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Reviews by: @tylersnerdy_review I went out to a super nice AMC theater last night to watch Barbarian. What. A. Movie. I don’t know if they ever made another trailer but I only ever saw one and it never gave much away. Turns out, it really gives us nothing at all. This had so many great twists and turns throughout. At a certain point about an hour in, my boyfriend and I looked at each other and asked if we were still in the same movie. It really switches up in a shocking way that’s not good at first but it gets better. Sit with it before leaving. Georgina Campbell is phenomenal here, her performance is just very well done. Bill Skarsgård is really good outside a crazy amount of clown makeup it turns out. I was afraid all I would be able to do is think of Pennywise when he was on screen but after his first scene I was all in with him and his interactions with Campbell. Justin Long does such a great job playing a character that is so easy to hate. Jaymes Butler deserved more screen time. The real hero of this film. They did him so damn dirty. I’m really afraid of ruining this experience for anybody so I’m going to try and wrap it up in a second. They slow burn up to the first scares but once it gets started you get a couple before it goes back to slow before going back up again. I don’t think this movie will be for everyone but for those that are willing to sit with it I think they’re going to really like it. There’s a few things I wish they would have explained better or wrapped up better, but man I had a fun time at the theater with this. Please go see Barbarian when you can. I’m not sure if it’s playing in IMAX but I saw it in some GXL theater that I’ve never used before and absolutely loved it, very loud, very big, very nice screen. I’m giving this an 8/10! A movie that demands to be seen knowing next to nothing about it. -Tyler. By @tylersnerdy_review

Reviews by: @theplokoonyreview Before I actually started this show, I thought it would be my favourite anime of the year. It‘a animated by Studio WIT, had high rating’s on every platform with incredibly passionate reviews, and I personally tend to really like sci-fi. This is my type of show, I thought that until I actually began to watch it. There are a few good things, like the smooth animation and decent soundtrack. But past technical aspects, I can’t think of anything positive to say. The characters were lifeless with arcs that just went in circles, the time travel mechanic is lazily handled and the lack of well constructed tension makes it boring. Animation and Soundtrack: Most of Vivy’s technical aspects are very strong. Even just the typical animation found in this show gives more than enough detail to paint a telling picture while keeping the character motions smoothly detailed. It was impressive how the animation always did what a scene needed from it effortlessly, whether it was trying to communicate an expression or situation through the visuals, it succeeded in making the entire scene fascinating to watch. The fight scenes are also some of the best this entire year, taking its fluidity within movements to an entirely different level. The show doesn’t skip details in depicting most of these scenes, these entire swiftly paced scenes can be clearly viewed as characters jump around each other with a striking amount of detail and presence. The end result is incredibly satisfying to watch, and are some of the only times I truly felt immersed in what I was watching. Music is a huge part of this show, with the main character being an singing A.I. A lot of the songs were overly cutesy and suffocatingly sentimental, so most of the emotional effect was lost on me and instead replaced with cringe from how shameless and simple it was. Fortunately, I don’t speak Japanese, and all the songs are in Japanese. I chose not to read the lyrics and instead admire the beautiful sound of the voice and instrumental, plus the eye catching animation which flattered the performance. These songs are sweetly composed, so I could still appreciate this despite having trouble taking the lyrics seriously. Negative: Characters/a bunch of other stuff I believe a large reason why this show got boring for me was the lack of any engaging characterization. Vivy is the AI main character, and she’s awfully handled. Her entire mission is to make humans happy, but throughout the show she barely spends anytime with humans. There are a few instances where she does have a human connection (such as the first episode) and during that time the humanity of these characters reflect in her own journey and goal. Unfortunately, these moments are lost within the annoyingly simple and charmless dynamic between her and Matsumoto, her other AI counterpart. As for Vivy herself, she’s emotionless, her physical movements are lifeless, and she’s single minded. She’s a robot so it makes sense, but at the same time, this is not nearly enough to flesh out a main character. The show heavily conditioned itself by having its main character be so expressionless, and instead of using this unique character to explore new ground, it trips itself up in trying to respect her lack of humanity. This ends in the shows avoiding to characterize her, which is a horrible solution. There’s so many crammed in exposition dumps from Matsumoto, senseless plot devices disguised as characters, and grand but ultimately shallow journeys which get spread thinly over the course of a 100 year timeline. This show is doing everything it can to avoid diving deeper into Vivy’s character. This normally wouldn’t be *as* big of a problem, but the show really relied on the characters landing. The world is generic for a futuristic setting, it’s the same as the real world but with robots and some neon green lines that show up in clothes. Meanwhile, the show basically writes itself with how Matsumoto can pop up at anytime and then set up a 2-3 episode long mission by explaining the exact scenario what they have to do. Nothing else is happening of interest, and unfortunately the characters are the exact same. It simultaneously gives itself very difficult challenges with unorthodox characters, and on the other hand a very easy job with recycling a sci-fi world and having an easy to follow plot structure. In the end, everything falls flat when the possibilities that come with Vivy never get explored, and she ends up being just as mediocre as the rest of the show. This is an adventure anime that can’t provide interesting side characters, in fact most of those characters get a backstory that takes time and the focus away from Vivy, compromising the show rather than helping it. Some of the journeys for the side characters acted like they had something really profound to say, but the show is so fast paced that it doesn’t do a very good job at siphoning that out. It’s amazing what having a rushed script can do, and in this case it just half delivers on every idea or character it explores. Also, Vivy and Matsumoto have one of the worst dynamics I’ve ever seen. Each one of their conversations sounds the exact same, it’s Matsumoto making quirky comments and acting as the explanation for everything to Vivy, while Vivy acts the complete opposite and just expressionlessly agrees or objects. This is like contrasting Jar Jar Binks (I saw someone else compare him to Binks and I couldn’t agree more) to a stone. They’re both still charmless and watching their conversations go on and on is just disengaging. It’s also hard to sympathize with or even understand Matsumoto without factoring in the dynamic, he’s a heartless ai who only gets a facade of annoying quips for personality. The duo is also insanely overpowered and seeing them have a brainless solution for every outlandish problem becomes boring, but I’ve already said a lot here so I’ll expand on that in its dedicated section. Negative: Time Travel I’m just off the heels of complaining about Tokyo Revenger’s use of time travel, but I think Vivy’s may be even worse. Time Travel is heavily relief on as a plot device, it makes every major plot point feasible and gives underlying significance to every mission. I believe when a show uses time travel to justify its existence, the better the time travel is, the better the entire experience will be. If the show doesn’t have a good base to start off from and even worse, never expands more on this base, it becomes destructive to the final product. Vivy is horribly guilty of this, it uses the “change very specific moments in the past to save the future” depiction and never adds any more intrigue to it. This simplistic and consistent use of an unpredictable and wildly complex mechanic is an immediate indicator of how much thought a creator put into the whole show. It’s also presented pretty awfully, Matsumoto knows everything about time travel and just recycles information to Vivy, swiftly taking any fascination out of the presentation. Travel travel is also weirdly convenient, by exclusively benefiting the characters, any potential intrigue is stripped from the experience. Negative: Time Travel Cont But, at the end this all changes, and this plot twist makes everything even worse than I could have imagined. (SPOILER START) At the end of the show, Vivy takes on a fully actualized computer. Vivy has changed all the singularity points so the future should’ve changed, but it hasn’t. The computer actually went back in the past and undid every action that Vivy made so all her actions over the past 100 years were for nothing. I’m not sure what the point of making a show with time travel is if there aren’t going to be consequences or changes to the future. The show relied on time travel to carry itself through the story, but then negates everything that time travel set up by undoing it with one set of dialogue. There was no foreshadowing for this either, it was thrown into a scene that was already stuffed with a lot of big revelations so this reveal wasn’t even given time to stick out from the rest. It felt like the last 12 episodes just lost their already stretched logic, the reason for this shows existence is treated so horribly that it gets abandoned without a care. Negative: No Tension/Suspense Vivy and Matsumoto are such a powerful team that the show never find a interesting way for them to get out of a situation. Matsumoto has the ability to manipulate anything in their environment, he can hack through anything “unhackable”, can easily access any information he needs, and he’s unkillable since he can transfer his conscious anywhere. Whenever the show introduces a problem, Matsumoto is immediately the answer to it. The character never needs to work around an inherent disadvantage to overcome a difficult problem, he just has to “hack” something and any of the interesting or daunting problems they face are given a solution. It shows a creative bankruptcy, to see Matsumoto breeze through every conflict in the show makes this an incredibly disengaging experience. But that’s only half the team, Vivy also provides repetitiously brain dead solutions. She can just brute strength her way through a problem, she’s on par with or stronger than anyone else in the show and this strength isn’t deserved either. It’s not through learning or hard work that she can beat anyone in the show, she gets a combat style installed in her system and suddenly gains other worldly physical abilities. (MINOR SPOILERS) I appreciated how in the first episode she rejected the combat system because she was worried it would interfere with her singing, it forced an unorthodox solution to the problem at hand. The solution was still Matsumoto doing some more hacking, but his way of manipulating the vision of the villains was more interesting than otherwise. Although, all this goes to waste when in the next episode she accepts the combat system and her singing doesn’t get effected either. (SPOILERS END) The fight scenes are visually impressive, but seeing Vivy mindlessly tackle problems head on and succeed just felt like a waste of an adventure. She almost always wins, so there’s no suspense as to whether she’ll pull through, I began to root for the villains in hopes that something different would happen. Overall, while its technical elements have thought and effort put into them, I really couldn’t stand this show. It’s boring, the character range from boringly written to annoyingly boringly written, the time travel is conveniently simple, while tension or suspense  is impossible to achieve when the challenges that face characters can be solved with a simple hack or a punch. I found myself just waiting for some episodes to end, the show suffers from being so painfully simplistic and straightforward with its elements that any intrigue is destroyed by how mediocre it all is. It isn’t memorably bad, and it definitely isn’t memorably good. Entertainment rating: 2.5/10 Critical rating: 4.5/10 Final rating: 4/10 By @theplokoonyreview

Reviews by: @s.sohan2005 Fistful Of Dollars is a landmark Sphagetti Western. Fistful Of Dollars is a morally disillusionized revival of the American west with its storytelling tropes and themes. It is not a glorified depiction of men having murky morales gunning down people like the 40's and '50s with John Wayne, Henry Fonda, etc but a downright gritty and realistic depiction of the Wild Wild West. This movie is also an unsanctioned remake of Kurosawa's seminal Samurai movie called Yojimbo which is a great movie and depiction of Asian culture. The direction by Sergio Leone is detailed and precise and has iconic imagery filled to the brim. The iconic Leone closeup shots are iconic even after 50 years. The cinematography by Massimo Dallamano is splendid and expresses the style of the American Wild West through the usage of wide shots. The style in this movie is exceptional and elevates the movie to a whole new level. The closeups are dramatic and gives focus to the story and the characters. Fistful Of Dollars is iconic for its star Clint Eastwood being his first outing in a Spaghetti Western as a bounty hunter. Clint Eastwood plays the likable yet badass and dangerous bounty hunter to perfection and creates a nice balance between the two qualities of his character and brings it to life in perfection. Gian Maria Volonte is a great antagonist to Clint Eastwood's protagonist as the cunning and dangerous gang leader. The acting is great across the board and pretty solid. The suspense through the direction of Sergio Leone is palpable throughout the movie. Its striking iconography is prevalent throughout the movie. The music by Ennio Morricone is splendid and it's an iconic staple for the Spaghetti Western genre which is used through classical foreign instruments such as classified harmonica, Jew's harp, mariachi trumpets, and ocarina. Overall Fistful Of Dollars is a seminal Western movie which is prevalent of style despite having servicable characters and servicable story but the style is impeccable and is a precursor to Leone's later movies which are eventually masterpieces. By @s.sohan2005

Reviews by: @augustkellerwrites Thirteen Lives is a competent recreation of an incredible story. The writing emphasizes its procedural plot much more than character development, but its real stakes evoke impactful emotions. Fundamentally, Thirteen Lives is very matter-of-fact in its representations, letting the story speak for itself. There's no romance, no forced scenes of high tension, and there isn't even a clear main character. In general, that's a recipe for underwhelming excitement, but Thirteen Lives' soberness provides space for broader feelings of obstacle, stress, community, and humanitarianism. Ultimately, this restrained strategy is legitimate, even if it isn't electric. Similarly, Thirteen Lives is technically reserved. Its imagery is informative but not artistic. Its editing is steadily paced without flashy techniques. Plus, there's minimal music, complimentary effects, and a purposely objective tone. This approach supports the observant script, but some might find it too cautious. Conversely, the cast and locations are undeniable. Specifically, the actors show subtle range through layers of professionalism. When emotions flow, it's earned. Finally, the sound creates an ominous atmosphere with relentless rushing water and the suffocating silence of submersion. Overall, Thirteen Lives could've had more personality, but it's a respectful presentation. Writing: 8/10 Direction: 7/10 Cinematography: 7/10 Acting: 9/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 7.6/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review What the hell is with all of the mid ass animated movies this year? They’re either just not that great or just plain bad. Paws of Fury: The Legend of Hank is definitely in the second group. It wanted to be so much at once that it failed to be anything other than a near waste of an hour and a half. At the end of the day, this is just another boring ass white savior movie, and making kid friendly jokes about racism being bad (aka don’t hate people for looking different) doesn’t stop this movie from having a plot about an outsider saving a town, thus implying that they couldn’t save themselves. Not to mention this land of cats is just Japan and they only bothered to cast one Japanese actor and he plays a dumbass. I love George Takei and I feel bad for what they did with him here. Michael Cera brings no real life to his white savior and just makes him a bland and boring protagonist that could have just as easily been Samuel L. Jackson’s far superior character. I think a down on his luck, drug addict, ex samurai would have been better than an outsider learning to be one. Ricky Gervais plays the most bullshit stupid villain I’ve seen in a couple years with the stupidest villain reasoning. Mel Brooks was alright but his character is who Takei should have been, or at least one of the many great older Japanese actors. Gabriel Iglesias did have one of the only interesting side characters that didn’t get enough screen time. Djimon Hounsou plays yet another side character with a lot of screen time yet no focus. I hope he gets more leading roles. Michelle Yeoh is coming off my favorite movie of all time to get severely underused here, and compared to the other voice actors she stands out as clearly Asian which strikes me the wrong way since she’s not Japanese. Aasif Mandvi fell so far under the rug I can barely even remember who he played. Kylie Kuioka was a bright light here though, her character was a lot of fun and it seems like she might be with Takei as the only other Japanese actor here which would be a huge plus for her. This movie takes satire and just beats you over the head with it until you fall into a deep coma. It treats the audience like they’re idiots. 5/10. -Tyler. By @tylersnerdy_review

