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Reviews by: @thebotreviewer Mayabazar, directed by Kadri Venkat Reddy is a historic mythological legendary movie in telugu legacy,splendidly written by Pingali Nagendra and an amazing musical track devoted by Ghantasala and Saluri Rajeswara while presenting a top notch cinematography by Marcus Bartely. So,what could I possibly write about this evergreen milestone that shaped the benchmark of the telugu Industry to a whole extraordinary phase. Well, I can only write appreciations which will always be infinitesimal to everything this Movie was made in a way that might have been unfeasible during that era. Sometime back before my love for movies, obviously,I was carried away with the fact that age-old movies are never my cup of tea, but then I started with "Seven Samurai" and the impact it styled on my whole perspective towards classic movies wasn't the same anymore. On the baseline, I realised the true value of classical movies and it's voyage to become an epic movie is something remarkable during times. Well, mayabazar for me is something that comes in the line that every legendary movie's must content:vast cast, high class visuals and eye catching cinematography and off course a fine class action and a great comedy and Mayabazar masterclasses every element that classifies to be a Legendary movie of all times. Starting with the storyline, Mayabazar picks up from the famous mythology tale of India "Mahabharat" In a fictional kind of way where KV Reddy extracts most of the minimal characters that were descripted in Mahabharat (except Lord Krishna Of Course) very less and produced them in the movie brightly. NTR(Nandamuri Taraka Rama) as Lord Krishna did a exceptional job, that calm and composing part of being Krishna was highly submissive, ANR(Akkineni Nageshwara Rao) as Abhimanyu did a justifiable work to his character and was flawless in the part where the character has to be a mixture of pride and anger while Savitri's expressiveness is known legendary to everyone, so, hands down. The thing above all that I really found legendary is S.V. Ranga Rao as Ghatotkach, his role though comes slightly late on the screen but when comes,he just wins you with his sharp acting and makes you bust your gut. The hilarious thing becomes the major part of the movie further and the major credit goes to only S. V. Ranga Rao. The melodies of the movie have it's own charm, the music beautifully involves the scenes(just as you see in Disney movies) and the lyrics just bring the emotions right and define the scenario. By @thebotreviewer

Reviews by: @movies_produce_memories Fearless (2006) 👊🏼🗡 BBFC rating: 15 | MPAA rating: R Directed by: Ronny Yu Starring: Jet Li, Sun Li, Nakamura Shido II, Dong Yong, Nathan Jones, Colin Chou and Matsato Harada Huo Yuan Jia: “I believe that there's no superiority or inferiority in Wushu. Just the distinction of practitioners with different levels of ability. Through the competition we can discover this and meet the true self.” Fearless, also known as Huo Yuanjia (霍元甲) is a Chinese martial arts film. It is loosely based on the life of Huo Yuanjia, a Chinese martial artist who challenged foreign fighters in highly publicized events, restoring pride and nationalism to China at a time when Western imperialism and Japanese manipulation were eroding the country in the final years of the Qing Dynasty before the birth of the Republic of China. (Wikipedia) Fearless is such a solid martial arts film. I also have a lot of nostalgia for it as I watched it a lot growing up. The word I think of when I think of Fearless is ‘kinetic’. Ronny Yu directs the hell out of this. The fight scenes are fast paced, and the editing of them is stellar. They’re amazingly choreographed and brutal to watch. The story still leaves room for heart, and there’s many touching moments throughout. The friendship between Jet Li’s character Huo Yuanji and his friend in particular is very charming, as is his relationship with his daughter. By @movies_produce_memories

Reviews by: @arnflix.official Rated: 15 Running time: 2h 4m #Detectives Mike Lowrey and Marcus Burnett join the #MiamiPolice Department's special team AMMO to bring down the ruthless Armando, who is on a mission to kill Mike at his mother Isabel's orders. #Arnflix rating 4/5 ⭐️⭐️⭐️⭐️ #Comedy #Action #Buddycop #Thriller #Adventure #Crimefilm #film ARNFLIX.COM Bad Boys for Life is a 2020 American buddy cop action comedy film directed by Adil & Bilall. It is the sequel to Bad Boys II (2003) and the third installment in the Bad Boys franchise. The film was produced by Smith, Jerry Bruckheimer, and Doug Belgrad, with a screenplay written by Chris Bremner, Peter Craig and Joe Carnahan. In Bad Boys for Life, Miami detectives Mike Lowrey and Marcus Burnett investigate a string of murders tied to Lowrey's troubled past. Bad Boys for Life was theatrically released in the United States on January 17, 2020, by #SonyPicturesReleasing under the #ColumbiaPictures label. A third Bad Boys film was contemplated following the release of the second film in 2003, with Michael Bay stating he would be interested in returning to direct, but budgetary constraints led to stalled efforts. Over the years, a variety of writers and directors were attached as the film went through multiple attempts to enter production. The project was eventually finalized and green-lit in October 2018, and filming began the following year, lasting from January to June 2019. Principal photography took place in Atlanta, Miami, and Mexico City. The film was generally well received by critics and is considered an improvement from its predecessors. and grossed $426.5 million worldwide, becoming the third-highest-grossing January release of all time. It was also the fourth-highest-grossing film of 2020 and the highest-grossing film in the franchise. A sequel is currently in development. Plot: Isabel Aretas, widow of cartel kingpin Benito, escapes from a Mexican prison with the aid of her son Armando. Isabel sends Armando to Miami, tasking him with recovering a substantial stash of money his father Benito had hidden, as well as assassinating the people responsible for his father's arrest and eventual death in prison. Isabel demands that Armando kill Miami detective Mike Lowrey last. In Miami, Mike accompanies his partner Marcus Burnett to the birth of his first grandson. Desiring to spend more time with his family, the aging Marcus tells Mike he intends to retire, to Mike's chagrin. During a party celebrating Marcus' grandson, Mike is shot by Armando and left in a coma for months. Chastised by Isabel for targeting Mike first, Armando continues to assassinate other targets on his list during Mike's convalescence. Following Mike's recovery, he is determined to seek revenge and unsuccessfully attempts to recruit the now-retired Marcus, causing a fall out between them. Mike violently obtains the identity of arms dealer Booker Grassie from an informant. Realizing that Mike will not heed orders to stay away from the investigation, Captain Howard reluctantly allows him to work with the tech-driven team in charge, the Advanced Miami Metro Operations (AMMO), led by Mike's ex-girlfriend Rita. While the team surveils Grassie at an arms deal, Mike determines that the buyers intend to kill Grassie and intervenes, but fails to save him. Later, Marcus is called by Carver Remy, an old informant who believes the assassin is after him. Marcus contacts Mike and the pair travel to Carver, but are too late to save him. Armando escapes after a fistfight with Mike. Captain Howard later reveals his intentions to retire as well, offering advice to Mike that he needs to find a path forward in life. He is abruptly assassinated by Armando moments later. The captain's death pulls Marcus out of retirement, but he intends to work as a team with AMMO. They track down Grassie's accountant, who leads them to Lorenzo "Zway-Lo" Rodriguez. They infiltrate Zway-Lo's birthday party leading to a destructive car chase. Armando arrives in a helicopter to rescue Zway-Lo but kills him when he blocks Armando's ability to shoot the pursuing Mike. As he lines up a shot, Armando tells Mike "Hasta el fuego". Gunfire from Marcus creates cover for Mike, who falls into the water below. AMMO is shut down because of the failed operation. In private, Mike reveals to Marcus that Armando may be his son. Before partnering with Marcus, Mike worked as an undercover officer in the Aretas cartel where he met Isabel. They fell in love and intended to run away together, using "Hasta el fuego" as a made-up secret catchphrase. Mike ultimately remained loyal to the police, realizing how dangerous Isabel had become. Despite Mike's opposition, Marcus and AMMO join him in Mexico City to confront her. At the Hidalgo Palace, Mike meets Isabel and scolds her for concealing the truth from him. A shootout quickly ensues between AMMO and Isabel's men. Marcus shoots the pilot of Isabel's support helicopter, causing it to crash into the central lobby, starting a fire. Marcus confronts Isabel, while Mike tries to explain the truth to Armando. Armando begins to beat up Mike, but he refuses to retaliate. Demanding the truth from his mother, Isabel confirms to Armando that Mike is his father. Realizing the task he spent a lifetime training for was a lie, Armando tries to protect his father, leading to Isabel inadvertently shooting Armando in the chest while aiming for Mike. Enraged, she attempts to finish Mike, but Rita intervenes and shoots Isabel, sending her falling to her death into the flames below. Sometime later, Rita has been promoted to police Captain, while Mike and Marcus are placed in charge of AMMO. Mike visits a remorseful Armando in prison, offering him a chance to earn some redemption, which he accepts. Starring: #WillSmith as Detective #Lieutenant Michael Eugene 'Mike' Lowrey, Marcus' partner/best friend/brother. #MartinLawrence as #DetectiveLieutenant Marcus Miles Burnett, Mike's partner/best friend/brother. #PaolaNúñez as Lieutenant Rita Secada, head of AMMO and Mike's ex-girlfriend. #VanessaHudgens as Kelly, #weapons expert of AMMO #AlexanderLudwig as Dorn, tech expert of AMMO #CharlesMelton as Rafe, member of AMMO #JacobScipio as Armando Aretas, Mike and Isabel's son #KatedelCastillo as Isabel 'La Bruja' Aretas, Mike's ex-lover and Armando's mother #NickyJam as Lorenzo 'Zway-Lo' Rodríguez #JoePantoliano as Captain Conrad Howard #TheresaRandle as Theresa Burnett, Marcus' wife #MassiFurlan as Lee Taglin #HappyAnderson as Jenkins Dennis Greene as Reggie McD Trailer 👇👇👇 https://youtu.be/jKCj3XuPG8M By @arnflix.official

