almost always better to not do them. A shot made with minimal practical effects or just skipped over due to budget constraints is always better than a badly realized visual effect. On the other hand, we have the soundtrack which is a mixed bag, and that is mostly that I rarely noticed it, as one would expect it kicks in massively in the midst of battle, but outside one would think there is none. A film that knows its target audience and for fans of action and by extent comedy, The Princess is a worth watch. Just a side note, try to turn off your brain as only that way can you actually enjoy it for what it is. By @picturesinflow

Reviews by: @the_owlseyes “He who climbs upon the highest mountains laughs at all tragedies, real or imaginary.” Friedrich Nietzsche, Thus Spoke Zarathustra PLOT "Two lovers ponder their lifes on the edge of a cliff" or "A Greek Tragedy" SCRIPT This story, characterized by one set, has a lot of hints to classical greek tragedies like the two lovers who can't be together and decide to go against fate. The characters have their motivations and in a few minutes their aspects are well defined. The conflict is felt throughout all the movie and its resolution is daring and shocking. The dialogues are good but sometimes a bit cheesy and are present some cliches. Some passages are a bit confusing because it seems like those don't bring much to the story and the camera lingers on them too long. There's a deep feeling of melancholy and sadness throughout it which set up the ending. I think that, even though it's flawed script, it has its merits and it's good, with all its symbolism and pathos. Script: 8/10 ACTING Angeliki Beveratou and Alexios Kirikos delivers an appreciable performance considering their inexperience. I think that between them the best one is Beveratou, who shows more range and expressiveness. Kirikos is good too but, at times, he looks a bit stiff. Considering their young age, I think that their performance is decent. Acting: 6/10 PHOTOGRAPHY Probably the best aspect of this movie, where light, shadows and colors are used to their potential. I liked how the characters expressions were enhanced by the light and how shadows gave them more gravitas. The colors seem to have a meaning and are used in specific situations. Like the melancholic blue and the sad yellow. Colors which appear during the night. This movie makes you appreciate the night I think. There's also the fact that there're a lot of beautiful shots. Here the landscapes are wonderful to look at. Photography: 9/10 EDITING The camera is used well during the debate between the two characters, which is represented as a visual back and forth which makes the scene more dynamic. The other shots are technically good but those lack imagination. Editing: 6/10 SPECIAL EFFECTS The CGI isn't perceptible due to the fact that most of the movie is set at night and dusk, while the first scenes are dedicated to sunny landscapes. Overall I think that there isn't much to say about it. Special Effects: 6/10 SOUNDTRACK It sets the movie's tone well while reminding of classical movies of the 50s and 60s. It's fitting because it's melancholic and sad, perfectly in synch with the characters emotions. Sure, it isn't the best I've ever heard but it's good nonetheless. Soundtrack: 7/10 COSTUMES Not much to say about it because the characters wear simple clothes, the usual worn by teens. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 6/10 Photography: 9/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 6,85 The first outing of young greek director Peter Looles which shows his huge potential with a deep story about love. Director: Peter Looles Screenplay: Peter Looles Cast: Angeliki Beveratou, Alexios Kirikos Soundtrack: Mary Roosevelt Cinematography: Yorgos Koutsaliaris Running Time: 15 min By @the_owlseyes

Reviews by: @augustkellerwrites The Munsters is phony and lame. Its narrative pointlessly sets up the original show's more interesting premise. Characters are stagnant tropes, world-building is nonsense, developments are disjointed filler, humor is completely stale, acting is strained, and the entire journey is annoying. There is nothing to connect with because no thought was put into the comedy, plot, or emotions. Thus, viewers will automatically disengage. Plus, the sequence of events is arbitrary. Things happen without purpose, and there's no climax to build towards or resolve from. Anyone who actually sits through The Munsters will spend most of its runtime waiting for the end. Technically, The Munsters is inept. Its nauseating visuals use neon lighting, abstract backgrounds, movement, and angles in unmotivated excess. The editing employs dissolves, wipes, split-screens, and montages, but the pacing is nonexistent and the cohesion is fragmented. The sound is roughly mixed, making its stings stick out like goofy misfires. The music is awkward and generic. The cheap production design is cluttered yet hollow. The effects are embarrassingly unconvincing, despite the diversity of makeup, prosthetics, CGI, and animation. Overall, techniques are utilized, but execution is incorrect, sloppy, and aimless. Rob Zombie is a veteran, but The Munsters is amateur. Writing: 1/10 Direction: 1/10 Cinematography: 3/10 Acting: 3/10 Editing: 3/10 Sound: 2/10 Score/Soundtrack: 2/10 Production Design: 2/10 Casting: 2/10 Effects: 2/10 Overall Score: 2.1/10 By @augustkellerwrites