Reviews by: @terrordetective Watched Barry Levinson’s The Bay’ (2012) last night - the found footage eco-horror flick about waterborne parasites (isopods) that mutate into cockroach-sized carnivorous bugs that attack the residents of an all-American harbor town off the Chesapeake Bay. While the cause of the mutation isn’t identified explicitly, there are a couple suggested culprits: run-off from the local chicken farm which houses steroid-pumped poultry and massive mounds of their dung; a leaking nuke plant. What is made clear: Mr. Mayor (Frank Deal) will do anything to boost the local economy, and summer tourism will NOT be interrupted by anything other than an environmental disaster that kills the whole community. Love Canal meets Jaws. This faux eco-doc starts strong. I like the premise, which (one quick Internet search later) is semi-factual. This movie started as a documentary about the diminishing ecological health of the Chesapeake, but morphed into a fictionalized horror film after Levinson decided the story had been covered admirably by news outlets. So the premise is good. And the cast does fine work bringing it to life. I also like the use of various media sources (cell phones, Skype meetings, handheld cams) to tell the tale. It’s a clever way to present multiple perspectives. Anchoring all the footage around a suppressed video shot by professional news reporters is a good way to eliminate the shaky cam problem that plagues so many found footage flicks. That said, I feel like all the hard work went into crafting the first half of this flick. The second was allowed to disintegrate into nonsensical and less entertaining tangents. Bummer. Still worth watching tho. By @terrordetective

Reviews by: @matts_moviez Neo-realism in Post-World War II Italy While Hollywood represented a more glamorized vision of life, Italy decided to go in a much harsher direction, opting to show the hardships of Italian life, particularly during the World War II era. Never had the world been exposed to the tribulations of foreign countries, but with Bicycle Thieves, they would get a clear awakening. Neglect: The Major Theme of Bicycle Thieves Besides being well-shot and superbly acted, what I find that separates Bicycle Thieves from a variety of films are its central themes, particularly the major theme of neglect. Negligence seems ever-spinning thread throughout the entirety of Bicycle Thieves, resulting in a multitude of consequences for Antonio and Bruno. As I delved deeper into the film, the theme wasn't hard to miss, especially considering it leads to the central conflict. Antonio, as a character, might be the protagonist but that doesn't mean he isn't without some major faults. A Cinematic Landmark of World Cinema Bicycle Thieves inspired a generation of filmmakers, including Martin Scorsese, who has stated as being one of his favorite foreign language films. And the film is as claimed as it is for good reason. For one thing, it's an introspective, harshly realistic spectacle, devoid of the annoying amount of sentimentality that plagued a majority of early Hollywood. Bicycle Thieves reigns supreme because of its timeless take on poverty and systematic oppression, which is all too prevalent today. By @matts_moviez

Reviews by: @mariwatchingmovies Bedazzled (2000) dir. Harold Ramis Very cute and funny, and I love Brendan Fraser like the rest of us so this was pretty fun to watch! Starring as an awkward, stereo-obsessed office worker and social misfit who can't land the girl of his dreams, he accidentally summons The Devil (in the form of Elizabeth Hurley) and hesitatingly agrees to the exchange of his soul for 7 wishes. Each wish naturally doesn't go to plan, and thus ensues a series of fun SNL-skit-like sequences that culminates in a rather random plot twist at the end (no spoilers). The fashion department really understood the assignment, and the Devil's fantastic wardrobe made each scene all the bit better. I enjoyed the silliness of Bedazzled and Brendan Fraser's hilarious commitment to the part! Ramis directed Groundhog Day (aka my mother's absolute least favorite movie ever (and i'm not a fan myself)), so the repetitive comedy style is really evident. It's a good hangout movie, and i'll die on this hill. This does poorly on Letterboxd and stuff but sometimes those clowns take life too seriously. By @mariwatchingmovies

Reviews by: @mr.cinemaaa Project Details Director: Mahesh Manjrekar Based On: "Mulshi Pattern" by Pravin Tarde Screenplay: Mahesh Manjrekar, Abhijeet Deshpande & Siddharth Salvi Produced By: Salma Khan Production Houses: Salman Khan Films & Zee Studios Cinematography: Karan B Rawat Music/Song: Ravi Basrur & Hitesh Modak Background Score: Ravi Basrur Edited By: Bunty Nagi Production Design: Prashant R Rane Costumes: Ashley Rebello & Alvira Khan. A Action/Stunts: Vikram Dahiya Sound Design: Ravi Basrur Run Time: 2 Hour & 22 Minutes CBFC Rating: "U/A" Direction & Story The story revolves around the face-off between a strict cop Rajveer Singh & a young gangster Rahuliya, and it explores the hard conditions faced by farmers that push some of them towards the crime world. Antim is the official remake of the 2018 Marathi film "Mulshi Pattern", written & directed by Pravin Tarde. Story by Pravin Tarde is good. It touches upon some issues related to farmers, land mafia, migration of rural population and their exploitation in urban areas, etc. The screenplay by Mahesh V Manjrekar, Siddarth Salvi, & Abhijeet Deshpande is half-backed. The first half was pretty decent but the second half falls flat as it looked very boring, routine, and unexciting. Director Mahesh V Manjrekar's work is fine. He has succeeded in giving a realistic look to the film and the way he handled Salman's part is appreciable. A better fast-paced narrative could have made it a hit. Lead Performances Salman Khan is the best thing in the whole film. All his scenes are handled well and he does a neat job in his very significant role as the no-nonsense, law-abiding policeman. This is a far better role when compared to his roles in films like Race-3, Dabangg-3, and Radhe. Aayush Sharma has improved a lot from his debut film, Loveyatri. He gives out an able performance as the young gangster and fits the role perfectly with his decent dialogue delivery and with a built & fit body. Mahima Makwana is cute & makes a confident debut as Manda. She is memorable in the scene where she blasts the hero at the market and expresses well. Sachin Khedekar & Mahesh Manjrekar are fine in their father roles of the hero & heroine respectively. Upendra Limaye is pretty decent in his limited role. Jisshu Sengupta and Nikitin Dheer The rest of the cast are okay. are poor in their insignificant roles. Detailed Analysis Salman Khan is the best thing in the whole film. All his scenes are handled well and he does a neat job in his very significant role as the no-nonsense, law-abiding policeman. This is a far better role when compared to his roles in films like Race-3, Dabangg-3, and Radhe. Aayush Sharma has improved a lot from his debut film, Loveyatri. He gives out an able performance as the young gangster and fits the role perfectly with his decent dialogue delivery and with a built & fit body. Mahima Makwana is cute & makes a confident debut as Manda. She is memorable in the scene where she blasts the hero at the market and expresses well. Sachin Khedekar & Mahesh Manjrekar are fine in their father roles of the hero & heroine respectively. Upendra Limaye is pretty decent in his limited role. Jisshu Sengupta and Nikitin Dheer The rest of the cast are okay. are poor in their insignificant roles. Technical Team Direction: 2.5/5 Story: 3/5 Screenplay: 2/5 Dialogues: 3/5 Music/Songs: 4.5/5 Background Score: 2/5 Production Values: 4.5/5 Cinematography: 4.5/5 Editing: 3/5 Costumes: 4/5 Choreography: 3/5 VFX/Graphics: 4/5 Sound Design: 3.5/5 Plus Points Salman Khan's Performance Aayush Sharma's Improved Performance Background Score Few Dialogues & Few Mass Elevation Scenes Cinematography & Production Values Scenes Between Salman & Aayush Interval & Climax Fight Sequences Minus Points Half Backed Screenplay Ineffective Narration At Few Places Songs & Love Track Boring Second Half Highly Predictable Final Verdict Salman Khan impresses in this not-so-engaging gangster drama. P.S.: This plot could have been easily made as "Dabangg-4" Recommended: No 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: @thenut_shell_horror_movies 7/10 Film by Eli Roth Working from home architect Evan lives a simple loving life with his successful artist wife and two adorable children. While his family are away for a weekend getaway there comes a knock at his door. It is two soaking wet gorgeous young women. Evan is soon seduced, spending a passionate night with the pair. He soon finds Bell and Genesis are not what they seemed, and cheating on his spouse is, in fact, the least of his problems. Time is running out for a doomed Evan as the two underestimated women have power and rage to destroy his life forever. Truly unique and effectively frightening modern horror film created by genre icon Eli Roth. His previous works has high level gore violence, makes this a cool departure considering the almost zero gore or blood shots. This is psychological horror at its best, employing the time honoured horror monster that is lust and beautiful women appearing as alluring Sirens to lead the sailor to complete and utter terrifying destruction. The Bell and Genesis characters are brutally merciless, creating real-world-feeling horrific situations for Keanu Reeves' Evan. The leads are incredible in their roles, this truly looked like it would have been a lot of fun to make! I also loved that while on the 'same page', Ana de Armas and Lorenza Izzo's characters are individual and have their own motivators, serves depth. This could be part revenge horror? There isn't much comic relief (by design I'd say confidently) but when there is, it's hilarious. The circumstances within make asking who to root for interesting, like yes Evan cheated but how much does he deserve. Added to which is a claim made which changes things, but the audience must be unsure if this is true! WARNING scenes and stories of sexual assault within. Enjoyed this, though felt the intended heap of dread. Most certainly a well-crafted frightener which brings up plenty of moral and social questions. Gore ☠️ Suspense ☠️☠️☠️☠️ Jump scare ☠️☠️ Dread ☠️☠️☠️☠️☠️ By @thenut_shell_horror_movies

Reviews by: @augustkellerwrites The Invitation is boring. It's a television episode that's dragged out to feature length with painful predictability. Exposition is obvious, characters are one-note, and tones are ineffective. The humor, horror, and romance rarely even register. Consequently, The Invitation is filler, stalling until it gets to the telegraphed twist. Then, once things start moving, it rushes through repetitive confrontations that are neither clever nor satisfying. Therefore, The Invitation is too little too late with clumsy momentum, cliche plot points, and cringey emotions. The acting isn't bad and there are some weak social commentary attempts, but overall, this film is a dramatic flatline. Technically, The Invitation is messy. Its editing has passing cuts, intercuts, jump cuts, and smash cuts, but the dull pacing rarely builds steam. The sound uses symbolism, exaggerated emphasis, and layers, but also stresses cheap jump scares. The visuals utilize focus, angles, and framing but they're too dark and unmotivated. Plus, the music alternates between generic ominousness and ill-fitting alt-rock. Similarly, the production design is both overly gothic and underwhelmingly bland. Furthermore, the effects aren't convincing, the cast is unknown, and the direction is contrived. Ultimately, The Invitation is stale, thin, and derivative, making it well worth skipping. Writing: 2/10 Direction: 2/10 Cinematography: 3/10 Acting: 5/10 Editing: 4/10 Sound: 5/10 Score/Soundtrack: 4/10 Production Design: 3/10 Casting: 3/10 Effects: 5/10 Overall Score: 3.6/10 By @augustkellerwrites

Reviews by: @the_owlseyes “I know what it’s like being stuck in time, thinking this is how you are going to live out the rest of your life. On the run, and not knowing if you’re ever gonna see the people you love again, and to be in an unfamiliar world.” Five PLOT "A family of former child heroes, now grown apart, must reunite to continue to protect the world" or "X-Men from Netflix" SCRIPT It's the same plot reiterated for three seasons: family divided, save the world and paradox. At the end of every season there's always a cliffhanger which becomes a clichè easily. The characters have the same arch like they don't learn anything. The lore is interesting but it seems copied from Doctor Who. A lot of problems could be solved just by talking or showing a character grow instead of doing the same mistakes again and again. There're a lot of contraddictions in the plot nonetheless. There's also the fact that the characters powers are mostly inconsistent. Vanya transition is handled weirdly and doesn't really explain why she did it(even though we're aware of the fact that they were obliged to insert it just because Elliot Page decided to transition). I'm not satisfied. Script: 5/10 ACTING It's good, even though it's a bit underwhelming sometimes. I think that the best ones are Elliot Page, Tom Hopper, Robert Sheehan and Emmy Raver-Lampman, who show us more range than others. Nonetheless David Castaneda and Aidan Gallagher are the most charismatic of the group. Colm Feore as Reginald Hargreeves is wonderful. Overall I've liked it, even though it could've been better sometimes. Acting: 7/10 PHOTOGRAPHY The colors are vibrant and the light is flat. There're some scenes which are interesting to look, just a few. Colors have a meaning, even though they are used in a particularly subtle way. Photography: 6/10 EDITING One of the best aspect about this show which makes it dynamic and exciting. Sometimes slow motion is used without a logical sense but overall the editing is original and interesting. Editing: 7/10 SPECIAL EFFECTS Good enough. Considering that there's an abundance of them, and sometimes there're too many, that's decent. Surely this series has clunky effects sometimes but these aren't as distracting as in other movies. Special Effects: 6/10 SOUNDTRACK It's composed of a blend of pop and instrumental music. I like the songs which are used perfectly and fit the narration but I find the instrumental soundtrack derivative and tedious. Soundtrack: 7/10 COSTUMES I consider them decent. Not remarkable or impressive. It's because they wear mostly simple clothes, sure Klaus has his own particular style but I don't find it interesting. Costumes: 6/10 CONCLUSION Script: 5/10 Acting: 7/10 Photography: 6/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 6,28 A flawed series which loses its mojo after the first season by repeating the same plot. Director: Peter Hoar Screenplay: Jeremy Slater Cast: Elliot Page, Tom Hopper, David Castañeda, Emmy Raver-Lampman, Robert Sheehan, Aidan Gallagher, Mary J. Blige, Cameron Britton, John Magaro, Adam Godley, Colm Feore, Justin H. Min, Ritu Arya, Yusuf Gatewood, Marin Ireland, Kate Walsh, Genesis Rodriguez, Britne Oldford Soundtrack: Jeff Russo, Perrine Virgile Cinematography: Neville Kidd, Craig Wrobleski Running Time: 50 min By @the_owlseyes