Reviews by: @michaels_movie_bay 4.5/5 Comedy writer Alvy Singer re-examines his tumultuous relationship with Annie Hall, a woman unlike any he has dated before. As he tracks the ups and downs of their relationship, he discovers that love is “totally irrational, crazy, and absurd”. The film celebrates its 45th anniversary this year and it is unfortunate that the discourse surrounding both its controversial director and star and its Best Picture win over Star Wars have distracted from the undeniable genius of this movie itself. Annie Hall is a romantic comedy that subverts and reinvents the genre, showcasing unique and innovative stylistic tricks to enhance the viewing experience. Annie Hall is the ultimate breakup movie, capturing the joys and angsts, ecstasies and traumas, and affections and heartbreaks of being in a relationship. And depending on your past romantic experiences, or your current relationship status, this film will likely hit differently for every viewer. It has something to say about every stage of the dating process but does so in a way that is simultaneously funny yet melancholy, hopeful yet cynical. The screenplay is littered with references to pop culture and has since been referenced and homaged in many subsequent films. (500) Days of Summer, another successful breakup movie, is almost a carbon-copy of this film, emulating not only its non-linear approach, but also its inventive use of split-screens and subtitles to provide both subtext and psychological context. The writing is so clever and filled with humor and heart, that it is no surprise that it won the Academy Award for Best Screenplay in 1978. Also winning an award for her performance as the eponymous character, Diane Keaton imbues her Annie with both quirkiness and kindness which mask many deep insecurities about her intelligence and personality. Woody Allen brings his signature neuroses to his role as Alvy and his flawed yet likable character provides the context and perspective for the story. Annie Hall manages to be hilarious while also being both hopeful and soulful. It features fantastic writing and amazing performances and is one of the greatest romantic comedies of all time. Hot take: Your enjoyment of this objectively wonderful film may ultimately depend on your ability to separate art from artist. By @michaels_movie_bay

Reviews by: @silverscreencritiques The Sea Beast is pleasant. It has generic themes and a predictable plot, but its characters have enough heart to make viewers care. No character is particularly unique, but they have clear motivations and are personalized with solid voice acting. Also, this fantasy world where giant sea monsters are commonplace creates a fun adventure. Plus, this is a concise story, so all the important characters arc in satisfying ways. Furthermore, the tone is consistent, delivering steady action with relatable stakes while maintaining an enjoyable mood. Overall, The Sea Beast is generally formulaic, but its actual execution makes that forgivable. Meanwhile, The Sea Beast has engaging technicals. The CGI is adequate, especially with its textures of water and sand. The production design fuses pirate era looks with fantasy elements. The soundtrack elevates excitement and perfectly matches the setting. The sound is complex during action, quiet during drama, and detailed throughout. The editing employs match cuts, smash cuts, and superb pacing. Finally, the cinematography uses attractive composition, vibrant colors, and energizing movement. Collectively, this all unifies The Sea Beast's sense of adventure and wholly enhances the journey. Ultimately, its satisfying presentation overshadows its tame story structure. Writing: 5/10 Direction: 7/10 Cinematography: 7/10 Acting: 7/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 6/10 Effects: 7/10 Overall Score: 7.1/10 By @silverscreencritiques

Reviews by: @mr.cinemaaa Project Details Director: Mallik Ram Story: Prasanth Varma Screenplay: Lakshmi Bhupala Produced By: Chandrashekhar & Srujan Yarabolu Production Houses: Maha Tejaa Creations & S Originals Cinematography: Vidyasagar Chinta Music Director: Radhan Garry Edited By: BH Sharmila Art Direction: Lanka Santhoshi Costumes: Pradeep. G Venkat & Real Sound Design: Satish Vijay Action/Stunts: Binny & Yash Choreography: Kiran Make Up: Kiran Run Time: 2 Hours & 22 Minutes CBFC Rating: "U" Direction & Story When Surya and Vennela are about to end their lives, a miracle connects these two strangers. They happen to have the same phone numbers, but can't meet. What happens later needs to be seen in the film. The story by Prashanth Varma is quite novel and good to an extent. The blend of science fiction and a love story in two different time zones is interesting. There is also a curiosity to know what happens next. Screenplay by Lakshmi Bhupala is not so convincing throughout the run time. The small twists connecting the plot are engaging but the story binding the twists and the love story is very routine and dull. Director Malik Ram does a pretty decent job with his presentation. Though his core concept is good and has scope to explore in an effective manner, his narrative part lacks gripping aspects in a few places. A good scene is joined by a very predictable and dull situation. Lead Performances Teja Sajja is cool in his boy-next-door character. The film was shot before the pandemic and was supposed to be his debut. His styling and screen presence is an added advantage & performance-wise, he did a decent job & portrayed multiple emotions quite convincingly. Shivani Rajasekhar makes a confident debut with this film. She has a very good voice, her comic timing is on point and her performance in the emotional scenes is neat. Overall she has a pretty decent screen presence and engages in a performance-oriented role. Comedian Satya asusual entertains with his trademark fun. All his scenes with the hero are hilarious. Shivaji Raja is dependable as the hero's father while Devi Prasad is decent playing the frustrated heroine's father and Anjali is okay as the heroine's mother. Senior actress Tulasi and Chammak Chandra are also funny in their respective roles. The rest all are fine. Detailed Analysis The film starts off on a good note. The suicide track & the same phone number concept looks good. Also, the scenes between Teja & Satya bring in good laughs. But the subplots & the family scenes aren't up to the mark. The interval twist raises the expectations for the next. The second half also had a good number of twists and turns. The love story in the past, the music angle, and the family scenes look so routine and outdated. But the pre-climax is good and the climax looks okay. The establishing scenes between the lead pair in the first half & the love story lack a gripping presentation. The film is has a similar time travel concept to 'Aditya 369', Suriya's '24' and the latest 'Play Back' movie. The emotional track is underwhelming, be it the love or the father-son. Also, the scenes related to science fiction & belief are not presented in a convincing manner. The dragged narration lessens the whole impact. Technical Team Direction: 3.5/5 Story: 3/5 Screenplay: 2.5/5 Dialogues: 2.5/5 Music/Songs: 4/5 Background Score: 3.5/5 Production Values: 4/5 Cinematography: 4.5/5 Editing: 4/5 Costumes: 4/5 Choreography: 4/5 VFX/Graphics: 4/5 Sound Design: 3.5/5 Plus Points Teja Sajja's Performance Shivani Rajasekhar's Performance Basic Plot Point oF 2 Different Time Zones Cinematography & Background Score Interval & Pre-Climax Twist Satya's Comedy & Good Conflict Point Minus Points Predictable Screenplay Routine Love Story Especially In Second Half Intro Scenes & Characterizations Poorly Placed Songs Few Dull Scenes Some Logics Final Verdict A watchable film with a good premise and decent time travel concept. P.S.: The most complicated, unrealistic & hypothetical love story of the century. Recommended: Yes Mr.Cinema Rating: 3/5 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: @silverscreencritiques The film follows a boy named Mason growing up from a young boy to a college freshman. It follows his and his family's everyday life and what they go through. It's a coming-of-age story in a very literal sense. If you've been following this page for a bit, you know that I think Richard Linklater is one of my all-time favorite filmmakers. I've reviewed one of his films already and mentioned him a few other times on other posts. I think Boyhood is his best film so far and one of the best films from the last decade. If you've been following me or know anything about me, you'd also know that these types of films are some of my favorite films. Throughout the film, big things happen, marriages, divorces, moving away, and graduation, but they all happen off-screen. We only see the result and what follows each of those milestones. We see a man moving in or them moving out to a new place and how that goes. We see what leads to a divorce but the divorce proceeding. We only see the graduation party, not the actual graduation. If the film had focused on marriages or divorces, it would have become a film about love or the lack thereof, if it had focused on graduating, then it would have only been about school. It says that life is growing up with family, going camping, bowling, and/or spending time with friends. By doing it this way, it's suggesting that life is all about the in-between moments. There's a key point of dialogue spoken by the mother near the end of the film. She is overwhelmed that her youngest child is going to college. She says she was expecting more, mentions all the milestones in her life, and says the next one is her funeral. It's a very sad and heartbreaking scene. It shows us that we can be so focused on achieving our goals that we can miss out on the moment in front of us. If we're too busy worrying about tomorrow, we can miss out on today. It's good to have goals of course, but if we expect them to fulfill all of our needs, they oftentimes don't. Another thing that Boyhood does that I appreciate, is that growing up isn't so bad. I feel that the media, social media, and our culture have made being an adult and growing up a scary thing. They make it seem like being a child is as good as it's ever going to get, and that being an adult sucks. Boyhood has a different view on that. Throughout the film, Mason is often scolded for doing something he enjoys doing. He gets told what to do, has to follow the rules, and gets scolded by the adults in his life. He doesn't fully understand the choices, rules, and decisions made by them. To him, it just seems like they just want to be in control, beacause they're the adult. The end of the film is satisfying because he finally gets to be out on his own. To become who he wants to become and do what he wants to do without anyone stopping him or telling him otherwise. He's free. By @silverscreencritiques