Reviews by: @augustkellerwrites Look Both Ways is empty, trivializing serious topics. Unplanned pregnancies, competitive career paths, and relationship difficulties can be lifelong struggles, yet Look Both Ways treats them as minor inconveniences that require no growth. Characters are never challenged to evolve, always conveniently succeeding in the end. Dialogue is obvious, humor is lame, plot points are cliche, and protagonists are flat tropes. Plus, the acting is generic and forced. It might distract some viewers, but it ultimately sends the underlying message that our problems aren't real and life should come easy. Therefore, Look Both Ways is predictable at best and toxic at worst. Technically, Look Both Ways is equally uninspired. Its cinematography is basic and bland. Its sound design shows little thought. Its effects are minor, yet awkwardly subpar. The editing has split screens, passing cuts, intercuts, and montages, but they're rarely meaningful. Meanwhile, the music is generic, the cast is forgettable, and the production design is a disjointed combination of sterile mediocrity and product placements. Plus, the direction is voiceless, delivering oversimplified tones, routine presentations, and an underwhelming experience. Thus, Look Both Ways has the originality and value of a Lifetime movie. Overall, this film is a sanitized distortion of entertainment. Writing: 2/10 Direction: 2/10 Cinematography: 4/10 Acting: 4/10 Editing: 5/10 Sound: 4/10 Score/Soundtrack: 3/10 Production Design: 2/10 Casting: 3/10 Effects: 4/10 Overall Score: 3.3/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Me Time is pointless and lazy. Kevin Hart's act is tired, but it's the only effort here. The story is muddled, unrealistic, and generic, delivering inconsistent characters, contrived emotions, and irrelevant side plots. Genuine topics of self-fulfillment, estranged friendships, and parental partnerships are handled with mocking carelessness. Conflicts are illogical, resolutions are forced, and themes are exploited for cheap humor. Thus, Me Time is counterproductive and insulting. Also, it isn't funny or clever. Hart's charm is heavily outweighed by a lost narrative, juvenile antics, simplistic jokes, insincere drama, and a disengaged Wahlberg. Consequently, Me Time is a messy void. Technically, Me Time is similarly negligent. Its cinematography is overlit and arbitrarily framed. The musical number is cringey and unconvincing. The CGI is weak and unnecessary. The editing has cooldown moments but is otherwise unintentional about pacing, structure, or transitions. Meanwhile, the ADR sound is distracting, the production design is sterile (complete with product placements), and the direction has no strategy. Overall, Me Time's filmmaking is tacky and its script is sloppy. True comedy comes from relatability, insight, honesty, and skilled setup. Instead, Me Time offers nothing outside of Kevin Hart improvisations, and viewers should not waste their time. Writing: 1/10 Direction: 1/10 Cinematography: 3/10 Acting: 4/10 Editing: 3/10 Sound: 2/10 Score/Soundtrack: 3/10 Production Design: 2/10 Casting: 6/10 Effects: 3/10 Overall Score: 2.8/10 By @augustkellerwrites

Reviews by: @kyle.watches.films Director Stacey Gregg’s debut feature effort is one of those films that almost defies genre, hitting both psychological thriller and kitchen sink realism beats as it examines themes of grief and loss. Andrea Riseborough plays Laura, a Northern Irish housewife who mourns the death of her daughter. A family moves in next door, among them Megan (Niamh Dornan), a young girl who Laura strikes up a friendship with. But as they spend time together Megan reminds Laura of her daughter in oddly specific ways - she knows things about Megan’s life that should be impossible, leading Laura to question her sanity, wondering whether she has indeed known Megan before. The film is incredibly atmospheric, with a minimalist score by Adam Janota Bzowski that underlines the characters’ emotions at just the right moments, becoming especially more effective as Laura’s mental health deteriorates. Similarly Chloë Thomson’s cinematography is incredibly evocative, be it Laura staring through a rain soaked windscreen, or Laura and her husband Brendan (Jonjo O’Neill) bathed in the the eery orange light of a streetlamp as they sleep. The music and cinematography work very well together to set the viewer on edge, and question what we’re seeing as much as Laura is. Where the film stumbles slightly is in the pacing of its story - it’s a very slow burn (which is not always a bad thing) that often makes it feel longer than its 83 minutes, with a moody and slow middle that then rushes to a conclusion in the final act. There is a final twist that will surprise some in the audience but not all, being signposted at various points in the story. It’s also not entirely necessary, almost taking away from the themes being explored in some ways, and the ambiguous conclusion doesn’t quite fit as a result. All this being said, the film is held together - most notably by Riseborough, in an incredibly strong performance that perfectly encapsulates a grief-stricken mother desperate to see her daughter again. She gives the story the weight it needs, making ‘Here Before’ a film definitely worth watching. ⭐️⭐️⭐️ By @kyle.watches.films

Reviews by: @kevinfilmreviews Rating: 5 out of 10 The Dinner focuses on two estranged brothers and their wives getting... you guessed it, dinner. The plot becomes more complicated when Paul discovers that the two couple's sons committed a serious crime that was being hidden from him. While the film does offer some critical questions about social classes in the United States, it can't seem to actually stay focused, which hinders its overall message. The main positive element of this flick is the cast. It stars Rebecca Hall, Richard Gere, Laura Linney, and Steve Coogan, who all do an exceptional job. There wouldn't really be anything entertaining about this movie if the actors didn't sell the conflicts they have with one another. The emotions and feelings raging through this dinner felt real, and that was due to some great acting all-around. I also thought that the central premise of The Dinner was very interesting. Its statement about social classes was very thought-provoking, as the main question the characters are pondering is whether or not covering up this crime is ethical. This is what we see in society quite often, as crimes involving people of lower classes tend to get glanced over and disregarded, while the rich/powerful may escape freely. The main issue that I had with The Dinner is that it was a little bit all over the place. Steve Coogan's character narrating his feelings every 15 minutes was completely unnecessary and useless flashbacks were added to prove the tension between the two brothers. This was just uneeded, as it is fairly common for family members to become estranged, so we didn't really need to know every detail about why it happened in this particular story. Along with that, the ending disappointed me. They teased that it was going one direction and then in an instant it flipped back around. They could have done a better job of actually wrapping the story up, because for me, it didn't really feel complete. All in all, there are some good moments in The Dinner, but it's ultimately forgettable. If you have Hulu and want to check it out, then go for it! Otherwise, you can probably skip it. What are your thoughts on The Dinner? By @kevinfilmreviews

Reviews by: @modewme #EdieSedgwick, yaşadığı travmalardan sonra sevgiye muhtaç bir genç kızdır. 60’ların ortalarında #AndyWarhol ile tanışarak Warhol’un ilham perisi olur ve sevgiyi fabrika içerisinde bulur. Oyunculuğuyla şöhret yakalayan Edie için her şey tozpembedir. Partiler, uyuşturucular derken Warhol tarafından psikolojik darbe yer ve geri plana atılır. Bu Edie için hüzün dolu bir hayata yelken açmasına sebep olur. #Netflix’in “The Andy Warhol Diaries” mini dizisini izlerken sanat kaynağı olan fabrika atölyesini merak ederek “Factory Girl” filmini keşfettim. Bir umutla açtığım filmi pişman şekilde bitirdim. Edie Sedgwick’in trajedi dolu hayatına tanık oluyoruz. Psikolojik olarak zorlayıcı birçok anısı var. Film ise bize sadece bu böyle olmuş demekle yetiniyor. Yönetmen maalesef duygusuz yani sığ şekilde olayları anlatmış. Bu da film içerisindeki mükemmel oyunculuk sergilemiş olan #SiennaMiller ve #GuyPearce’ın yaptıklarını silip süpürüyor. Geriye ise sadece Sienna Miller’ın güzelliği kalmakta... #BobDylan, adının kullanılmasına izin vermediği için Billy Quinn adıyla karşımıza çıkıyor. Chuck karakterini ise #JimmyFallon canlandırmış ve neden onu seçmişler anlayamadım. Benim için Chuck değil Cüneyt abi olarak gözüküyordu. Ayrıca film de Andy Warhol son derece gıcık biriydi. O yüzden ilk Andy’nin günlüklerini izleyip sonra bu filmi izlemekte fayda var. Çünkü günlüklerini izlerken onunla az da olsa bağ kurarken burada nefret ediyorsunuz. Eğer Andy Warhol’a ilginiz varsa izleyebilirsiniz; yoksa sıkıcı geleceğinden izlememenizi öneririm. By @modewme

Reviews by: @augustkellerwrites Beast has potential. It has a focused story, established characters, and a soft theme about nature's wrath. The pacing is efficient, there are cooldown drama moments, and plot devices are set up. Still, Beast falters because it becomes occasionally redundant, unbelievable, and shallow. Exposition is mostly delivered naturally, yet is sometimes contrived. Similarly, the dialogue can get distractingly explanatory. Furthermore, protagonists' decisions are often forced. Finally, the climax and resolution get fairly cheesy, undermining whatever substance Beast had. A more contemplative conclusion would've solidified a sincere message. As is, it's a spotty thriller with some adequate acting. Technically, Beast has good intentions. It's captured in extended tracking shots, with abundant camerawork yet inconsistent composition. That roughness is forgivable given the ambition and furthers the immersion. Plus, there's golden lighting, Saharan colors, and scenic landscapes. Thus, the imagery is this film's engine (though the editing is key with split, smash, hidden, and match cuts). Meanwhile, there are distinct lion calls, fitting regional music, authentic production designs, decent effects (especially the wounds), and slightly surreal direction. Overall, Beast has crucial weaknesses and respectable strengths. It's acceptable entertainment, but also a missed opportunity. Writing: 4/10 Direction: 6/10 Cinematography: 8/10 Acting: 6/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 6/10 Casting: 6/10 Effects: 6/10 Overall Score: 6.2/10 By @augustkellerwrites

Reviews by: @the_owlseyes “I never approve, or disapprove, of anything now. It is an absurd attitude to take towards life. We are not sent into the world to air our moral prejudices. I never take any notice of what common people say, and I never interfere with what charming people do. If a personality fascinates me, whatever mode of expression that personality selects is absolutely delightful to me.” Oscar Wilde, The Picture of Dorian Gray PLOT "Follows employees of a small company dedicated to bringing happiness to a bizarre yet colorful world" or "Rick & Morty but crazier" SCRIPT The jokes are well written and the characters are well defined. There banters toward capitalism, work-life balance, dating, traditions and movie genres are good. There're long running jokes and short ones which are mostly random and hilarious. This series uses a kind of comedy which is hard to understand at first but will become easier with time, which is called absurdism. Nonetheless I've to say that not all the jokes land and that's a pity, because the potential is there. Script: 7/10 ACTING The voice actors are the same people who created the series. An aspect which gives me Rick & Morty vibes and its good. They feel natural even though they aren't professionals. I like the variety of voices they're able to make. Just three people giving voice to more than ten characters.. That's remarkable. Acting: 7/10 PHOTOGRAPHY The series use vibrant colors and usually the light is flat but there're scenes where shadows are cast in a beautiful way. It's good but it could've been better if they showed us more outlandish scenes. Photography: 6/10 EDITING It's edited in a way to enhance comedy but I think that there isn't much to consider it remarkable. Editing: 6/10 SPECIAL EFFECTS The animation is one of the best aspects because its a bland of hand drawn animation and stop motion. There is also to consider that each character has its own design to help them stick in your mind. Special Effects: 8/10 SOUNDTRACK Sometimes the characters sing and its good but overall the soundtrack is absent or pretty average. Soundtrack: 6/10 COSTUMES There isn't much to say about it. The characters wear usual clothes without adding more in terms of meaning. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,57 A nice comedy series which is a bit different than the ordinary sitcom. Give it a try. Director: Zach Hadel, Michael Cusack Screenplay: Zach Hadel, Michael Cusack Cast: Zach Hadel, Michael Cusack, Marc M. Soundtrack: Chris O'Neill Running Time: 11 min By @the_owlseyes

Reviews by: @theplokoonyreview This is hard to review. In some episodes the characters click, and then combined with the incredible world building and beautiful animation it becomes an experience which I’m completely engaged in. In some episodes, the ecchi gets way too heavy handed and ends up sexualizing pre teens. From a writing perspective, this objectification makes these characters feel like a tool rather than people, and from an I don’t know from a humanitarian perspective it’s gross. This is a very difficult love-hate relationship, I can go on rants about the parts I love but I can do the exact same for the bad parts. I want to recommend it, but I also want people to stay far away from it. It’s difficult to give this a definite score since it’s positive and negatives are night and day, but let’s a go. Positive: World Building Mushoku has a passion for exploring it’s own world. In the first half alone, it’s communicated through the main characters excitement at discovery and the patient unravelling of its own world. When a show sets up and skims over too many ideas, it’s hard to settle into what it’s trying to develop. This lack of refinement leads to an uncomfortable disconnect where it’s too uninteresting to care for, or provoke questions. Patient storytelling is vital to the shows success in the first bit, not only do the characters have time to turn into dynamic and interesting people, but their connections to the world are also exposed and small hints of exciting exposition is alluded. It gives itself time to set up the magic system of this show as well, I really dislike when shows just assume the viewer knows the magic system since they’re using a really basic one. Even a basic magic system can be fascinating if there’s a passion to explore it, and Mushoku really made me excited to watch Rudeus learn magic even though the system does have many similarities to other shows. Focusing on part 2 of the show, the characters travel the world so areas don’t get the same individual development as they did in part 1. Despite this, it does create a really fun sense of adventure that demonstrates just how vast this world is, meanwhile seeing the same locations be mentioned and explored by different characters leads to the feeling that everything is connected. The later portion of the show benefits from the foundation the first 5-6 episodes create, stuff that’s offhandedly referenced ends up being revisited. With this subtle foreshadowing and then payoff, it creates a sense of satisfying wholeness. Also, the dedication to making this world interesting is remarkable. There are 3 established languages that all sound different from each other, and the voice actors took courses on how to properly speak these fictional languages. Creating these languages is commendable alone, but to have actors take courses on how to speak them shows a rare kind of love for its own world. It ends up being a detail, but it’s a fascinating one and every time a character used one of these languages I was in total awe. Despite my mixed feelings, I do want to see more of this world and I’m certain I’ll be watching season 2. Also, the second half of season 2 moved away from ecchi and got surprisingly genuine, which gives me hope that it could stay this way. Positive: Animation An entire animation studio was created to focus on the quality of this adaptation. With an entire studio putting all its efforts into making this ad visually appealing as possible, the show ends up looking incredible. The backdrops are heavy with details that effortlessly liven environments. Meanwhile, everything is coated over with a polish of detail. The mixing of realistic colours in every scenery can convey something as vibrant as a lush field or as hotly exhausting as a scorched desert. Character details also carry this excessive amount of details and realistic colourization, fitting in nicely with environment. This consistent visual quality benefits the atmosphere of any scene, whether it be meditative or exciting it makes everything satisfying to watch. Aside from the perverted stuff that goes into uncomfortable territory, the animation quality actually ends up making that part worse. Positive: When the characters are good Hypothesis: Whenever Rudeus is around girls his own age, show gets yucky. Aside from Sylphie. I found this stayed mainly true up until the last 2-3 episodes, because when he’s matched with any other character a dynamic bond is formed. Rudeus and his father is a great example, their points of contention provide engaging scenarios where each of them try to work past their own pride and insecurities. Seeing the dad, Paul, manage being a father despite his flawed nature makes for a much content, and heartfelt emotion in one bond, being a demonstration of the show atalso one of the shows best uses of ecchi, Paul and Rudeus actually bond over this, becoming an unorthodox way of bonding, providing humour, while alluding to Paul’s greatest flaw which appears in later parts of the show and become a source of conflict for their relationship. It effectively presents comedy, perverted content, and heartfelt emotion in one bond, being a demonstration of the show at its best. Roxy and Rudeus also have a decent dynamic that gets built up with an endearing amount of character growth in the first couple episodes. But, Roxy’s character becomes more and more interesting as an individual in the second season rather than being attached to Rudeus. It’s nice to see a female character have independent insecurities, family difficulties, and charming quirks, all while feeling contained within its own world by directly implementing fantasy elements into her characterization. She has enough depth to be a main character and sometimes I wish she was, taking a break from the perverted main character and focusing on her for a while became a really sweet distraction. I had said and I am going to say a lot more bad things about Rudeus, but near the end of the show, his internal conflict was much better explored. The show sprinkles in some reminders that the anxiety from his previous life still comes back to haunt him, at the end this ongoing device comes to a climax and gives his character a tangible struggle. It’s vulnerable and self loathing, there’s no humour or distractions to lighten the scene. It takes on the difficult task of portraying PTSD and does a sensitive, multi layered job. This happened at the end of part 2, so I’m looking forward to seeing if it stays in this serious direction in the future. The only other character I feel is important to mention here is Ruijerd, since he’s in the party of three which goes on the adventure in the second season. However, it’s hard to come up with anything outstandingly positive or negative to say, he’s typically stoic, remaining more as an overpowered sidekick with a strict code of ethics than a compelling character. He has some good moments, but an equal amount of underwhelming ones where he’s delegated to the sidelines of the main conflict. I wouldn’t say he’s a bad character, he’s just a few emotional beats away from being actually compelling. Negative: When the characters are BAD Definition: Ecchi is an often used slang term in the Japanese language for erotic fantasy and sexual innuendoes. Ecchi is far from my favourite genre, the over-reliance that some anime have on it singlehandedly has ruined these shows for me. The show held back on the ecchi at some critical moments and hinted at a more serious direction at the end of part 2, which saved the show for me. Eris is the victim of most of this shows ecchi moments. Her individual conflict and strength is undermined by how she’s no more than a side character with minimal input. Then, when she has a moment with Rudeus, it always becomes perverted as she’s objectified for a laugh or a lewd shot. It’s boringly (and grossly) repetitive as it shows her through the same basic lens time and time again, undermining any potential her character had in that moment. This basic portrait makes it hard to see her as anything more than just the tsundere archetype pasted into the shows adventure. But this isn’t the part that makes it hard to watch, her character is canonically 15 by the end of part 2 and the ecchi stuff begins happening with her around age 13. Watching a show shamelessly do this so a pre teen crosses moral boundaries, it also makes Rudeus’s character nearly unsalvageable since he has the mental age of a 40 year old and he’s instigating all the gross stuff. On another note, there’s a couple different species of people in the show and one of them is the beast people. This species is consistently used as either fan service or sex icons, even in situations where it’s not appropriate. There’s a part where young beast girls are held captive by criminals. They’ve been beaten, one has been killed, and their in a horrible state of mind. When Rudeus comes to save them, he just lustfully looks over them while the show does close ups on cleavage. It throws the tone into spirals, sacrificing what could’ve been an emotional moment of selflessness for Rudeus for another ecchi moment. Also, I’m season 2 there’s a subplot where the main group spends time with a beast people village. I just found this part to have overall poor character management. Eris’s conflict is the main focus and it’s a really petty one that she doesn’t even start, a side character does and she just has to respond. Despite being a part of the adventure, Ruijerd doesn’t show up throughout this subplot which further prevents the audience from learning more about him. Meanwhile, Rudeus comes in like a hero and gives Eris the perfect advice for how to deal with the conflict. This all feels redundant, despite focusing more on Eris she only plays a reactionary role and even then she gets help. Ruijerd is ignored when he needed the extra characterization, meanwhile Rudeus saves the day like a glorified life coach. This isn’t really ecchi, I just didn’t know where else to put it. This positives and negatives are polarizing, making it hard to give a score for the overall experience. In the end, a 7 accounts for the quality in the world building, animation, and a lot of the character writing. However, it’s hard to give it anything higher with how destructive the negatives can be to the entire experience. I’ll probably watch season 2, the end of part 2 was one of the highlights of the entire show and left me looking forward to what’s next. If the next season upholds the current quality and focuses on developing what helps the show rather than hurts it, season 2 has a realistic chance at a score ranging from 8-9. Entertainment and critical rating: 7/10 Final rating: 7/10 By @theplokoonyreview

Reviews by: @tylersnerdy_review As someone who has spent the last five or six years absolutely obsessing over Ms. Marvel I have an incredibly biased MCU review coming. There was very little this show had to do to get me to love it and it surpassed all the expectations I had. I am just absolutely in love with this show. From a gorgeous representation of Muslim and Pakistani culture to an incredibly faithful adaptation to a beloved Marvel character. Iman Vellani has entered the top tier of MCU actors who were born to play a character, every second of screen time she oozes charisma and wonder and reminds us all why we love superheroes so much. Matt Lintz is not the most accurate to Bruno in the comics but he’s just fantastic here and I loved Lintz on The Walking Dead so I’m always happy to see him. Zenobia Shroff and Mohan Kapur were the best Ami and Abu we could have asked for, they are everything I wanted out of the characters and brought so many strong emotional scenes. Yasmeen Fletcher really needed some more screen time. Her bond with Kamala in the comics is half the fun and she’s missing from two episodes here. But she did so well with her role. Rish Shah, Samina Ahmed, Nimra Bucha, Alysia Reiner, Anjali Bhimani, Saager Shaikh, Aramis Knight, Laurel Marsden, Arian Moayed, Mehwish Hayat, Fawad Khan, Laith Nakli, and Travina Springer all bring such great voice and life to new characters or fantastic representations of amazing comic characters. Now, I have to shout out my boy Matthew J. Vasquez! I’ve been watching him and his family react on YouTube for a good year or two now and I was so excited and happy for him to not just be here but having quite a few speaking lines. So proud of him, go check out their channel MaJeliv! It goes to show how amazing the writing on this show was that I wouldn’t have cared if there was no action. Being in Kamala’s world and in her head was just so much fun. The unique style, the comedy, the relatability, and the crazy amount of Easter eggs shoots this show up to the top of my MCU list. I kid you not, I broke my top 5 for this one. It’s right under WandaVision at number 2. The credit scene and some lines from the end get me very excited for the future. 10/10. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Three Thousand Years of Longing is ambitious, yet emotionally muddled. The actors are committed but their chemistry is inconsistent. Similarly, the protagonist serves as a catalyst but her arc is underdeveloped. Unfortunately, these core shortcomings fundamentally undermine the film. Three Thousand Years of Longing considers science's relationship with wonder, the meaning of storytelling, and the romantic roots of human desire. However, these themes become meandering and convoluted because the film has unfocused heart. The story structure is unique, but its disjointed nature is never overcome. Thus, the script is respectable in concept but tiresome in execution. Conversely, Three Thousand Years of Longing is a technical powerhouse. Its psychedelic visuals utilize movement, colors, composition, focus, framing, and lighting. The editing sometimes drags but employs dynamic match cuts, smash cuts, transitions, jump cuts, hidden cuts, crossfades, intercuts, and montages. Plus, the elevated sound uses match transitions, ambient rumbling, abstract muting, layered voices, echoes, symbolism, and split cuts. Meanwhile, the unusual production design is elaborate, the special effects are surreal, and the daring direction goes big. Overall, Three Thousand Years of Longing has questionable relatability, but creative craft and striking style. Writing: 6/10 Direction: 8/10 Cinematography: 9/10 Acting: 7/10 Editing: 8/10 Sound: 10/10 Score/Soundtrack: 7/10 Production Design: 9/10 Casting: 7/10 Effects: 9/10 Overall Score: 8.0/10 By @augustkellerwrites

Reviews by: @the_owlseyes “When you come out of the grips of a depression there is an incredible relief, but not one you feel allowed to celebrate. Instead, the feeling of victory is replaced with anxiety that it will happen again, and with shame and vulnerability when you see how your illness affected your family, your work, everything left untouched while you struggled to survive. We come back to life thinner, paler, weaker … but as survivors. Survivors who don’t get pats on the back from coworkers who congratulate them on making it. Survivors who wake to more work than before because their friends and family are exhausted from helping them fight a battle they may not even understand. I hope to one day see a sea of people all wearing silver ribbons as a sign that they understand the secret battle, and as a celebration of the victories made each day as we individually pull ourselves up out of our foxholes to see our scars heal, and to remember what the sun looks like.” Jenny Lawson, Furiously Happy: A Funny Book About Horrible Things PLOT "A young chef from the fine dining world returns to Chicago to run his family's sandwich shop" or "The service industry is a jungle" SCRIPT The main reason why this series works. The script isn't just about a chef trying to turn upside down a restaurant which is in a dire condition but also loss, passion, addiction, labour and economy. Every scene has something meaningful to say and its filled with emotions and pathos. Each character presents a satisfying growth and evolution which impact the restaurant and their own lives. Most of you will understand the situation without being a cook yourself because it tells a story everyody is aware of: the workplace and its people are like a second family and only together we can survive in this world. The show's depth is outstanding and will touch you. I think that the est accomplishment of this series is the validation of a job which is usually undervalued and misrepresented. Script: 9/10 ACTING Top notch performances by all the cast, especially Jeremy Allen White who shows a great range and carries this series on his shoulders. There're a couple of guest stars who lift up the quality and are used well. I don't have much to say about it because I didn't expect that. Acting: 9/10 PHOTOGRAPHY The light isn't flat and the colors have a role. The colors are what shows the restaurant's evolution as those become increasingly warmer with each episode. The filter applied to the camera gives to the show a sense of realism without being pretentious. Satisfying but I've expected more. Photography: 7/10 EDITING One of the strongest aspect of this series. Considert that there's an entire episode of 20 minutes made of a continuous take and its wonderful. The rest of the series is edited in a way that makes you feel the pressure, the stress and the sense of urgency felt by the character. Shaky cameras and fast cuts are used masterfully. I also like how the food is framed and staged. Editing: 8/10 SPECIAL EFFECTS This is one of the most practical shows I've ever watched and it's good because it keeps the realism alive and well. Special Effects: 6/10 SOUNDTRACK Mostly forgettable bu there're some songs and aspects of the theme which are interesting and well done. Overall I consider it decent. Soundtrack: 6/10 COSTUMES There isn't much to say about that. Usual clothes worn by usual people. Just one time it's factored in the plot. This series is grounded so it doesn't need to be flamboyant. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 9/10 Photography: 7/10 Editing: 8/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 7,28 A must watch. Director: Christopher Storer Screenplay: Christopher Storer Cast: Jeremy Allen White, Ebon Moss-Bachrach, Ayo Edebiri, Lionel Boyce, Liza Colón-Zayas, Abby Elliott Running Time: 30 min By @the_owlseyes

Reviews by: @augustkellerwrites Not Okay imperfectly addresses worthy topics, critiquing influencer culture and its encouragement of fakeness, herd mentalities, and dehumanization. The script also highlights structures that capitalize on politics, trauma, and privilege. Some might find its dark humor insensitive, its bluntness derivative, and its ending unsatisfying, but these attributes are oddly fitting. Not Okay's peculiar mood, clarity, and evolution help it resonate. Finally, the unlikable characters are repelling, but their flaws emphasize relevant social issues. Plus, the acting brilliantly balances humor, layers, and themes. Ultimately, Not Okay is polarizing, but it makes many emotional efforts. Technically, Not Okay is substantive. Its modern nature makes the production design less noticeable, but its costumes reflect the messages and subjects. Similarly, the visuals subtly employ colors, angles, motion, lighting, composition, and focus. Conversely, the editing uses striking montages, match cuts, hidden cuts, split screens, jump cuts, slow motion, rhythm, and chapters. Also, the music uniquely mixes meta acapella with trendy pop hits. Finally, the sound provides stings, symbolism, motifs, smash cuts, dramatic muting, exaggeration, split cuts, echoes, and layered voiceovers. Overall, the direction lands surrealism and a ranged tone. Thus, Not Okay is thoughtful and energetic. Writing: 7/10 Direction: 7/10 Cinematography: 7/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 6/10 Casting: 6/10 Effects: 6/10 Overall Score: 7.3/10 By @augustkellerwrites