Reviews by: @arnflix.official 2017 ‧ Medical drama ‧ 5 seasons Sixth season confirmed 👀 Shaun, a young doctor, joins a renowned hospital in SanJose, California, but his colleagues do not socialise with him. He uses his skills to treat patients and prove his abilities to his co-workers. Arnflix rating 4.5/5 ⭐ ⭐ ⭐ ⭐ ⭐ Excellent medical drama highly recommended 🔥 First episode date: 25 September 2017 Developed by: David Shore Starring: Freddie Highmore as Dr. Shaun Murphy Antonia Thomas as Dr. Claire Browne Paige Spara as Lea Dilallo Richard Schiff as Dr. Aaron Glassman Fiona Gubelmann as Dr. Morgan Reznick Christina Chang as Dr. Audrey Lim Nicholas Gonzalez as Dr. Neil Melendez Hill Harper as Dr. Marcus Andrews Will Yun Lee as Dr. Alex Park Bria Henderson as Dr. Jordan Allen Noah Galvin as Dr. Asher Wolke Tamlyn Tomita as Allegra Aoki Daniel DaeKim as Dr. Jackson Han Trailer 👇 👇 👇 https://youtu.be/fYlZDTru55g By @arnflix.official

Reviews by: @augustkellerwrites Mighty Morphin Power Rangers: The Movie is a feature-length commercial. The script barely musters a story: a generic villain wants world domination, the Rangers quest for new powers, and then there’s a basic showdown. No character is developed or personally motivated, the MacGuffin is conveniently vague, and the finale is arbitrary. Plus, the dialogue is cringy, plot points are nonsense, and there's no cleverness (payoff, themes, and emotions are nonexistent). Really, Power Rangers is a transparent excuse for mediocre fights. Some of the martial arts are okay, but the combat lacks suspense, distinction, or creativity. Overall, Power Rangers is lifeless. Technically, Power Rangers is equally vacant. Its tone is bland, the acting is uncomfortable, and the cast is too old. The imagery has little energy or intention, the sound is often silly, and the music is occasionally distracting. Effects are varied (CGI, miniatures, and prosthetics), but none are convincing. The editing utilizes pacing and wipes, but muddles fights and is wholly boring. Basically, the biggest strength here is the recognizable property. Power Rangers is a fairly imaginative concept, and the film depicts that decently. Unfortunately, that's the only effort. Ultimately, Power Rangers is tedious, even when boosted by nostalgia. Writing: 1/10 Direction: 2/10 Cinematography: 3/10 Acting: 2/10 Editing: 4/10 Sound: 3/10 Score/Soundtrack: 4/10 Production Design: 5/10 Casting: 2/10 Effects: 4/10 Overall Score: 3.0/10 By @augustkellerwrites

Reviews by: @ruzreviews 7.5/10 I am convinced I am the only person who likes this show. If you're going in blind expecting a dramatic thriller, you're probably not going to like this one at all, but to explain why I need to go into mild spoilers, nothing about the overall plot/twists. ☢️ MILD SPOILERS ☢️ I am a big fan of Kristen Bell, I am a big fan of murder mysteries, and I don't mind dramas. But even then, I probably would not have liked this show if I went in blind. All you should know going into this series is that it's a parody. The first seven episodes take themselves very seriously but everything is exaggerated and it's a very subtle kind of satire until the end. I treated the first seven episodes as an insane and exaggerated murder mystery/thriller and the last episode as a pure parody and I loved it. Again, no spoilers for the actual story because we would be here all day, it is insane, and as you may expect by now the tone is a bit all over the place, but this is a show you shouldn't take seriously even if it's refusing to tell you it's in on the joke until the end. And of course, Kristen Bell is phenomenal in this show. This isn't an incredible, groundbreaking series and I can't blame you if you hate it, but this is exactly what I was in the mood for today and I'm glad I watched it all in one go. So, if you think you'll like it based on what I said, go watch it on Netflix now. And while you're there, why not watch Daredevil. And Stranger Things. And Tick, Tick... Boom!. And The Mitchells VS the Machines. And Marriage Story. And Bojack Horseman. Not sure how many people have even been keeping track of this joke. By @ruzreviews

Reviews by: @italia_di_genere Nel 1978 Bud Spencer e Terence Hill erano già una coppia largamente affiatata e di successo, ma il gigante buono portava comunque avanti una carriera in singolo altrettanto soddisfacente. Erano già usciti diversi film della serie Piedone, e Bud vantava anche altre pellicole note come: Anche gli Angeli Mangiano Fagioli (con Giuliano Gemma), Torino Nera, 4 Mosche di Velluto Grigio (di Argento), Una Ragione per Vivere e una per Morire (di Valerii) e altri ancora. Bulldozer entrò quindi tra questi titoli e riscosse altrettanto successo. Bulldozer, ex giocatore di football ritiratosi da qualche tempo vive una vita modesta e tranquilla a bordo della sua barca. Una sera al pub si imbatte suo malgrado nei militari americani di stanza nella vicina base USA e guidati dal Sergente Kempfer, dediti a bullizzare e malmenare costantemente i ragazzi del posto. Bulldozer dà loro una lezione e anch'egli finirà nelle mire del vendicativo sottufficiale... Commedia spensierata e divertente che certamente i fan di Bud conosceranno a memoria. By @italia_di_genere

Reviews by: @culturevulture221 If you are somewhat of a wuss when it comes to horror films (like me), episodes of The Twilight Zone are perfect to watch during this month. The surreal and zany plots explore insightful themes with mostly unpredictable twists which leave you with something to mull over. Some of the highest rated episodes include: o Eye of the Beholder (S02E06) in which a woman undergoes several surgeries to look ‘normal’; o Time Enough at Last (S01E08) is about a voracious reader who can never find the time to read in peace; o The Monsters are Due on Maple Street (S01E22) in which the residents of Maple Street are plagued by paranoia and discord when rumours abound of alien infiltrators among them; o It’s a Good Life (S03E08) where a bratty child with the mental power to make people act according to his whims holds his relatives fugitive at a party; o To Serve Man (S03E24) in which scientists try to decode a book shared by seemingly friendly alien visitors; and o Nightmare at 20,000 Feet (S05E03) in which a man recovering from a nervous breakdown is the only one seeing a monster outside the airplane windows. By @culturevulture221