Reviews by: @mr.cinemaaa Project Details Director:. Jeethu Joseph Written By: Jeethu Joseph Produced By: D.Suresh Babu, Jacob.KB, Rajkumar Sethupathi & Antony Perumbavoor Production Houses: Suresh Productions, Rajkumar Theatres Pvt. Ltd & Max Movies Cinematography: Satheesh Kurup Music Director: Anup Rubens Edited By: Marthand K Venkatesh Art Work: Rajeev Nair & Rajeev Kovilakom Costumes: Sri Harini. M & Sangeetha Run Time: 2 Hours & 34 Minutes CBFC Rating: "U" Direction & Story The film is the sequel of 'Drushyam' and starts off from the point where it ended in the first part where Ram Babu hides the body of Varun below the police station. The police are still investigating the case after failing twice. Will Ram Babu be able to protect his family this time also? How will he do it? Forms the rest of the plot. Director Jeethu Joseph is an expert in dealing thriller movies and 'Drushyam' is a classic example of his writing and direction skills. However, the sequel isn't as racy and thrilling as the first part but it has enough twists & highs towards the end to be a decent thriller. The best part of the sequel is that Jeethu Joseph tries to keep things simple and doesn’t overcomplicate the basic plotline and builds up the plot perfectly for a thrilling, emotional, and intelligent climax. Being the sequel of one of the best thrillers, the story, and screenplay written is highly appreciable. Lead Performances Venkatesh slipped into the role perfectly which is tailor -made for him. He excels as Rambabu, a caring father, and husband who goes to any extent to save his family. His ease in acting as a protective father carries the feel of the movie nicely, especially at the end. Meena is very effective as Rambabu’s wife and does supremely well in all the emotional scenes. Kruthika & Ester Anil did their part quite convincingly. Nadiya is superb as usual as the mother of Varun and emoted quite well. Naresh supported her perfectly. Sampath Raj who plays the rough cop is impressive. Satyam Rajesh, Suja Varunee, Shafi & Tanikella Bharani are very good in their respective supporting roles and these characters bring in the big twists in the film. Poorna is neat in her small cameo as the lawyer. Vinay Varma,Naidu Gopi, Chammak Chandra. Annapurnamma, & others are fine in their supporting roles. Detailed Analysis The film starts on a slow note & things are unleashed at a slow pace. The setting of new characters, the whole movie angle, and how the family is still getting over the crime is shown in the first half. The interval twist where the secret mission is revealed is bang on and the actual story kick starts from that point and makes you glued to your seats. All the boring portions and the characters introduced during the first half have a purpose at the end. The last 40 minutes of the movie is what you call brilliance & is the best part of the film, as Jeethu Joseph beautifully shows the cleverness and vision of Ram Babu. A few subplots in the village are poorly narrated and the suspense factor gets diluted in a few areas. The intelligent climax & the brilliant screenplay makes you go wow. Every twist & turn in the climax portion is narrated well and syncs well with the narrative. Technical Team Direction: 4.5/5 Story: 4.5/5 Screenplay: 4/5 Dialogues: 3.5/5 Music/Songs: 4.5/5 Background Score: 3/5 Production Values: 4/5 Cinematography: 4/5 Editing: 3.5/5 Costumes: 3.5/5 Choreography: 3.5/5 VFX/Graphics: 3.5/5 Sound Design: 4/5 Plus Points Venkatesh's Performance Performances Of The Rest Of The Cast Second Half Decent Twists & Turns Thrilling Climax Writing & Direction Cinematography & Background Score Production Values Minus Points Slow Pace & First Half Dubbing Of Poorna & The Judge Character Takes Too Much Time To Get Into The Actual Plot Final Verdict A faithful remake of a gripping sequel. P.S.: Opting for a direct OTT release was the best option for this film. Recommended: YES Mr.Cinema Rating: 4/5 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: @tylersnerdy_review I guess it’s a double hit of Eva Noblezada today, first Easter Sunday and now with the shocking Luck. I’ll be honest, I really liked this movie, I do not understand the low reviews, this movie had me crying like a bitch multiple times. Noblezada is really fun and delightful as Sam as one of the most selfless and relatable animated characters I’ve seen in a long time. Simon Pegg is so much fun as the cat Bob. Jane Fonda, Whoopi Goldberg, and Flula Borg are a delight as the dragon, cop, and unicorn. Lil Rel Howery, Colin O’Donoghue, and John Ratzenberger have some good characters that I would have loved to see more. I think this movie is animated very very well for an Apple TV+ movie, I didn’t think they had it in them. The message is a pretty good and one that I haven’t seen before, good luck or bad luck just take life in. Everything that happens to you makes you into who you are and can alter your life. I will say the movie feels very long. It’s only an hour and forty minutes but it feels closer to two hours honestly. But I had a lot of fun with this movie and I’ll give it a recommendation along with an 8/10. Please go and give this movie a chance. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Day Shift is a flat attempt at generic tropes. Its premise is decent but goes nowhere. Characters have minimal motivations and simplistic traits. Dialogue is blatantly obvious. Humor is cringe, plot points are convenient, and world-building is insufficient. Also, side characters are useless (including the cliche villain). Truly, the whole script feels corny and feeble because it's a dull imitation. Foxx and Franco show some charisma, but even they are impeded by the lifeless writing. Furthermore, chemistry is mediocre, emotions are forced, and believability is nonexistent. Ultimately, Day Shift's dramatic connection is minimal and sloppy, resulting in a disengaging experience. Technically, Day Shift is disorganized. Its fights are illogical, inconsistent, and tedious. Its farcical tone undermines tension, the excessive CGI is distracting, and the soundtrack is overdone (switching songs too quickly). Meanwhile, the editing employs jump cuts and inserts, but drags out action into desensitizing messes. This is exacerbated by bland and repetitive cinematography. Plus, the color is oversaturated. Really, the only positive filmmaking is the sound, which uses split cuts, echoes, abstractions, and mixing. Still, despite that, the film is a forgettable jumble. Overall, some viewers might superficially appreciate Day Shift, but even then, it's a lackluster option. Writing: 2/10 Direction: 3/10 Cinematography: 5/10 Acting: 3/10 Editing: 4/10 Sound: 6/10 Score/Soundtrack: 4/10 Production Design: 4/10 Casting: 7/10 Effects: 3/10 Overall Score: 4.1/10 By @augustkellerwrites

Reviews by: @thefilmobservatory 4.5/5 Drama/Black-and-white While travelling cross-country for an interviewing project, emotionally stunted radio journalist Johnny (Joaquin Phoenix) looks after his nephew, Jesse (Woody Norman), and connects with his young mind and perspectives. C’mon C’mon is one of the best films of 2021 but is likely to go under many people’s radar so, in this review, I hope to play my part in avoiding that. A24’s latest entry, helmed by Mike Mills (who also wrote it), is indie cinema at its finest, sensitively powered by understated performances and unmistakeable humanity. Due to its slow pacing and simple narrative set-up, this film won’t be for everybody but I personally found myself captivated by every second and felt that I was watching something beautiful and real. To paraphrase Todd from BoJack Horseman, the long-term importance of art is less about what creators put into it and more about what people get out of it, and this was a film that I really connected with. For anybody who’s seen a trailer or poster, I wouldn’t be surprised if the main curiosity was caused by seeing that this film was in black-and-white, and I can confirm that it isn’t wasted. Personally, I find shooting in black-and-white to be one of the most interesting techniques in contemporary cinema, as it can bring a vintage sense of articulation and heart to a story or it can be a pointless choice that comes off as merely pretentious. C’mon C’mon applies to the former, as it utilises this style, and a slightly tighter aspect ratio, to bring a layer of intimacy to the film that may have been distracted from if the story was told in vivid colour on a wider screen. With this focus, the film can consistently make its stars the centre of attention and this entirely pays off. Robbie Ryan’s calm and captivating cinematography adds to the personal charm of C’mon C’mon and the framing brilliantly makes it feel like a portrait, or a time in a life, simply of two hurt people, one young and naïve, the other experienced and isolated, learning from each other and forming a mutually beneficial connection: this is the most real yet wholesome film I’ve seen in a long time. Something I’d consider a mixed aspect to C’mon C’mon is that it’s a rather floaty film, intentionally absent of reams and reams of plot, and therefore doesn’t particularly demand the viewer’s attention. This worked for me but I can understand if some viewers feel left a little in the dark in regards to what all the buzz is about, as this film isn’t explosive, audacious or full of twists. As for the break-out star himself, Woody Norman is a phenomenal revelation who does a fantastic job of channelling the range of extreme emotions that a child experiences, to the point where it feels like you’re watching a kid that you know. He impressively presents the common inner conflict within a child of yearning for independence, while obviously needing, and eventually realising that they desire, the nurture of parents or parental figures that can make them feel safe. Joaquin Phoenix continues to be one of the best working actors around and, while I’d be surprised if his role in C’mon C’mon as a slightly bumbling but caring uncle won significant awards as it’s not a ‘powerhouse’ performance, he’s brilliantly subtle here. His character Johnny’s emotional isolation doesn’t turn into a bitter quality but is sympathetic as it comes from the kind of loss that probably most people will suffer in their lives, meaning that many viewers can relate to what he went through and may subsequently be enlightened by the hope for the future that C’mon C’mon presents for Johnny. Norman and Phoenix share bounds of chemistry and I’m not surprised to have heard that at least some of their scenes were improvised, as their dialogue feels so natural. There are no low points or off-beats in their storyline and the film more than succeeded in making me really care about their bond. I’m pretty sure that this was the first role I’ve seen Gaby Hoffman in but, as Jesse’s stressed-out mother, she was also excellent and realistically (I’m not a mother but I’m assuming so) demonstrated the tumultuous yet endearing experience of raising a child. Her initially strained dynamic with Johnny felt like it came from years of happy and heart-breaking history and this aspect of the story really worked partly because Hoffman and Phoenix’s performances more than sold this. The story’s ending may seem sudden to some but I saw it as not a disrupt or close to the dream, rather just naturally true to real life and how feelings and relationships come and go. However, the film ultimately shows that Johnny has been emotionally changed for the better by his nephew, which fittingly presents the idea that the importance of human relationships is sometimes about how the effects of them linger on, making the memories pertain through time, even if they don’t continue in the same consistent manner. Another strength of C’mon C’mon is how it tackles its mature themes and storylines without ever losing focus or becoming too heavy. This film is so unique in its manner of genuinely caring for what young minds think, and it wonderfully captures these perspectives across Johnny’s interviews, in which he asks children about their feelings regarding the future. At such a pivotal and sadly corrosive point in our world’s history, the theme about new generations and the future is more relevant than ever, making this exploration of the untampered innocence that could be lost especially poignant. While the children’s answers may seem simplistic, Mills suggests that their values of love, peace and equality offer far more wisdom than much of the cynical, unjust society that we exist in, and become a part of when we grow up. Furthermore, heavy topics such as loss and mental illness are undoubtedly present but often serve as sensitively addressed components of the central characters’ histories, not overshadowing the main storyline and meaning of the film. Throughout C’mon C’mon, I was also struck by the use of ambient sound, which brought a sense of engaging with real life rather than filtering and manipulating it beyond genuineness. Even when the camera stops rolling, the intimate style of filmmaking continues, with sounds of Johnny’s interviews and what I believe was the seaside lapping over the credits. Overall, sound and music in this film perfectly convey its thoughtful style, with Claude Debussy’s Claire de Lune (from the Romantic era, famously known for pushing artistic boundaries and further exploring the complexity of human emotion) becoming a motif of sorts that wonderfully embodies the themes. At this point of this review, I’m running out of things to say but that isn’t remotely a criticism here, rather a comment on the deliberately simple style of the film. Overall, C’mon C’mon deftly avoids potential cliches and Mike Mills has crafted what is easily one of the strongest smaller-scale films of 2021. Ultimately, it was nice to leave a film at the cinema without any prominent criticisms, being able to just say “That was a good movie and I had a great time”. C’mon C’mon is a portion of indie cinema that’s easy to simultaneously enjoy and admire: it really worked for me and I would highly recommend it to fans of A24 and/or Joaquin Phoenix. By @thefilmobservatory

Reviews by: @silverscreencritiques The film follows Rupert Pupkin, a man trying to break into show business with no luck, and starts to take more drastic measures to achieve them. In the opening shot as shown by the previous slide, we see people clamoring over a famous comedian/talk show host, and then freeze frames of hands being raised to him, implying that we worship celebrities, or at least hold them in high regard. The freeze-frame also has Robert De Niro's character in front of the raised hands, implying that he desires fame and to be loved. Throughout the film, Rupert Pupkin tries and does whatever he can to make it as a comedian, to be a celebrity. Why he wants to is unclear. He also works with a woman named Masha who will do whatever it takes to meet her idol, Jerry Langford. De Niro's character constantly tries to talk to Jerry Langford and tries to get him to give him a shot at stand-up comedy, and doesn't take no for an answer. He constantly tries to get approval from his idol. He thinks he deserves to be famous and deserves to be adored by everyone but secretly needs approval from everyone. Fame has mostly taken a different face in today's world. With the rise of social media and the internet in general, fame really seems more attainable and achievable today, with the likes of YouTube, Instagram, Tiktok, etc. I believe that many do have that desire to be famous, or at least gain a following and maybe become an Influencer of sorts. I know I certainly see some here on Instagram attempting to achieve that. And also just like Masha, we still hold celebrities in high regards today. The internet has made celebrities more "Human" or "Down to Earth." So we feel like we actually know the person. Dare I say it? It seems like today you don't need to be skilled in anything to achieve fame. Nowadays you just have to have the personality on the internet to show the world. Why do we desire fame? I believe it comes from our desire to be accepted and/or get the approval of people that were doing something right. Or we desire the life that may come with fame. The ending of this film is very unclear. We don't know what is happening or even if it is happening at all. But I think it does show us something. It shows that we can also get fame by doing something extreme and having it on the news. The news does give him the attention that he desires, which everyone does read and/or watch. So everyone forms their own opinion of him and he may have achieved his dream by being extreme measures by being on the news. Robert De Niro's performance here is one of my favorites by him! This is also one of, if not my favorite film by Scorsese. If you haven't seen it yet, I do recommend it! By @silverscreencritiques

Reviews by: @the_owlseyes "What power would Hell have if those here imprisoned were not able to dream of Heaven?" Morpheus PLOT "Upon escaping after decades of imprisonment by a mortal wizard, Dream, the personification of dreams, sets about to reclaim his lost equipment" or "Morpheus gets back on top SCRIPT This is a bit divisive to be honest. My criticism is toward the fact that the series is divided into two storylines which aren't on the same level(the second is the one which lowers the series quality), some plot thread and characters are left hanging just to have some reasons to produce another season(the Immortal Man and Joanna Costantine). One can also critice the series of a lack of action but it's one of the best thing about it. Because it goes against the main staples of the comic book's world. Morpheus is a well written character and the interactions he has with the other characters are amazing, especially Lucifer. The point is that there're too many side characters and villains to keep track of all of them and it hurts the experience. I've wished for a more focused plot. Is still a good script but it wants more than it can manage to tell. All for the sake of world building and season two baiting. I thought that it was better than that. Script: 7/10 ACTING Tom Sturridge is top casting. He's fascinating in his role and brings a lot of gravitas to it. I can say the same about the other actors, even though most of them have a limited role or just a vocal one. I like how Kirby Howell Baptiste represented Death with a tender and sweet approach. Boyd Holbrook is very good as the Corinthians by making him attractive and interesting to watch. Overall I think that the acting is one of the best thing about this show. Acting: 8/10 PHOTOGRAPHY This is what makes worth the watch. It's beautiful and inventive. Everything has a meaning and light is never used in a boring way. There are too many wonderful shots here and it's a pleasure for the eye. In a series about dreams, everything looks and feel like a dream, even the real world. Photography: 8/10 EDITING Sometimes slow motion is used in a dumb way, you'll notice it. I think that the editing isn't bad because it has its moments. I'm talking about certain transitions which are handled well. Nonetheless all of this isn't enough to give to this section more than a simple six. Editing: 6/10 SPECIAL EFFECTS Decent, sometimes the CGI is a bit bad, but overall is acceptable. Most of the series is made of VFX because the original novel demands it but sometimes it's a bit redundant. Special Effects: 6/10 SOUNDTRACK Sincerely I've expected more. I'm not saying that it's bad but it's clearly forgettable and stale. It defines the series tone well but there's nothing beyond that. Soundtrack: 6/10 COSTUMES These are extremely faithful to the source material and adapted to a contemporary look(consider that the graphic novel as more than 20 years). I like the different suits worn by Morpheus and the costume of Lucifer. The Corinthian has an interesting set of clothes too, one which adapt to the time. Overall I consider myself satisfied. Costumes: 7/10 CONCLUSION Script: 7/10 Acting: 8/10 Photography: 8/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,85 An interesting series which deals with compelling themes in a wonderful and eye pleasing way. Director: Mike Barker Screenplay: Neil Gaiman & David S. Goyer & Allan Heinberg Cast: Tom Sturridge, Boyd Holbrook, Vivienne Acheampong, Patton Oswalt Soundtrack: David Buckley Cinematography: Will Baldy, George Steel, Sam Heasman Running Time: 45 min By @the_owlseyes