Reviews by: @augustkellerwrites Minions: The Rise of Gru is messy. Its script is a collection of subplots. It's not even clear who's the main protagonist since Gru doesn't meaningfully arc and is absent for extended sequences. Instead, several threads get excessive attention, which is cluttered and unnecessary. So much so that the film itself feels superfluous (this is worsened by a lazy MacGuffin being the primary motivation). Plus, there isn't a standout performance. Carrell doesn't have the same energy as he did in the original, and the rest of the cast is hardly special. Collectively, this gives The Rise of Gru an emotional shallowness that's difficult to overcome. Meanwhile, The Rise of Gru is salvaged by its solid craft. There's cinematic lighting, motion, POVs, foreground, and overheads. The editing employs match cuts, jump cuts, passing cuts, fades, varying speeds, and surreal transitions. Plus, there are symbolic sounds, funky songs, and distinct 70s designs. Also, the CGI is fairly detailed and the cast is well-known (even if they're underutilized). Lastly, while the film isn't dramatically cohesive, its style displays consistent flair. Overall, The Rise of Gru has subpar emotions, but competent filmmaking. It won't be remembered, but fans of the franchise will find The Rise of Gru's competency passable. Writing: 3/10 Direction: 6/10 Cinematography: 7/10 Acting: 5/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 7/10 Effects: 8/10 Overall Score: 6.5/10 By @augustkellerwrites

Reviews by: @handpickedmovie Without doubt, Lars von Trier is one of the most important filmmakers of our time. Praised by some, hated by others, he creates films that provoke reactions on which opinions must be expressed. With his Dogma 95 movement, the avalanche of European cinema started rolling again, even though he has since broken almost every one of his own rules, the example of Dogma 95 can be used to convey von Trier's artistic point of view. 'An artist must suffer'. This does not necessarily describe our reality when watching a film, but the reality of the filmmaker, the artist. Such confusion of the soon-to-be 2000s can be observed surgically in Von Trier's work. Even a handheld camera, donated by the room, looks absolutely exact. Yet Melancholia is certainly his biggest and most ambitious film. Almost a complete exploration of his being. That's why I don't want to reveal too much about changing genres, about reinacted paintings, philosophical intricacies and the depression that lurks at the core of the earth. But rather to encourage everyone, especially those who have not had any experience with Von Trier, to watch this film. By @handpickedmovie

Reviews by: @tylersnerdy_review Star Wars: Obi-Wan Kenobi just wrapped it’s first, and please god hopefully it’s only, season. I like Star Wars filling in the gaps between RotS and ANH and Obi-Wan Kenobi fills in so many gaps. Set 10 years after the fall of the Jedi and the birth of the Empire we get to see a lot of the transitional moments between the Empire at the end of III and the start of IV. A lot could still happen in the next 9 years between the end of Kenobi and the start of ANH. It has been such a delight to have Ewan McGregor back as Obi-Wan but to have Hayden Christensen back as Anakin/Vader as well has made it all so surreal. A few months ago my childhood came full circle meeting the Clone Wars voice actors but this show has widened that circle putting these two together again. I absolutely loved Moses Ingram as Reva, I thought she did a fantastic job, and it really shows in the finale. What also shows, is that we really need a break down of how the Inquisitor numbering system works (and is the Grand Inquisitor also the 1st Brother?). Vivian Lyra Blair is a truly gifted child actor who strikes a near uncanny resemblance to Carrie Fisher. I think Fisher would be so proud of this young woman. Sung Kang and Rupert Friend might not have been the best choices for the 5th Brother and the Grand Inquisitor but they did okay with their limited screen time. To hear James Earl Jones’s voice as Vader again has been so great. Kumail Nanjiani, Flea, O’Shea Jackson Jr., and Indira Varma have such great characters that I would love to see explored some more in the future. Jimmy Smits, Joel Edgerton, and Bonnie Piesse get to expand on their beloved characters so much more. I will accept any new Order 66 moments we get, and I thank Disney for continuing to expand on that horrific day. I was very excited to see Natalie Holt’s name as the composer, and while the score isn’t as great as Loki, it had some great moments alongside John Williams’s return to Star Wars. I thought Debra Chow did a phenomenal job with this show and bridging two Star Wars eras. Despite a few hiccups here and there this show reminds us what Star Wars can be and the stories it can tell. I’m giving Obi-Wan Kenobi a big 9/10! -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites @picturesinflow Thor: Love and Thunder fumbles its interesting pieces. Jane's developments are compelling (albeit cheap), the villain has motivation, there are vague themes, and the ending is bittersweet. However, these aspects crowd each other rather than synergizing. Particularly, the emotional romance tonally clashes with the abundant humor and fantasy. The seriousness is often unclear because Love and Thunder jumps across comedy, camp, and drama without finding a unifying baseline. Overall, Love and Thunder wants both levity and substance (which is commendable), yet undermines both ends of its spectrum. Some viewers will respect its intentions, but others will find it insincere. Conversely, Love and Thunder has consistent technicals. There are varied effects, distinct song choices, and impressive cast members. The acting employs humor, vulnerability, chemistry, and internal conflict. Specifically, Bale elevates his material. The sound introduces plot points and punctuates jokes. The cinematography uses composition, focus, and motion. Plus, its lighting and color are exceptional, adding to the surreal production design. Each planet has a specific style, and costumes reflect emotions. Ultimately, Love and Thunder is proficient besides its flawed tone. Yet, since that's fundamental to the viewing experience, responses will depend on that sticking point. Writing: 6/10 Direction: 6/10 Cinematography: 7/10 Acting: 8/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 8/10 Production Design: 9/10 Casting: 10/10 Effects: 8/10 Overall Score: 7.6/10 By @augustkellerwrites Thor: Love and Thunder landed with a bang adding even more to the already ginormous MCU mythos, however with wavering plot structure and waaay too many jokes to the point it is getting ridiculous. The story of Thor has been an interesting one from super serious from 1 and 2 to a goofball in Ragnarök. His character was perfected in Infinity War and Endgame with the brilliant mix of serious and jokey humor. Love and Thunder is yet again directed by Taika Waititi and after Ragnarök, people knew that humor will be at the front, but sacrificing story structure for humor is not the way to do it. In our showing people were laughing hard as was I, but then you go home, you sleep on it and then the next morning you start to notice the serious cracks. It shined brightest in its cinematography and, of course, choice of soundtrack. To be honest, Ragnarök was shot better with more interesting places and scenes, but then we get to the black/white scenes. Those scenes with the only light source coming from the weapons and that being what actually introduces color was a bold choice and it was magnificent to watch. In terms of supporting characters, everyone from Valkyrie, Mighty Thor and even Korg did a splendid job here. They added to overall lightheartedness of the scenes with a plethora of jokes and almost perfect comedic timing. Mighty Thor added levity to the movie with a predicament stated almost from the start and that said predicament acts as a ticking time bomb. However, Gorr was creepy, unnerving and had a relatable back-story, but his screen time was way too short. Thors newest adventure brings the heart and an overabundance of jokes. It will make a lot of money for the Disney overlords which will be reinvested into projects like Thor 5. His next outing should be in another direction or if it stays the same, reduce back the humor a little and remember all the character growth you did in previous movies. By @picturesinflow

Reviews by: @goodtimes_movies The town of Clerville is the main backdrop to the misdeeds of the elusive thief Diabolik, a master of crime and an unprecedented strategic genius. Nobody knows what he looks like or who he really is. The only one capable of standing up to him is the shrewd Inspector Ginko, but the meeting between the scoundrel and the splendid and daring Eva Kant will change the cards on the table. Taken from the first famous Italian black comic, the feature film presents itself as a gigantic tribute to the work of the Giussani sisters, honoring the typical language of the ninth art. This can be seen as both an advantage and a flaw. The acting is decidedly over the top and the narrative choices are borderline credible. However, this film proves to be a pure example of all-Italian comic book cinema, which remains faithful to the work of origin and adds an almost superheroic context to the film production of our country. Forget the extreme realism of recent years and enjoy a noir story while exercising a good dose of suspension of disbelief. The Casting Director's choice to use the crazy antagonist of Jeeg Robot (a film that owes a lot to the world of comics), here transformed into a cold antihero, accompanied by a female co-protagonist who to define Perfect is to use a euphemism, is very beautiful. Miriam marry me. By @goodtimes_movies