Reviews by: @cine.bifrproductions Screenplay- 9/10 Direction- 8/10 Plot- 7.5/10 Technical- 6/10 Sound- 9/10 Themes- 7.5/10 Chills quotient- 7/10 Genre excellence- 8/10 Structure and pacing- 6.5/10 Entertainment- 6.5/10 A.Q- 6/10 “Kramer vs Kramer” is one of the first of such dysfunctional family dramas that would continue to be so popular, decades after the 70s. And it’s surely one of the best. The film knows how to blend lots of drama with some wonderful bits of comedy thrown in for good measure. The way it paints a picture of divorce and its consequences is realistic and extremely heart-warming. Undoubtedly one of the best family dramas, but hardly flawless. There are many things that this film does right, and one thing I liked about it is that it portrays both parents as imperfect individuals. It would have been extremely easy for the writers to place all of the responsibility of the divorce on one of the parents, but this would have been unjust and impractical. The film does not portray Hoffman’s steady father as a hero, nor does it portray Streep’s wandering mother as a villain. They’re neither excellent nor awful as people; they’re just bad at marriage. Despite the fact that Ted was portrayed as the villain at the start of the film, I found myself connecting with him more than I did with Joanna. I believe the major reason for this is that I regarded him as flawed rather than terrible as a person. It could have been better if Joanna’s character had been explored more thoroughly, since we would have had a greater understanding of her character’s thoughts and feelings, and I would have been able to identify with her. However, because her character is so inadequately written, this is difficult. During the film’s middle sections, Streep is absent from the screen while Hoffman and the child come to know each other, as Hoffman’s responsibilities as a father finally lead to his dismissal from the ad firm. These are the most moving sequences in the film. The movie’s writer and director, Robert Benton, has provided his characters with dialogue that has the ring of absolute everyday accuracy, but in the case of the kid he and Hoffman, their repartee is so touching and hits close to home, with their relationship having bits and pieces that could relate to every boy and his father. What that means is that we can see the father and son learning about each other and growing closer. There are many humorous and heart-felt moments during the film, many of which involve Ted and his son, and I’ll admit that I was pleased that his son ended up bonding better with Ted towards the end. Robert Benton doesn’t try to do anything fancy with his movie; its strength lies in its performances, those of Dustin Hoffman and Meryl Streep particularly, playing a divorced couple fighting childishly and selfishly over their son. Scene after scene shows us why Hoffman is one of the best American actors to ever grace the screen, and Streep gave us all an indication of her yet-to-come legendary status. The courtroom scene in which they duke it out for custody, and in which each is forced to hurt the other in terrible ways, is devastating, and feels authentic. The script is so meticulously crafted that each dialogue, however irrelevant it may seem, means something for each of the characters involved. The characters aren’t just speaking with each other; they’re revealing things about themselves and may occasionally be observed in the process of discovering their own motivations. That is what makes “Kramer vs. Kramer” so moving: We get the feeling at times that personalities are changing and decisions are being made even as we watch them. Yes, the courtroom scenes were extremely dramatised and consisted of certain illogical arguments, as a reason to further the story. The film also kept jumping between different tones pretty rapidly at times, and other times it felt like the scenes were dragged on for too long. And I guess my only other criticism would be that Joanna’s character was extremely shallow, which is contradictory to the performance given by Streep. This just shows the missed opportunity of better character writing. I just have to give a special mention to this film’s score. Now I’m not sure if that was an original score or a soundtrack, but whatever it was, elevated the effect this movie had on me. The melody, so lovely and peaceful and furthermore the use of this melody was extremely appropriate in reference to the contexts it was used in. Kramer vs. Kramer gets a lot of unfair criticism these days because it was the film that beat “Apocalypse Now” for the 1979 Best Picture Academy Award; but comparing these two films is like comparing football to squash; they’re nothing alike, but why can’t we enjoy them both? It remains a movie with enormous sensitivity and compassion, and context helps clear up some misconceptions regarding the film’s representation of motherhood, gender roles, and the divorce process, all of which were intimately linked and changed. Yes, it’s dated and Meryl and Dustin were pretty young. But I would recommend this for a lot of people, because I think most can relate in some way. There are funny, sad, happy, and relieving moments that are carried away terrifically by these great actors. It’s very much relevant in this day and age and that’s clear from the reason why ‘Marriage story (2019)’ did so well. For me, ‘Marriage Story’ would be a modern iteration of ‘Kramer vs. Kramer’, with each film containing details and aspects to make them unique. By @cine.bifrproductions

Reviews by: @theg_flash_reviews Hey everyone here's my review of Stargirl season 2, really good season, picks up right where the first season left off, I will say this season went by a little slower than the last one but I understand why because it needs to take time to built up events. Story was very well told, acting is still good, all the characters are still likable this time around got more depth and faces even more challenges than the 1st season. Brec Bassinger is still great as the main lead Stargirl I love her performance; new villains gets introduced they are very threatening and intimidating; new characters from the comics gets introduced too and both the heroes and the villains look pretty comic book accurate; soundtrack was good; set pieces looks neat still; special effects looks awesome; CGI were very cool and well crafted; action sequences are super well choreographed and they are very engaging; many dark moments occur; secrets are revealed; betrayals are made; losses happens; some pop culture references were mentioned; major twists I didn't see coming, some shocking moments that made me jaw dropped, chemistry between characters are still there and the new ones who came in have great relationships too; every episode is top notch that kept me engaged the whole time and ends on perfect cliff hangers; cameos from the last season appeared again, a stunningly spectacular season finale that sets up for the nest season with a very cool reveal for the next villain. Overall I liked season 2 of Stargirl quite a lot this one felt more darker and more heavy-hearted compared to the 1st season but I don't that I do like dark tone stories many times and this season delivers it perfectly with some good payoff. I will admit there's some characters I wish had a little bit more development but outside of that I pretty much enjoyed the hell out of season 2 and I can't wait for season 3. I give Stargirl Season 2 a 9.4/10! By @theg_flash_reviews

Reviews by: @tylersnerdy_review The other day I got around to finally seeing the newest A24 film, Bodies bodies bodies. This is the most fun I’ve had with a slasher ever, you will not leave the theater without being somewhat entertained. I can already see a lot of people being pissed off at the ending and I’m excited to see what they have to say about it. I for one love the ending and leave it to A24 to twist the slasher ending. Now, while I’m a big fan of representation on screen, I don’t know if a full on lesbian make out scene was the best way to open the film. Maybe a bit deeper into the film but not the entire first two minutes, they were full on about to fuck. Amandla Stenberg and Maria Bakalova were such an odd paring because they don’t feel like they should work but being the only two characters that would be decent to be around in real life they keep the audience around to see how things go for them. Myha’la Herrold is great here, especially near the end of the film, she has some amazing scenes. Rachel Sennott is without a doubt my favorite of the film, she is just so much fun and exudes a chaotic energy that I loved to see. Chase Sui Wonders is a good addition to the movie but didn’t feel like she fit in with the others, I think some more screen time would have been good for her. Lee Pace and Pete Davidson have such a ridiculous little rivalry and are both just so weird to see in the movie but bring a lot of fun to the film. At the end of the day, this movie is really about the fear and paranoia of being the friend that all the other friends make fun of behind their back. This film makes it obvious that none of that matters and it can lead to a horrifying real life Among Us. This will have you guessing the entire time and will make you think each person accused is the killer while also making you feel like none of them could have done it at the same time. It was so much fun going over the clues and trying to beat the movie to the answer. I’m giving Bodies Bodies Bodies a big 8/10 and I think this one should be a theater trip if you can find one playing it. I know I had to wait a week to see it at mine. A24 still has not led me astray yet. Can’t wait to see what else they have. -Tyler. By @tylersnerdy_review

Reviews by: @underground1film “Eğer gerçek adımın Ruslan olduğuna inanmazsan, anlattığım hiçbir şeye inanmazsın.” Orta yaşlı, beyaz yakalı Daniel, Paris Kuzey İstasyonu’nda, Ukrayna asıllı genç Çeçen göçmen Marek ile ertesi gün para karşılığı seks yapmak üzere anlaşır; genç adamdan zerre şüphelenmez ve ona evinin adresini verir. Fakat ertesi gün Marek, Doğu Avrupalı çetesiyle birlikte Daniel’in bir rezidanstaki dayalı döşeli dairesini ansızın istila eder. Kişisel alanının ve iç dünyasının kapılarını açtığı bir yabancının tuzağına düşen bir adamın, vicdanı ve korkularıyla yüzleşmesini konu alan film, 120 BPM ile Cannes Film Festivali’nde Jüri Büyük Ödülü’nü kazanan yönetmen Robin Campillo’nun imzasını taşıyor. Dört bölüme ayrılan film, belirsiz bir bakış açısıyla başlayıp yavaş yavaş samimi bir karakter çalışmasına dönüşüyor. Campillo'nun eşcinsel erkek cinselliği, haneye tecavüz ve Avrupalılar arası göçmen politikaları üzerine eğilen, gösterişli olduğu kadar son çeyrekte vites değiştiren filmi “Eastern Boys”, hem zarif bir şekilde filme alınmış oldukça sert politik bir gerilim, hem de uzun süreli bir gerçeklik hissi veren incelikli bir aşk filmi. By @underground1film

Reviews by: @shmillermoviereviews Dumb and Dumber is easily one of my most adored comedies of all time. It stars the comedy legend that is Jim Carrey and an actor that isn't best known for his comedic chops but is outstanding, Jeff Daniels. The movie follows Harry and Lloyd as they embark on a roadtrip to return a suitcase to a woman as she leaves it at the airport. Unbeknownst to the not so clever pair, this was intentional and they are being tracked down by hitmen! Dumb and Dumber is so quotable and has so many hilariously memorable moments. From the bizarre to the wacky, the comedy is very clever and you see it's inspiration in a lot of releases in today's movies. The car scene where they give the hitman a ride is one of the best comedic scenes and pieces of improv of all time as Carrey screams in his ear and the pair irritate the life out of the hitman! Ridiculously funny! Amazing movie. Amazing all round! 9.5/10 By @shmillermoviereviews

Reviews by: @augustkellerwrites RRR is abundant style with adequate substance. This extreme film oozes with flavor, but its drama is its foundation. The plot is sometimes illogical and redundant, but its heart makes that forgivable. Characters have clear motivations and internal conflicts, giving RRR moral complexity. Meanwhile, the storyline is nonlinear, packing in surprising twists and developments. Plus, RRR provides a purposeful message of unambiguous anti-imperialism. Furthermore, the acting nails comedy, tragedy, action, song, and dance. Collectively, this all establishes RRR as more than just excessive entertainment. Underneath its exaggerated presentation, RRR has sincerity and emotional intent. Technically, RRR is a surreal whirlwind. The visuals use heightened framing, composition, motion, focus, color, and lighting. Despite its lengthy runtime, the editing is enjoyably energetic, utilizing jump cuts, match cuts, split cuts, and dissolves. The symbolic sound design employs echoes, volume, and motifs. The dramatic soundtrack overtakes RRR with showstopping musical numbers. There are era-specific production designs, extensive effects (CGI, stunts, and pyrotechnics), and a distinct directorial style. The tone may be confusing for American audiences, but RRR embraces its awesome ridiculousness. Due to enthusiastic filmmaking and genuine emotions, RRR elevates beyond novelty. Writing: 7/10 Direction: 10/10 Cinematography: 9/10 Acting: 8/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.3/10 By @augustkellerwrites

Reviews by: @augustkellerwrites @tylersnerdy_review Bullet Train is amusing. The story is convoluted and shallow, but it owns that as part of the fun. Plus, characters are defined, there's emotional investment, and the actors enjoy their chemistry. Arguably, the humor is mediocre and the script is overwritten, but those points are offset by a clear tone and engaging twists. Really, the only undeniable dramatic drawback is the lengthy runtime, which feels slightly repetitive and muddled. This isn't a critical flaw, but it impedes the flow. Lastly, the themes of luck and fate are undeveloped but adequate. Overall, Bullet Train lands everything fairly well. Thus, it's quality entertainment that maintains interest. Meanwhile, Bullet Train's filmmaking shines. The CGI is overdone, but there are good stunts and blood. The production is stylized and the direction has energy. Similarly, Bullet Train's visuals are vibrant with lighting, color, composition, movement, focus, mounts, and angles. Its editing uses inserts, montages, time jumps, passing cuts, and smash cuts. Also, the music is rhythmic, relevant, flavorful, and juxtaposing. Finally, the sound provides dynamic split cuts, muffling, echoes, ringing, motifs, stings, and cues. Collectively, these flashy technicals elevate the journey and keep it fresh. Bullet Train isn't original or essential, but it's definitely pleasing. Writing: 6/10 Direction: 7/10 Cinematography: 8/10 Acting: 7/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 9/10 Effects: 7/10 Overall Score: 7.6/10 By @augustkellerwrites Yesterday I got out and saw the fantastic Bullet Train and am just beyond happy that it ended up being as good as it looked. Brad Pitt is so good here, he handles every fight scene so well and they are so creative and fun. He works so well with Aaron Taylor Johnson and Brian Tyree Henry who also work very well together. Johnson and Henry are two of the best things about this film. They are so much fun and bring so much of the comedic relief. Joey King is really good here, I’m glad she was able to get back into a better role after continuing to come back for the Kissing Booth films. Zazie Beetz and Bad Bunny are so good for their incredibly small roles. I would have loved to see more of them, especially with the pretty deep backstory that Bad Bunny gets. Andrew Koji, Michael Shannon, Hiroyuki Sanada, Sandra Bullock, and Logan Lerman all shine in their own way in this no matter how much screen time they got. With Shannon, Sanada, and Koji being some of the more serious parts of the film that mix up the many comedic parts. This movie is so incredibly funny and I was here for every second of it. It does feel very long but I honestly didn’t want it to end. I was engrossed in this world and it’s characters. This train was amazing and they made it feel so large and open. My one major complaint is that they got Karen Fukuhara in here and gave her a couple of lines and no action scenes. I was waiting for her to shock us by kicking some ass and then she just does nothing. She’s so good on The Boys and I hope she can find a path to mainstream film. It would have been nice had the trailers not shown major scenes from the end of the film, it ruined some of the fun in the final act but that final act was still a lot of fun. They also reuse a lot of scenes to flashback and it kinda just felt like maybe they didn’t trust the audience to remember a name or an event that had just happened thirty minutes prior. But stil l, the movie is so much fun that I’m willing to forgive it for so many things. I’m hearing it’s another divisive one so make sure to get out there and decide for yourself. As for me I’m giving Bullet Train a massive 9/10! Can’t wait to see it again and again. -Tyler. By @tylersnerdy_review