Reviews by: @lonelyhorrorclub 1/5⁠ Now Streaming On: Tubi, Prime Video⁠ Watch If You Liked: Tales from Halloween⁠ ⁠ This may be the most controversial review I’ve ever posted. Don’t unfollow me yet - hear me out. I didn’t hate Tales from Halloween, the prequel to Terrifier. The finale featuring Art the Clown running through the house covered in blood is well done. The rest of the film is shaky, but I understand why this spawned a franchise just for this character.⁠ Is Art one of the most horrifying and iconic slashers to grace the genre in recent years? Yes, of course. I’m team Art, really I am. But Terrifier as a film isn't iconic in any way that matters. ⁠ It’s hard to even say there is a story to this. It really just is two girls running around an abandoned building for 86 minutes. We get an initial scene that flashes back to Tales from Halloween, just to enlighten the viewers who may not have seen the prequel, but this has no bearing on the rest of the film. Throughout Tara and Dawn’s night, we are introduced to a few other obscure characters, one of them simply billed as “Cat Person.” We are given very minimal reason to care about any of these people. We can go as far as to say that maybe this is all artistic and this a parody of the slasher genre - but something tells me that’s not the intention. ⁠ Let’s move on to the kills in Terrifier, the biggest appeal of this film for many. The kills are outrageous, bloody, and fans of the slasher subgenre would call these “creative.” Now, I’m all for good slasher fun, especially when poking fun at the genre, but I found these kills to be in poor taste. They are oozing with the male gaze and focus primarily on extended shots of extreme violence against women. Something about the way this was done, just left a bad taste in my mouth after watching. ⁠ ⁠ I’m sure many slasher fans will love this, in fact I know they do. Art the Clown has become an instant horror icon. But I want to see something MORE out of this franchise and maybe Terrifier 2 will deliver. ⁠ ⁠ Know Before You Watch: Features clowns, extreme gore, blood, death, nudity. ⁠ By @lonelyhorrorclub

Reviews by: @mavericks_movie_reviews Tron: Legacy was one of my favorite movies growing up. I loved everything about “The Grid”. The lightcycles were so cool and so were the blue and orange light up suits worn in the film. The concept of being transported from reality into a game world was super intriguing. Also, having a disc that kept record of everything you’ve done and become on “The Grid” seem sweet too. This is a sequel to the 1982 film Tron. A game creator, Kevin Flynn, gets trapped inside his own game world by a program he created, Clu. So in this one, his son, Sam Flynn, is all grown up and goes to the game world to find his dad. All the aspects of his journey are action packed. From the starting games where Sam fights programs with his disc to the lightcycle showdown to the ending where Sam, Kevin, and Quorra ( the last iso, which is a program that was a direct product of the game itself not Kevin Flynn) are being chased by Clu and Tron( a program Kevin created who fights for the users until Clu reprogrammed him) in an aircraft was a spectacle to see on screen. Overall, I really thought this was a great film idea even though the critics didn’t agree much. 🎬Genre: Sci-fi, Action, Fantasy 📊Rating: 8/10 By @mavericks_movie_reviews

Reviews by: @stevenmillerreviews Adam Scott is one of the biggest underrated actors I've ever come across. I remember first seeing him in Step Brothers and he was hilarious, then I watched an indie comedy called Friends With Kids and that was such a great movie (which I recommend watching now!). So automatically when I heard he was leading this new show I was delighted! Severance follows Marc, a man who joins a programme (which is also called severance) where you can split your personal life from your work life...literally! So the office workers memories are completely split. They don't know what life is like outside work! They don't know about their friends, family, likes, dislikes and even their personalities differ. The show starts great, giving you enough information in each episode to want more. BUT wow...what a second half of a season! The finale is incredibly nail biting, anxiety inducing and simply sensational! This is easily one of the best shows I've watched since Succession stopped airing. It's fresh, original and keeps you guessing right from the outset. Ben Stiller has done a terrific job in the directors seat! The acting is terrific with performances from Adam Scott, Britt Lower, Patricia Arquette, John Turturro, Zach Cherry and Christopher Walken. Watch this show! Immediately! Enjoy the binge! 10/10 By @stevenmillerreviews

Reviews by: @thedigitalspiral After the success of the 2014 film, Big Hero 6, fans have been itching for more of the characters and universe they fell in love with, and several years later, we finally get a spin-off series which follows the inflatable healthcare robot, Baymax, on his charming neighbourhood antics. Big Hero 6 was a number of things; Disney's first animated film to feature Marvel comic characters, it was an Oscar-winning picture at the 87th Academy Awards, and above all, it was a total blast. With all that in mind, it's fair to say that there were a lot of expectations for the Baymax miniseries to deliver—and I'm happy to report that it does. Baymax! is a short, heartfelt, refreshing miniseries that explores the untapped areas of the Big Hero 6 universe. Each episode is around 10 mins in length, offering individual character stories that contribute to an overall, singular narrative. Each character has a medical emergency which triggers Baymax to respond, and after aiding each character, they all befriend the balloon-bot (some begrudgingly). Shockingly, the series packs a punch with its charming stories and characters, offering inoffensive representation and humour for everyone to enjoy. The overarching message of the show is that everyone needs to be taken care of, and it's delivered beautifully. Baymax includes a transgender character purchasing a pack of tampons, which is seemly innocent, but upon further inspection, it's a bold and progressive move for Disney in the representation department. As a brand, Disney has made it clear that they are trying to "walk the line" and be inoffensive with their family-orientated content. However, in doing so, they have become infamous for not including any form of LGBTQIA+ representation in any of their movies or shows, and many fans have become infuriated with this notion. In many cases, Disney has included a character and "claimed" it was part of the community, but ultimately, they have failed to outright provide an out and proud character in the film/show. Simply "hinting" as a form of representation isn't working, and naturally, people have grown sick of this half-arsed attempt at inclusivity, so it was nice to see Baymax pivot from this tiring formula and incorporate some well-needed (and appreciated) Trans representation. In the third episode, titled "Sofia", the high schooler gets her first period, and in an effort to support her, Baymax visits the Supermarket to purchase sanitary products. When asking for help/advice on what product to purchase, a group of strangers in the Supermarket that menstruates offer advice on what products they use, including a genderqueer-presenting character that is wearing the trans colours who declares, "I always get the ones with wings". It's a subtle yet powerful moment. While a step in the right direction, in the grand scheme of things, Disney needs to do MORE. Overall, Baymax is a goofy and charismatic miniseries that is definitely worth checking out. While there are only a handful of 10-minute episodes, somehow, each episode is packed with depth, humour, and heart. You definitely should check it out, and you will 100% want to spend more time in the Big Hero 6 / Baymax world. Instagram: @thedigitalspiral Website: www.thedigitalspiral.co.uk By @thedigitalspiral

Reviews by: @augustkellerwrites Although its villain-turned-hero arc isn't groundbreaking, Despicable Me is executed well. Gru's evolution is significant and believable. Plus, the film establishes an imaginative reality, optimizes its characters, and is funny (primarily due to Carrell's impeccable timing). Furthermore, the silly heist is an exaggerated homage to classic supervillains. The themes are basic and the daughters are mediocre characters, but Despicable Me offers plenty to keep viewers invested. It has tantalizing mischief, consistent motivation, and enough heart to remain grounded. Also, Carrell masterfully blends comedy with relatability, giving the film an entertainment core to build around. Technically, Despicable Me is skilled. Its mischievous tone is clear, its sound is memorable (especially the Minions voices), and its casting is critical. The editing utilizes cutaways, match cuts, and efficient pacing. The cinematography uses composition, motion, and color. The CGI isn't the most detailed, but provides cartoonish expression. Meanwhile, the music employs pop hits, original songs, and vintage jazz scoring. Lastly, the production design creates distinct aesthetics for each villain and the iconic Minions look. Overall, the movie has no blatant weaknesses. Its combination of well-rounded filmmaking and emotional impact makes Despicable Me fun for everyone. Writing: 7/10 Direction: 7/10 Cinematography: 8/10 Acting: 8/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.0/10 By @augustkellerwrites

Reviews by: @cine.bifrproductions Screenplay- 6/10 Direction- 6/10 Plot- 8.5/10 Technical- 7/10 Sound- 6.5/10 Themes- 6/10 Chills quotient- 5.5/10 Genre excellence- 8/10 Structure and pacing- 6.5/10 Entertainment- 8.5/10 A.Q- 4/10 Here it is finally. The review of one of the most iconic films of all time. Well… iconic as in, gossip related. Yes, the film which “allegedly” sparked what we later knew as “Brangelina” and led to the end of Brad & Jennifer Aniston’s relationship. I gotta say this bit of celebrity drama is really interesting and entertaining to me. Let’s get into it. Mr. & Mrs. Smith appears to begin with a storey of an unhappy married couple who fool each other as undercover agents eventually sent to kill each other. Or, more seriously, this is the premise, a set-up for what should be a greater tale in the future. When I first heard this, I thought it sounded amusing, and it was. It has the ability to captivate people with its fascinating set-up and fast-paced style right from the therapy sessions. It kicks you into high gear, and gives you the impression you’re in for a thrilling journey. But this is only so good for about the first half. After about an hour into Mr. & Mrs. Smith, there was no story I could logistically follow, or at least have an interest in following. It’s just a dramatic action sequential mess. Even the actors never seem like they’re taking it farther than that. It is a thriller of the most’masala’ dimensions, but with actors who have brought much to other roles, I expected a lot more. At two hours, this is an overlong film with lots of meandering and repetitive bits. The ending’s also a cop out, with a pretty anti-climactic shootout at the supermarket. Looking at the two of them, however, I really got the impression they were having some great fun together, and that’s a testament to the great chemistry between the two actors. Their repartee was constructed and executed really well, as was their little marital spat, which was handled quite creatively. Vince Vaughn was surprisingly good in his small comedic role. It does have a little too much action for my taste, which I usually feel is pretty unnecessary, and the case is no different here. In fact, the violence is positively erotic at times, which blends well with the striking sensual presence of the two leads. I don’t know if either star ever looked better on screen. I mean, just look at Angelina Jolie. And just look at Brad Pitt. Need I say more? So yeah, these two scrub up well together, but the cinematography is such that it appears they’re vainly posing for the whole running time. It’s a little too much of the ‘glorifying the hero’ type, where the aim of various shots is simply to show the actors at their most stunning look, most likely to increase the star-power quotient of the film. After a while, this gets mundane, and frankly, a bit annoying. The plot is, of course, ridiculous, over-the-top, and stupid, but one perhaps has to suspend their disbelief to appreciate it for what it is: a fun flick. Basically, in order to enjoy it, you must let go of preconceptions such as expecting the film to make sense. It can’t because, first and foremost, the premise is absurd. Second, in order to keep the actors alive throughout the film, the writer had to make the plot’s progression even more absurd. This may be a great experience if you make the decision to simply be entertained. There are some funny bits and some impressive action sequences. but your brain is in neutral, it is worth watching. There are plenty of laugh-out-loud moments and the action is fairly intense without any gore or real unpleasantness. The final shoot out manages to be action-packed and hilarious, which generally draws a favourably large audience. You can always find plot holes and in this case, you’ll fall into the first one and never get out. But it’s a comedy. Even if it is not the best job as far as sheer comedy is concerned, It falters in the fact that it doesn’t have much else apart from a few good action scenes and some occasionally good comedy. Comedies are sometimes absurd but still funny, and special effects films are sometimes absurd but still exciting. Just take “Mr. and Mrs. Smith” on its own silly merits and enjoy yourself. By @cine.bifrproductions

Reviews by: @kenny.jones_19 Now Streaming on Tubi No emotion. No fear. No pain. They were the perfect soldiers to protect civilization-until the drone police became the perfect enemy. With little hope left for mankind, Tallis, an electronically enhanced soldier, rescues a rebel beauty from a failed resistance mission. A force to be reckoned with, she will learn to fight and think like a machine for the final battle to save the human race. First off I LOVE Katie Sackoff, I think she’s a really beautiful woman and we’d make beautiful kids together but this movie is really terrible and the lead actor in this is about as good as Mariah Carey is in her movie, and he’s the lead actor, poor Katie and Keith David has a nice 10 minute cameo in this dreadful film. I came damn close to buying this movie on Hamilton Book because Katie was on the cover, but man did I save myself 5 bucks. Beware of this Turkey 🦃 it stinks!! 1 Whopper out of 5 Whoppers and I’m going to give that just for Katie ONLY!! Thanks Tubi from saving my ass, 5 bucks 👊🏻 By @kenny.jones_19

Reviews by: @augustkellerwrites The Man From Toronto is unoriginal. It's the type of movie that people barely pay attention to. Its premise is tired, but can be enjoyable if executed with energy. Hart brings his usual charisma, but, unfortunately, that's the only momentum here. It's telling that Hart's stale shtick is the best attribute of this film. Otherwise, it's Harrelson's dull acting, unrefined comedy, predictable action, and forced drama. Overall, The Man From Toronto provides nothing new. Some viewers might not hate it, but nobody will remember it in a week. When it comes to thrills, laughs, or emotions, The Man From Toronto is a flatline. Technically, The Man From Toronto is equally bland. The cinematography is competent, using drones, overheads, focus, movement, and an extended shot for the climax. However, all of this is superficial. The editing also helped with that extended take, but that's its only achievement. The film is otherwise boring and sloppily paced. Meanwhile, the music, sound, and production are all generic, giving the film a cheap undertone. Lastly, the effects are unconvincing, with crummy CGI and distracting green-screening. Ultimately, The Man From Toronto is ineffective in all of its attempts. It isn't aggressively bad, but it definitely isn't good. Writing: 2/10 Direction: 4/10 Cinematography: 6/10 Acting: 4/10 Editing: 5/10 Sound: 5/10 Score/Soundtrack: 5/10 Production Design: 4/10 Casting: 6/10 Effects: 3/10 Overall Score: 4.4/10 By @augustkellerwrites

Reviews by: @hk_movieaddict “𝙼𝚊𝚜𝚔𝚜 𝚕𝚒𝚔𝚎 𝚝𝚑𝚒𝚜 𝚌𝚘𝚞𝚕𝚍 𝚍𝚎𝚜𝚝𝚛𝚘𝚢 𝚊𝚕𝚕 𝚑𝚞𝚖𝚊𝚗 𝚖𝚘𝚛𝚊𝚕𝚒𝚝𝚢. 𝙽𝚊𝚖𝚎, 𝚙𝚘𝚜𝚒𝚝𝚒𝚘𝚗, 𝚘𝚌𝚌𝚞𝚙𝚊𝚝𝚒𝚘𝚗 - 𝚜𝚞𝚌𝚑 𝚕𝚊𝚋𝚎𝚕𝚜 𝚠𝚘𝚞𝚕𝚍 𝚗𝚘 𝚕𝚘𝚗𝚐𝚎𝚛 𝚖𝚊𝚝𝚝𝚎𝚛. 𝚆𝚎 𝚠𝚘𝚞𝚕𝚍 𝚊𝚕𝚕 𝚋𝚎 𝚙𝚎𝚛𝚏𝚎𝚌𝚝 𝚜𝚝𝚛𝚊𝚗𝚐𝚎𝚛𝚜 𝚝𝚘 𝚘𝚗𝚎 𝚊𝚗𝚘𝚝𝚑𝚎𝚛.” Pushing the envelope even further, The Face of Another is a bold venture into experimental / avant-garde films. While it’s not for everyone, the story never deviates from the main themes of Teshigahara / Abe works i.e., the loss of identity within an absurd scenario, and the search for meaning of life. Recovering from a work-related accident, Mr. Okuyama took the offer to wear a new and handsome prosthetic face. As he assumes new identify under the mask, his more erratic and evil intentions also begin to surface. The Psychiatrist famously commented during the beautiful Waltz scene, that “masks like this could destroy all human morality”. The mask/face represents the ability to hide and escape from reality, which somewhat resonates with the world we’re now living in, like individuals behind a screen. The narrative is abstract and experimental, much like the Psychiatrist’s surrealistic clinic design (constructed by Arata Isozaki who drew inspirations from the legendary Antoni Gaudí). The side-story of the beautiful girl with severe disfigurement on the right cheek has no connection with the main story, while both characters suffer from alienation. The girl’s constant worry about another war and memory about the sea at Nagasaki suggest that her physical injury and mental trauma were caused during WWII, which carries a subtle but clear anti-war message. I’d leave the rest to interested viewers to unveil the mask themselves. Overall, I’m under the impression that only Hiroshi Teshigahara was able to adapt Kobo Abe’s novels, which are often thought to be excellent but unfilmable. 𝕯𝖎𝖗𝖊𝖈𝖙𝖊𝖉 𝖇𝖞: Hiroshi Teshigahara 𝖂𝖗𝖎𝖙𝖙𝖊𝖓 𝖇𝖞: Kôbô Abe 𝕻𝖑𝖆𝖈𝖊 𝖔𝖋 𝖔𝖗𝖎𝖌𝖎𝖓: Japan 𝕽𝖚𝖓𝖙𝖎𝖒𝖊: 2 hours 4 minutes 𝕭𝖊𝖘𝖙 𝖘𝖈𝖊𝖓𝖊: (~81 mins) “Waltz” scene 𝕾𝖔𝖚𝖗𝖈𝖊: Criterion 𝕸𝖞 𝕽𝖆𝖙𝖎𝖓𝖌: 78/100 By @hk_movieaddict