Reviews by: @dannybsbrokenreviews Was meant to see this in cinema back in January but pulled a Dan and overslept, missing the screening and never getting round to seeing it in the week it was showing. Part of me deeply regrets not being able to see this in cinema, but then the other part of me was glad as it may have given me a heart attack. This is absolutely top-notch filmmaking. This is an expansion of a 2019 short film of the same name, also directed by Barantini and starring Graham. On the busiest night of the year at one of the hottest restaurants in London, charismatic and commanding head chef Andy Jones (Stephen Graham) balances along a knife's edge as multiple personal and professional crises threaten to destroy everything he's worked for. A surprise visit from a health and safety inspector sets the staff on edge as the overbooked hot spot fills with guests. Jones tries his best to diffuse tensions between management and crew while catering to the ridiculous demands of customers. I was initially wary of this due to the "One take" gimmick that has a hit and miss success rate or is cheated with seamless editing to hide the cuts. Here, however only adds to the experience. Making for a relentless and exhausting watch that feels like an endless anxiety attack of filmmaking. The comparisons to Uncut Gems has been made frequently, although I don't think that's fair, as Boiling Point doesn't feel like it's riffing off the Safdie's at all. The thought of working in a restaurant is my idea of hell (I tried it for a week. Didn't go well) and Boiling Point manages to give the authentic feeling of being thrown into this chaotically busy night. From staff arguments, Instagram influencers (*Vomit*), racist customers and younger staff slacking off and taking the piss, director Philip Barantini really does capture the uncomfortable atmosphere of all this happening at once. Every part of the atmosphere feels electric, as while the focus is usually on one character at a time, with stunning tracking shots following them through the building, there is an amazing detail to the background. It always felt as if something was happening, whether it was patrons stopping their conversation to look where the shouting was coming from, impatient people waiting for their food or someone trying to get seen, it all feels very real and lived in. I don't think this would have worked half as well without the utterly magnetic performance from Stephen Graham at the centre of things however. The head chef on the verge of a financial and personal collapse trying to hold it together while the walls are closing in around him. He carries himself with calm composure, while also snapping and apologizing, but also holding himself back from a complete mental breakdown. It's incredible work and possibly the best I've ever seen him. Boiling Point is incredible filmmaking, 90 minutes of relentless, chaotic and anxiety inducing drama that feels authentic while making use of the well handled single take gimmick. Beautifully capturing the madness of a busy restaurant and shoving a never better Stephen Graham who deserves far more recognition for this role thank he's been receiving. It's a true achievement all round. Seek this out immediately. 9/10 Dans By @dannybsbrokenreviews

Reviews by: @_lights_cameron_action_ An unexpected film but one I couldn’t turn down, recent events make this review tragic. However, I thought what better tribute than reviewing a film starring the whole band together. Studio 666 is a horror-comedy, the story is by Dave Grohl frontman of Foo Fighters, with director B J Mcdonnell whose only directing experience is Slayer music videos and a horror film Hatchet III. The film begins in 1991 with a graphic flashback scene, a band named Dream Widow who moved into an LA mansion, to create a new album that would never be finished after the band were found dead. So skip to 2019 and with the Foo Fighters struggling with ideas for their next album, mainly due to Dave Grohl's writers' block and the pressure of manager Jeremy Shill (Jeffrey Garlin). So they have a great idea to record the album in an LA mansion, which unbeknownst to them has a dark past as the house where the band Dream Widow all died. Will the Foo finish their album or meet the same fate. Let’s be honest this film hasn’t been made to win awards or smash the box office it’s a bit of fun. It shows the fans another side of the band, however, they’ve always had a comedic value and famous moments, especially with music videos most famous for me are the Learn to Fly video and Dave Grohl's Leg break forcing the band to stop a show only to return and finish the show a few hours later. This just shows the type of band they are and why a crazy horror-comedy isn’t a surprise. I personally really enjoyed Studio 666 it was gory, had the daftest deaths imaginable and my favourite part of the whole film, with Dave Grohl desperate for ideas for the album, he performs a rendition of Lionel Ritchies Hello but is interrupted by a cameo appearance from Lionel himself who tells Dave that we all get writers' block, but that’s his f*cking song. I also have to mention the late Taylor Hawkins, who revealed he didn’t rehearse any lines during the movie, he explained “it’s not that I’m difficult, it’s that I’m lazy and I’m not much for book learning…”. Does anyone need lines if they’re playing themselves, especially in a comfortable environment around your bandmates, showing how big a loss Taylor will be for the band. By @_lights_cameron_action_

Reviews by: @augustkellerwrites @tylersnerdy_review Where the Crawdads Sing feigns sincerity but is mostly cliche. Characters are flat, themes are thin, and developments are obvious. Specifically, the protagonist is a cautious loner, her counterpart is in love with her, and the antagonist is a dirtbag. They don't show complexities or feel deep. Next, the film touches on ideas of race, gender, and class, but never examines them. Prejudice is broadly condemned, but earnest looks at its origins and how it's overcome is nonexistent. Finally, plot points are so transparently formulaic, viewers will predict the entire movie. Overall, Where the Crawdads Sing provides routine emotions and minimal insight. Technically, Where the Crawdads Sing is sporadic. There's slightly distracting CGI and green-screens, rushed pacing, and a repetitive tone. Plus, the male leads look too similar. Conversely, Edgar-Jones elevates the monotony with nonverbal cues. Meanwhile, there's atmospheric music, era-specific production design, and a variety of technical edits (smash, split, and passing). The visuals utilize lighting, focus, and composition to create scenic and figurative imagery. The sound establishes ambient nature, stresses importance, and uses symbolic abstractions. Thus, Where the Crawdads Sing is plain, yet maintains competency. It's not bad but will only impress dedicated fans of the genre. Writing: 4/10 Direction: 5/10 Cinematography: 8/10 Acting: 7/10 Editing: 6/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 7/10 Casting: 6/10 Effects: 6/10 Overall Score: 6.4/10 By @augustkellerwrites I just got back from Where the Crawdads Sing and I’m so happy how much I liked it. I read the book a couple years ago and it’s still up in my top 3 novels. Now of course, the movie isn’t a perfect interpretation of the novel, they never are. But there are a few things they left out of the movie or changed, one of the things they changed makes a lot of since, if I recall Kya is supposed to be 15 in the main flashbacks but she’s 18 here. Daisy Edgar Jones is a fantastic Kya and she radiates the shy and innocent energy that makes her a fun character to read in the book. Taylor John Smith and Harris Dickinson play Kya’s love interests so well and show just how different people can be. Michael Hyatt and Sterling Macer Jr. are so good here, they’re some of my favorite parts of the book and their story is what’s changed the most between the two. David Strathairn is great as Mr. Milton, he’s such a sweet character that I wish they had explored a little more. Garret Dillahunt also gets a change from book to movie to save time. I don’t blame them for it but it was a bit disappointing. I’m not sure how much Delia Owens had to do with the movie but I hope she’s happy with what they managed to make. From what I remember this was a great adaptation. I forgot how well written the book was because the dialogue here is so good. The original Taylor Swift song is fantastic and will most likely be nominated for an Oscar this year. The sets were almost exactly what I had imagined in my head reading the book and they perfectly capture the beauty and wonder of the marsh. I think they spent a little too much time on the flashbacks but Jones’s narration of the flashbacks is really good as the mystery slowly unfolds. What’s great about having read this awhile ago is that I forgot the answer to the murder mystery so the story was still engaging and fun. If you have time to go see a new movie this weekend, make sure it’s Where the Crawdads Sing. And if you have time to read a book, I would definitely recommend reading this one. Teaching us not to judge each other, and how to learn from nature. Just make sure you’re safe when you go exploring “way out yonder where the crawdads sing.” 8/10. -Tyler By @tylersnerdy_review

Reviews by: @lonelyhorrorclub 4/5⁠ Now Streaming On: Hulu⁠ Watch If You Liked: Mindhunter⁠ ⁠ Hannibal is one of the best horror television shows ever made. Bryan Fuller crafted this project with such care and passion for detail, the love in this work is palatable. It is jaw droppingly beautiful to look at, meticulously written, and well acted. From a horror perspective, its subject matter and extreme sequences of gore make it one of the most gruesome shows to ever grace broadcasted television. ⁠ The show owes much of its strength to its prolific source material, the Dr. Hannibal Lecter series by Thomas Harris. Harris’s series also brought us Manhunter (1986), The Silence of the Lambs (1991) and Red Dragon (2002). NBC’s Hannibal is based primarily on the events of Red Dragon, as the relationship between Will and Dr. Lecter exists entirely before Lecter’s imprisonment and the introduction of Clarice Starling. ⁠ Hannibal is one of my favorite pieces of horror media, with Hugh Dancy’s iteration of Will Graham being my favorite horror character of all time. I wish I could give this a 5, I really do. But the series loses so much of its trademark strength in its third season, becoming watered down, rambling, and less impactful. The series finale does bring back the familiar gut punch of the first two seasons, but the last season was a huge let down. ⁠ ⁠ If you can stomach the gore, Hannibal is an absolute must watch. If you’re here for the queer subtext, don’t worry - we all are. ⁠ ⁠ Know Before You Watch: Features extreme gore, blood, death, nudity, sex, animal violence. ⁠ By @lonelyhorrorclub

Reviews by: @handpickedmovie Funny Games can be seen as a concentrate of Haneke's work. While other films also focus on the inexplicably gratuitous violence, films such as The Seventh Continent rely on a frame story that exists outside the film, in which the violence can take place. Haneke thus subverts his own principles, in that the frame story already contains the violence. The absolute helplessness of the viewer is also taken to extremes in Funny Games. The fourth wall is broken, one could almost say the fifth wall, as Haneke breaks with the principles and rules of linear time that we humans are familiar with and thus even the last hope of a "happy ending" is truly torn from the viewer. However, when talking about Haneke, it is often overlooked that not only the viewer is powerlessly trapped in the cinematic world, but also the characters, one might almost say the actors. Thus Haneke said in an interview about his film The Seventh Continent, "Maybe the characters are also trapped in my film and have to live through the same everyday life every day so on so on." An obvious interpretation of Hanekes preference of depictioning middle class families, could be his own familiarity with. But when inspected deeper, these decisions are part of an absolute neutralisation of the justification, the film is highly precise, yet universally valid. When we see a family die for no reason, Haneke wants so little air between us and that family. A self-reference is absolutely desired and necessary. Funny Games also draws on the aspects of genre and market economy. The embodiment of the attackers are aware of their existence in a film and thus want to provide us with the best possible pleasure, cross-references to media-capitalist opinion power of the audience, in a universal context emerge. Likewise, Haneke thus also opens up a dialectic about genre clichés. Funny Games should not be talk to pieces. It is a film that can be analysed down to the smallest detail and yet the reader has not the slightest idea of the effect this film can have. With eyes and mouth open, you will have the best and worst time of your life. By @handpickedmovie

Reviews by: @trashbabygames I don't think this game needs an introduction. We are all very familiar with the 2020 Game of The Year, right? The Hades phenomenon took the gaming community by storm back in 2020 when the pandemic was still going strong and we were all quarantining. Its addicting and challenging gameplay along with its stunning aesthetics quickly caught everyone's attention. Supergiant Games combines all aspects from their previous titles Pyre, Bastion and Transistor into one single experience. Hades reimagines Greek mythology in a fast-paced rogue-like hack and slash game that you will immediately fall in love with. Hades succeeds in every aspect as it features a story-rich adventure, polished gameplay, blood-boiling soundtrack and phenomenal voice acting. Plus, everyone is extremely attractive in this game, for some reason. At first I wasn't so sure about playing Hades because I don't usually play these kinds of games but after my first run through the Underworld I couldn't stop, I wanted and needed more. For someone who plays more chill games, it was challenging to get through the boss fights but you get there eventually as Zagreus becomes more powerful each run. Have you guys played Hades? 🤔 By @trashbabygames

Reviews by: @augustkellerwrites The Gray Man has reliable ingredients, but falls into many generic pitfalls. The characters are boring tropes, the story is cliche, there's a mediocre MacGuffin, the dialogue is lame, there are no themes or arcs, and the plot armor is excessive. Its action is the main emphasis, but it's predictable because The Gray Man is wholly formulaic. Plus, there aren't any lasting effects from the combat. Characters are injured for a scene, but their wounds often disappear. Therefore, despite extravagant set pieces, The Gray Man's absent tension is numbing. Gosling has charm and Evans is trying (maybe too hard), but there just isn't anything to emotionally invest in. Conversely, The Gray Man is salvaged by competent technicals. Its star-studded cast is its claim to fame, but there's also complex sound, intentional music, and varied cinematography (though the drone work is overactive). Meanwhile, the editing is detailed but overcuts action scenes. Furthermore, the production design is inconsistently elaborate. This is exacerbated by overused CGI, which is distracting at times. Finally, the direction is mixed, managing an extensive project but failing to give it any distinct flair or an engaging tone. Instead, The Gray Man feels fairly monotonous and common. Overall, it's an acceptable film, but hardly memorable. Writing: 3/10 Direction: 5/10 Cinematography: 7/10 Acting: 6/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 6/10 Casting: 9/10 Effects: 6/10 Overall Score: 6.2/10 By @augustkellerwrites