Reviews by: @h_k_reviews Do the Right Thing is Spike Lee's masterpiece, a crowning achievement of cinema that he's yet to top in over 30 years. A film where Lee directs, acts, writes and produces the hell out of the film all by himself. The concept is genuis, a scorching hot summers day in Brooklyn leads to the tensions of a diverse community erupting into violence. Lee's direction is loud, brash and in your face. The film is loud visually and sonically, it needs to be to get its point across and its clearly worked with the films success. What I love about this film and Spike Lee's direction is that he's really a man on a mission, he wants you as an audience member to do something, have an opinion even. If anything he knows that he's failed as a director if you don't. The film is constantly screaming out the the audience and I love that about it. It doesn't do it in a pandering way but instead uses techniques that I've never seen used in a film before. Ernest R. Dickerson manages to do something with the camera in this film which is very rarely seen in many other pictures ever. The man uses everything at his disposable to conjure up some of the most captivating and creative cinematography I've ever seen in a film. The colours, framing, and lighting are absolutely genuis and it's given the film its own iconic look and it without a doubt wouldn't be the same without it. It's no doubt that Do the Right Thing wouldn't be the film it is without the performances, every single actor gives it their all here and Spike directs every one of them to what should have been a sweep of Oscar nominations. There's no other film like Spike Lee's Do the Right Thing, it really is something special. The story is genuinely written, the direction is hard hitting and suits the tone perfectly, and the performances tie everything together perfectly. It's a film that deserves to be talked about 100 years from now and will always be a classic to me. 10/10 By @h_k_reviews

Reviews by: @kieranatthemovies The Lincoln Lawyer (2011) I’ve had this one on my list for a while. I enjoyed McConaughey in A Time To Kill, so I tried to leave a decent timeframe between watching two legal dramas with the same lead actor. McConaughey is always great to watch, whether it’s a cheesy rom com or his more dramatic roles. He oozes charisma almost effortlessly. Somewhat sleazy and tough, yet glimmers of kindness and retribution shine through. The supporting cast is full of recognisable names, giving McConaughey well rounded characters to bounce off of. Macey deserved far more screen time as Haller’s private investigator imo. The story is pretty simple and predictable, but the acting really grips you and envelopes you in what’s going on on screen. It does delve into some melodrama which feels unnecessary whilst simultaneously lacking any real weight due to it become a bit convoluted within the storylines. The conclusion is weak, and it’s a bit of a cop out to what is otherwise a good court room thriller. No real technical feats to note. Run of the mill cinematography and score for these types of films, but then again the story is the driving force much more than the style. If you’re a McConaughey fan then you will definitely enjoy this. He is fantastic, as he often is It moves at a good pce, not feeling stuck or slow until the final 10 minutes. The story is satisfiably entertaining for the most part and gets a thumbs up from me overall. “There’s no client as scary as an innocent man.” Rating: 6/10 Where to watch: @netflixuk Runtime: 2hours By @kieranatthemovies

Reviews by: @dannybsbrokenreviews After the rough round the edges, but charming start with Dr. No, this second Bond film is one I'd always remembered being boring as a kid. I hadn't seen it in well over 10 years, but watching it again, I was pretty taken by it. Some of the issues from the previous film are still present as the series is still trying to find its flow, but for the most part, this is a substantial improvement and a huge step in the right direction for the England's most alcoholic and misogynist Spy. Sean Connery's second out as 007 follows James Bond as he willingly falls into an assassination plot involving a naive Russian beauty in order to retrieve a Soviet encryption device that was stolen by S.P.E.C.T.R.E. Tonally this is what I want from a Bond film. Far more grounded, slower paced and gritty than the previous entry and all the more better for it. The story it tells is also far more interesting and engaging as we Bond manipulated by S.P.E.C.T.R.E in their first appearance in film, although S.M.E.R.S.H. are also involved to an extent too. While Donald Pleasance had yet to make his iconic introduction as the sinister cat stroking Ernst Stavro Blofeld, his presence is ever looming over the film as he puppeteers events behind closed doors. It's some great world building that will obviously go on to be expanded in future films. His team that we see here are a colourful bunch of characters, the highlight of which is easily the poisoned shoe knife wielding Rosa Klebb played by a memorable Lotte Lenya. The ruthless Red Grant played by Robert Shaw also makes for an instantly intimidating villain for Bond. The action scenes are also a very good selection of set-pieces. From the assault on the gypsy camp to the prolonged train brawl and subsequent helicopter chase, it's very well filmed and fairly violent, especially the train fight between Bond and Grant, which itself is an all-timer of the Connery era that makes great use of its enclosed and claustrophobic setting. All the stunt work, practical effects and pyrotechnics are also top shelf stuff and used to maximum effect to make everything thrilling. Connery is oozing sex appeal with his hairy chest and bountiful bags of charisma and wit that continue to make Bond an absolute icon of British cinema. He's given much better material to work with here and a handful of clever one liners. I just wish he was given a better Bond girl to work with. Daniela Bianchi is certainly a looker, but her poorly dubbed performance is awkward and stilted, despite given what could have been a weighty and interesting role. From Russia With Love is certainly underrated Bond. A thrilling spy adventure with no shortage of great action scenes, a twist filled plot and memorable villains that makes this one of Sean Connery's best in his run as 007. 8/10 Dans By @dannybsbrokenreviews

Reviews by: @augustkellerwrites A Hero carefully contemplates morality. The film deepens a simple story with shifting perspectives and evolving context, building friction between well-meaning people. Nobody is villainous, nobody is pure. Each character is imperfect with understandable motivations, which makes A Hero highly relatable. Touching on debt, ownership, and publicity, A Hero's thematic core centers around the meaning of justice. Ultimately, the bittersweet ending delivers insight into what really matters when discussing ethics. Right and wrong can be incredibly difficult to categorize, but there will always be moments of beauty that are universally agreed upon. Technically, A Hero is naturalistic. Its visuals emphasize people and their conflicting emotions. Every shot subtly underscores drama through lighting, framing, and composition. The sound is rich with city life, the music is exclusively diegetic, and the reserved editing allows actors to anchor scenes. Plus, the production is realistically impoverished and lived-in, reinforcing themes of humanity and scarcity. No technique is obvious, but each supports the authentic atmosphere. Finally, the tone is delicately constructed, slowly building tension until its cathartic release. Overall, A Hero is powerfully personal and genuinely thought-provoking. It requires patience, but that will be rewarded. Writing: 10/10 Direction: 9/10 Cinematography: 9/10 Acting: 10/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.7/10 By @augustkellerwrites

Reviews by: @foxredfilmreviews Here it is folks, my first perfect 10 rating. And I cannot think of a more deserving film for this honour than the iconic, legendary, hilarious, remarkable, Hot Fuzz. I will admit, I have bias towards this one. There are almost no wide-release films set in and around the area I grew up in, so when I originally heard about Hot Fuzz and that it took place close to my home town, I watched it and I loved the film for that very reason. Now all these years later, I still love the film so much and can appreciate even more, disregarding the geographical bias. Edgar Wright's amazing directing for example, I love it and it blends into the piece as a whole so well, you hardly notice it because the editing and camera work are seamless. The way he uses additional sound effects and weaves dialogue into the editing may initially seem gimmicky, but far from it. Wright is a creative mastermind and never tries to accomplish anything he can't. This is one of the best-directed films I have ever seen, purely from an entertainment point of view. The incredible directing blends perfectly with the film's story and cast. Packed full of references to the films which inspired it, Hot Fuzz is a treat for any film fan. However, the plot never feels derivative, it always feels fresh. It never dwells on wanting to be something it is not, it's a fast-paced love letter to cop movies from the past. Pegg and Frost have this unbelievable chemistry wherever they collaborate, but they are perhaps at their best in Hot Fuzz. The dynamic between these characters and how it develops is just so likeable and well thought-out, without ever being forced. Every supporting character has their moment to shine too, and each one feels so unique in their dialogue and mannerisms. Every cast member combines to give an ensemble performance which is as perfect as it ever could be. It was always so cool to me that such an acclaimed film took place down the road from me. But the film is so much more than that. The humour is perfect, it makes me laugh more than any other film pound-for-pound, beautiful directing, a brilliantly unique story, top-tier comedic performances, all adding up to a masterpiece. By @foxredfilmreviews