Reviews by: @the_film_twins @stevenmillerreviews @the_owlseyes Tommy Shelby, a dangerous man, leads the Peaky Blinders, a gang based in Birmingham. A series consisting of 6 seasons _ This series is one of the most famous and most iconic series. _ Tommy Shelby is considered one of the strongest characters. Most of the characters in this series are great and unique _ The story is great and the cinematography might be the best in the series _Each season has an interesting story _ In the sixth season, the story becomes very bleak, and we do not know if this is the end of the series or not. ⭐ Rating 8.5 By @the_film_twins What can I say about Peaky Blinders Season 6 that hasn't already been said? Nothing new I don't think. But I'll give my opinions anyway. Is this the best season? No. But it's certainly the best acted. Cillian Murphy is a triumph in this show as he battles PTSD and grief. Also the tribute to the late Helen McRory in episode 1 was beautiful and dealt with class. Steven Knight has written such a tremendous show that has showcased excellent character development from every single person. Arthur Shelby (played by Paul Anderson) is one of the most underrated actors I've seen and deserves heaps of praise for his role as the Shelby Brother. The ending has a twist that would make Fincher weak at the knees! I was shook! The movie can't come out quick enough! I can't say too much about this show other than watch it, binge it, indulge in its glory! 9/10 By @stevenmillerreviews "WHAT F****** LINE AM I SUPPOSED TO HAVE CROSSED?! How many fathers, right, how many sons, yeah, have you cut, killed, murdered, butchered, innocent and guilty, to send straight to f****** Hell, ain't ya?! JUST LIKE ME! " Alfie Solomons PLOT "A gangster family epic set in 1900s England, centering on a gang who sew razor blades in the peaks of their caps, and their fierce boss Tommy Shelby" or "Peaky Fucking Blinders". SCRIPT It's a gangster show and it's delightful to watch. It also goes beyond it and evolves into a character study of the Shelbys and, especially, Thomas. There're no heroes here, only victims and damaged people. It's also a study of power, lust, addiction and PTSD. We see the Blinders rise over their peers while losing themselves and it's amazing. Ambientalism has a relevant role in this tale. Considering that the people portrayed here are proxies of the real gangs of Birmingham is both astonishing and fascinating. One thing which permeates from this show is the fact that, even though the gangster is glamourized, nonetheless the characters get punished and it's clear that they don't have to be emulated. The series has a pretty distinct and unforgettable tone and style, which is why this show has been able to thrive to this day. Sure, there're some flaws, some plot holes and some characters which aren't good, like Grace, but I think that this show has everything to keep the audience on its toes for a long time. Script: 8/10 ACTING Cillian Murphy owns this show. Tom Hardy, Adrien Brody, Sam Neill and Sam Claiflin can't deny him that. He's the pulsing core of this ensemble and he's the reason why this series keeps going. The other actors are well casted, even the minor ones, but they're on a different level. Sure, Hardy is pretty charismatic, as well as Claiflin but they are not allowed to shine like him. I liked a lot Helen McCrory, Paul Anderson and Finn Cole performances, espencially Cole, which is able to own the room even though he's one of the youngest actors in the cast. Acting: 8/10 PHOTOGRAPHY This series uses lights and shadows in a masterful way. It helps alot to understand the characters and the bleak world they live in. There're a lot of genuinely amazing shots, especially the ones which are set in the country. It feels like a period piece fragmented into episodes. Probably one of the best looking shows I've ever seen. Photography: 8/10 EDITING It's very effective and, at times, it's awesome. Sure, sometimes slow motion is used in a corny way like in Baywatch but the other times is amazing. The camera work is absolutely stunning and varied. This series knows how to keep your eyes peeled to the screen. It's able to recreate haunting, eerie and joyful moments with such an ease which isn't common. Editing: 7/10 SPECIAL EFFECTS There's a bit of them but they're well concealed and blend within the sets. There isn't much to say about them, because this show is well grounded in reality. Special Effects: 6/10 SOUNDTRACK Another aspect which cemented this series as one of the pillars of today's pop culture. It made an entire genre its own, while serving as a platform for interesting rock bands like Black Strobe, Black Sabbath, Cabbage, Radiohead and more. The instrumental part of the soundtrack is especially fitting and it alterns gripping and tense moments with lustful ones. Overall I found it particularly delightful. Soundtrack: 8/10 COSTUMES Just iconic. The Blinders suits and coats have become part of our culture and, especially the youth, has made it a trend again. This shows how impactful is this show. Apart from that all the costumes suits the characters, their growth, affiliation and era. Pretty satisfying. Costumes: 8/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 8/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 8/10 Costumes: 8/10 AVERAGE: 7,57 An impressive show made of memorable characters, soundtrack and cinematography. A must see for everyone, especially who likes the gangster's genre. Director: Otto Bathurst Screenplay: Steven Knight, Toby Finlay Cast: Cillian Murphy, Sam Neill, Helen McCrory, Paul Anderson, Annabelle Wallis, Sophie Rundle, Joe Cole, Finn Cole, Harry Kirton, Charlotte Riley, Noah Taylor, Tom Hardy, Natasha O'Keeffe, Aimee-Ffion Edwards, Gaite Jansen, Alexander Siddig, Kate Phillips, Adrien Brody, Aidan Gillen, Charlie Murphy, Anya Taylor-Joy, Sam Claflin Soundtrack: Martin Phipps, Paul Hartnoll Cinematography: Running Time: 50 minutes By @the_owlseyes

Reviews by: @kyle.watches.films Adapted from a 19th Century Russian novella and filmed and set in rural Northumberland, on the face of it 2016’s ‘Lady Macbeth’ has nothing to do with Shakespeare. But as the film plays out the link becomes clearer in this captivating portrait of a woman who will do whatever it takes to achieve what she wants. In 1865 Katherine (Florence Pugh) is forced into a loveless and sexless marriage with the much older Alexander Lester (Paul Hilton). Forced to abide by strict household rules by her husband and father-in-law, Boris (Christopher Fairbank), Katherine finds solace in a love affair with stablehand Sebastian (Cosmo Jarvis). But as rumours of her infidelity spread she takes increasingly drastic actions in an attempt to take control of her life. From the opening scene it is clear that this film, despite being only her second feature performance, belongs to Pugh. Initially making us sympathetic to Katherine with her unaffected naïveté, the character's development into the self-serving, manipulative, and (not without reason) bitter wife is subtle and effective. Her cobalt blue dress, clashing sharply with the house’s muted environment, immediately marks Katherine as out of place, and it is only when she is walking the moors, in softer-coloured outdoor cloths, that she appears truly relaxed and at home. Pugh’s performance throughout is pitch perfect, her repressed thoughts almost readable in her quiet facial expressions and interactions with other characters. Pugh is not alone in putting up a great performance - the entire cast is exceptional. Particular highlights include Jarvis, who earnestly portrays Sebastian’s transition from infatuation with Katherine to becoming increasingly horrified at the things she is willing to do. Similarly, Naomi Ackie stands out as the browbeaten maid Anna, who literally cannot voice her terror and disgust at what she is seeing unfold within the house. Coming in at just under 90 minutes the film is perfectly paced with never a dull moment. And if the sharp script and excellent plotting isn’t reason enough, the career-making performance from Pugh makes ‘Lady Macbeth’ a must-see. ⭐️⭐️⭐️⭐️⭐️ By @kyle.watches.films

Reviews by: @mavericks_movie_reviews Murder Mystery is a Netflix Original from 2019. This film is goofy yet a fun watch. 🛥Audrey and Nick Spitz find themselves in the middle of a murder mystery when they go on vacation to Europe. They meet Charles Cavendish who invites them onto his uncle’s Yacht. Just one night in, things go south. 🔪I thought this movie had some good points even though it was very goofy and even foolish at times. I enjoyed meeting each character and trying to figure out who did it before the murder even occurred. This film had some good twist, although some predictable, that would keep the audience entertained. 🚬Nick and Audrey over explained just about everything they were trying to say and Nick got caught up in so many lies, he barely found a way out. I found it humorous that the Inspector smoked in just about every scene he was in, even after he’d been in a car crash. 🏎Following that, the car chase near the end was exciting and being a car guy myself, loved the two cars involved. 🍿Overall, I thought this film was good and I’d recommend watching it if you are in the mood for some laughs. It was silly at times, but that is mainly what the film is about. 🎬Genre(s): Comedy, Mystery 📊Rating: 7.2/10 By @mavericks_movie_reviews

Reviews by: @ruzreviews 10/10 Inception (2010) is one of the most unique and creative movies of the all time. The film is all in high concept, and while this makes it quite confusing the first time around, on rewatches it becomes a spectacular thriller that uses incredible cinematography and direction by Christopher Nolan, and visual effects that make the film a stunning and trippy piece. Leonardo DiCaprio as Don and Joseph Gordon-Levitt as Arthur provide engaging performances that make the emotional beats have so much more impact. Elliot Page as Ariadne is also great as a realistic but effective way for the audience to get the context and exposition they need, kind of like the “straight man” in sitcoms. And of course, the high concept with the layers of story, layers of reality and phenomenal action scenes, mind blowing doesn’t even begin to describe it. The film isn’t perfect, and there’ll be a lot of people that just don’t like this type of thriller, but the fact that this movie works at all, let alone as amazingly as it does, it just warrants a 10/10 for me. Nolan is a bold director, and sometimes that doesn’t always work in his favour, but this movie proves that his style of filmmaking and high concepts can work brilliantly. A must see film, one of the most interesting films of all time. By @ruzreviews

Reviews by: @plano.general * Luján: “¡A muerto por tu culpa!” * Sosa: “Le estaba haciendo un favor, necesitaba la plata” 🎞 Sosa (Ricardo Darín) es un abogado que ha perdido su licencia para ejercer como abogado por lo que comienza a hacer las veces de “carancho”. Esta figura ofrece sus servicios a personas que acaban de tener accidentes automovilísticos para conseguir una indemnización. La historia de Sosa se enturbia a medida que, por otro lado, conoce a Luján (Martina Gusmán), una doctora del servicio de emergencias de un hospital que atiende a estos mismos accidentados. 🎥 El director Pablo Trapero crea una película de suspense aderezada con toques neo-noir al que dota de elementos románticos preponderando la relación de sus dos protagonistas. A través de la puesta en escena de los diferentes elementos, traza una mirada directa a la tragedia de estas personas enturbiando el mundo en el que están inmersos. ❌ Pese a ello, por la idiosincrasia propia del acento y dicción argentina se hace muy difícil y confuso seguir el argumento. Hay momentos en que se pierde el hilo del guion y nos encontramos “perdidos” en la historia. ✅ Quitando estos aspectos negativos. Trapero consigue transmitirnos con gran crudeza y realismo la situación límite y de estrés que sufren muchos profesionales sanitarios del servicio de emergencia. ‼️Otro aspecto positivo sería el uso indiscriminado e intensivo de los planos cortos, desenfocados y de cámara en mano hace que la narrativa alcance un nervio que ayuda a entrar en la intriga del film. 🎖Fue elegida para representar a Argentina en los Óscars de 2011 como mejor película extranjera. By @plano.general

In this post I'll talk about the history of the cinema, which, truth be told is indeed very long, and at first I was going to do seperate posts on each phase but then I didnt know if anyone will be interested in InDepth History, so I decided I do it a bit differently. I'll be brief with it, the information I'll be puting ahead are extracted from several sites like Wikipedia, Pakistan Magazine, the Hotspot Online (Through Web Archives), several interviews and Mushtaq Gazdar's Pakistan Cinema, 1947-1997. I dont think I can cover entire cinema history from top to bottom but I can try. Now If I have left some things, either I'll have a seperate post on it coming or it might have skipped my mind. THE EMERGENCE It all started way before Partition with a guy named Abdul Rashid Kardar who is creditted to be the pioneer of Pakistan Cinema. Although his ventures in Lahore weren't quite successful but they were enough to cement Lahore as a seperate industry. First few years after partition were pretty rough, with the industry that made just 9 movies overall a year before partition, the helplessness was quite evident as total movies produced overall in SubContinent in 1946, were around whooping 107, most of them were from Bombay. The Lahore Industry could not cope with the demands of local theatres anymore, so the only way to keep cinemas running was to import movies from Bombay, India. At the same time, Abdul Rab Nishtar took charge as Governer of Punjab he issued a notification that said Muslims should not take part in Film makng, it should be left to the infidels a. This statement made loads and loads of film people migrate to Pakistan. In 1947 itself, a guy named JC Anand established Eveready Pictures, eventually became biggest distribution company, and distributes movies til date... First ever feature that released was a movie named Teri Yaad, and to be honest, there couldn't have been a worse time to release the movie, as the movie released when our Governer General Quaid-e-Azam Muhammad Ali Jinnah was in very bad health, so without any doubt, it was destined to flop. As time went by no movie made in Lahore garnered big success until a Punjabi movie Pheray came in 1949. Pheray got to be first post independence SuperHit and First to stay on screens for 25 weeks For Urdu language, Do Ansoo did the same deed in 1950. Following year came a really Big Hit, named Chan Wey which not only was Malika-e-Tarannum Noor Jehan's First PakistanI Film but also first ever movie directed by a female in Pakistan and as the time passed, the industry did not look back, the viewership kept increasing and movies started to reach the benchmark of Golden Jubilee THE RISE As the audience grew and the movies started working better, the industry encouraged more and more talented people to join the Showbiz, apart from Lahore, people started making movies in Peshawar as well as Karachi. Ilyas Rashidi a Journalist launched an award ceremony for Films and Artists, named Nigar Awards. At around same time, Govt of Pakistan initiated awarding "Pride of Performance" to notable performers, artists and talents of other fields PoP is the highest Literary Award of Pakistan. Movies started getting made in Pushto, Balochi Sindhi and even English. Tabloids were getting made, Magazines had seperate movie columns. Came the 60s, hailed as The Golden Era, within this time span, arrived so many artists who'd later go down in History as Legends. From Waheed Murad to Muhammad Ali to Nadeem to Nayyar Sultana to Shabnam to Nazar, so many artists started their careers in 60s. Pakistan made films on so many different topics and genres. Be it Romance or Action, a movie about war or movies about War or venturing into Horror, Pakistan Cinema did it all. It is said that in that specific time, Pakistan made loads of movies that it was on 4th spot on most movies made per year, More than 200 movies were being made every year. In 1971, a movie released titled DOSTI, Pakistan's first ever movie to actually cross 100 weeks, i.e, a Diamond Jubilee. Everything was going great until..... THE FALL There wasn't just a single factor to the fall but several. The Biggest of which was Zia-ul-Haq's Martial Law, Cinema indeed was the first thing that got affected by the Regime change and once The Motion Pictures Ordinance was presented in 1978 (more on it later), it acted as a nail in the coffin. Apart from this the increasing piracy, strict censorship and Govt. closing several cinemas was another factor. Although these things brought down total numbers of movies per year to 90 from 200, there were several great movies that were still coming out. The Final nail was however dominance of Punjabi and Pashto movies over Urdu movies, not to take anything away from the good artists working atm or good art pieces... BUT most of it was Problematic, Punjabi movies were all Violence-fest and Pashto movies were mostly Softcore P*rn... And Obviously no respectable family would want to go to either. The number of movies per year went from 90 in 80s to 2-3 movies per year in 2000s. There were a few good movie in 90s and 00s here and there but by 2002, industry was done and dusted. THE RESURRECTION After the industry died in Lahore, the artists and pro ducers started shifting towards Karachi for Newer Opportunities, some artists went to the Neighboring country, India for work, and made a career for themselves there, some went there but couldn't actually take off, some went there, got big cheers and came back right back, one way or another. The year was 2007, a guy named Shoaib Mansoor Directed a movie named Khudaa Ke Liye that starred Superstar Shaan, Superstar Fawad Khan, Iman Ali, and the Legendary Naseeruddin Shah. The movie worked wonders as it brought back the general audiences to the cinema. The revival was set in motion but.. it was slow. Several directors came ahead and starting making movies... However the big kick didnt come until Shoaib Mansoor came back yet again, this time with BOL starring Mahira Khan, Atif Aslam, Humaima Malick, Legendary Irfan Khoosat Sahab, Iman Ali and Legendary Shafqat Cheema, the movie cause havoc in the cinema and "Revived" Cinema.... (This Post is part of 8 parts series, 1/8) . . . Thanks for Reading By @cinemaa.wiz