Reviews by: @augustkellerwrites The Black Phone is respectable. Its writing broaches substantial topics like abuse, yet doesn't follow through with themes. Its dialogue is obvious and its characters are unoriginal, but the premise blends realistic suspense with supernatural excitement. Also, because The Black Phone carefully sets up emotional bonds, everything feels motivated and less cheesy. The confined situation creates repetitiveness, but the properly established drama makes that forgivable. Plus, the main actors fulfill their roles. Hawke is natural, McGraw is endearing, and Thames carries the film with veteran-like skill. Overall, The Black Phone's depth is questionable but its relatability is true. Technically, The Black Phone is capable. The cast is mostly unknown, yet solid in key spots. The music is fairly generic but creates fitting moods. The production design captures the era, provides intense grime, and meaningfully utilizes the villain's mask. Plus, the gore is impactful, the tone is grounded, and the cinematography is varied. Finally, the sound and editing are elevated. Fades, dissolves, jump cuts, montages, echoes, silence, ringing, distortion, and stings all make the film tastefully surreal, heightening tension and diversifying the setting. Ultimately, The Black Phone has enough technical and emotional density to be an engaging thrill ride. Writing: 5/10 Direction: 7/10 Cinematography: 7/10 Acting: 7/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 6/10 Production Design: 7/10 Casting: 6/10 Effects: 7/10 Overall Score: 6.8/10 By @augustkellerwrites

Reviews by: @miscellaneous_media_reviews Batman Beyond is a sci-fi action series released in 1999. The 3 season long animated series was developed by Bruce Timm, Paul Dini, and Alan Burnett. Batman Beyond serves as a direct sequel to Batman: The Animated Series which was released in 1992. It also exists in the same canon as Superman: the Animated Series, Justice League the animated series, and Justice League Unlimited. Together all of these shows make up the original DC Animated Universe. It’s this animated universe and these shows that originally made me fall in love with DC. To this day these shows make up my favorite connected superhero universe of all time. Out of these 5 shows Batman Beyond is one of my favorites, and it’s also one of my all time favorite shows in general. The series takes place 40 years after Batman: The Animated Series, in a futuristic Gotham city. The show follows Terry McGinnis, a teenager who takes up the mantle of Batman 20 years after Bruce Wayne’s retirement. Aided by an advanced new batsuit and Bruce Wayne as his mentor, Terry must prove himself as Batman against a new generation of criminals. While in many ways Batman Beyond pays homage to Batman, it also carves a new path for the character. The show has its own distinct look, sound, and tone. It also does a great job in firmly cementing Terry McGinnis as his own character. His own Batman. Terry has his similarities to Bruce, but he also takes heavy inspiration from Spider-Man. In fact this was done on purpose by the show’s creators. The goal with Batman Beyond was to make a character similar to Spider-Man. This was done to capitalize on the popularity of Spider-Man the animated series, which was released in 1994. As a result, Terry and Peter Parker do have many similarities. They both suffered tragedies that pushed them to become heroes, and they both started their double lives while in high school. They also both face issues maintaining a work life balance, and managing their relationships. The two of them even share a love of talking trash to their villains. Despite all this inspiration Terry McGinnis is very much his own character, and he’s one of my favorite heroes of all time. His character is the driving force for the show, and a large part of what makes it as great as it is. Terry is a very compelling, entertaining, and endearing character. His take on Batman is different and interesting compared to what everyone expects from Batman. Terry struggles to live up to the reputation of Batman, and this need to prove himself is one of the main motivators for his character. Batman is one of the most legendary heroes of all time, and both within the show’s universe, and to new viewers watching, he has a lot to prove. He doesn’t have the brains or experience that Bruce does, but he does have lots of enthusiasm and heart. Terry is much more of an everyman. While at times Bruce can be a character we struggle to relate to due to his often inhuman dedication, resolve, and adherence to his strict moral code. Terry is much more relatable. He brings a very human element to the character of Batman. His main goal is to save as many lives, and protect as many people as possible. He does so in his own way that is often unorthodox. Terry always tries to see the good in people and hopes for the best. He’s an optimist, but is also stubborn, and headstrong. These traits lead him into many precarious situations throughout the show. Terry is also just very charismatic and likable. It’s easy to root for him when he’s always doing his best to fill Bruce’s shoes and struggling to do so in very relatable ways. The relationship between Terry and Bruce is another one of the best parts of the show. Bruce exists as the wise but strict mentor to Terry’s young Batman. Through Bruce’s guidance the audience is able to see how Terry is beginning to take after his teacher in certain ways. However, the two are very different, and this occasionally creates conflict between them. While Bruce devoted his entire life to fighting crime, Terry has other priorities. He has friends, family, school, and a social life. While Bruce has always tried to shut everyone out, Terry tends to let people in. He maintains his sense of humor, and his sense of self while also being Batman. The show looks at what it means to be Batman through the dynamic between Terry and Bruce. Whether or not Terry can maintain his relationships and still be ‘The Batman’ is a common conflict in the show. As well as the idea that Terry can’t be an effective hero while trying to maintain two separate lives. Bruce sometimes questions Terry’s loyalty to the mantle, and Terry questions Bruce on his methods, and morals. While there are other prominent side characters in the show, Bruce and Terry are the only 2 main characters. The show is primarily about them and their relationship. They have an amazing dynamic that works well enough to drive the entire show. They have great chemistry, and you can tell they genuinely care for one another despite their differences. Batman Beyond has a very loose, and at times, virtually non existent plot. Season 1 does follow a loose plot regarding the villain Derek Powers, but after that the show is almost entirely episodic. Despite the lack of a broader narrative I think the show works amazingly well. The standalone stories are engaging, fun, and entertaining. Out of the show’s 52 episodes I would say the majority range from good to great. While re-watching the show I never found myself disliking an episode. Like Cowboy Bebop there are certainly weaker episodes, but never any I remember being truly bad. While Terry’s rogues gallery isn’t as iconic as Bruce’s, I think the villains in the show are very good overall. The recurring villains are memorable and entertaining, and most of the one off villains are also good. There are also a few appearances of older Batman characters such as Mr. Freeze, and the show uses them perfectly. The stories in the show are fun and entertaining, but like in Batman: The Animated series the stories are often dark and mature. Many episodes have chilling endings, and dark stories in general. Batman Beyond is full of great episodes that can be purely entertaining, but the show isn’t afraid to go into a darker, more mature territory as well. Technically speaking Batman Beyond works very well. While the animation isn’t the most polished, I think it works perfectly for the show. I also have a soft spot for 2D animation like this, so it works just fine for me. The design of Terry’s batsuit in particular is one of my favorite character designs of all time. It fits both the character and the show perfectly. The art style is also phenomenal, and it along with the score, creates a one of a kind atmosphere for the show. Gone is the stark, gothic, and operatic Gotham, and in its place Batman Beyond introduces a more sleek and electric cyberpunk style city. But despite their different appearances they both house the same superstitious and cowardly criminals. The aforementioned score itself is phenomenal. Made up of electric rock and synth the score is incredibly energetic, while also being very haunting. It perfectly accompanies the arrival of a new Batman and a change to the world. Another great element of the show is the action which is hard hitting and fast. Great sound design and animation allow it to still hold up today. While I do think this show is near perfect it does have a few minor issues. I think the main one being that some of the side characters are very underutilized. The main ones that suffer from this are Terry’s mom and brother, as well as his girlfriend Dana. While I think his family’s lack of use is a missed opportunity, the real issue comes with Dana’s lack of characterization. She is very one dimensional and flat. For being such an integral part of Terry’s life, she is not a very well developed love interest. Aside from this I have no other issues with the show. However, one problem some may have with the show is it’s lack of an ending. Season 3 ends with no real finale. But the good news is that there is a finale for the show in the episode “Epilogue” of Justice League Unlimited. Terry also appears in episodes 12 and 13 of Justice League Unlimited season 1 for a crossover special. In addition to these episodes there is a Batman Beyond movie, Batman Beyond: Return of the Joker. It fits into the show's canon and is just as great as the show. Batman Beyond is a spectacular series that presents a compelling new take on the character. The show has amazing music, visuals, voice acting, writing, and storytelling which makes the series one of the best superhero shows I have ever seen. Batman Beyond is one of the main reasons I love Batman and DC as a whole. I highly recommend this show and all the others within this incredible universe. At the very least I’m sure I’ll be discussing this universe and these shows much more in the future. Objective Score: 9/10 Personal Score: 10/10 By @miscellaneous_media_reviews

Reviews by: @augustkellerwrites Elvis has showmanship. Its rushed writing lacks restraint, oddly providing constant drama without intimacy. There are vulnerable scenes with clear exploitation themes, but because it never slows down, viewers struggle to connect. Butler and Hanks elevate their material (while Butler nails the voice and moves), the emotions range, and the narrative is worthwhile. It's just missing relatability setups. For example, we don't actually see Parker and Elvis meet. Since that's the film's central relationship, their first impressions would've reinforced everything. These missing smaller moments come with the territory of broad biopics, but Elvis' vigorous tempo becomes tiresome. Technically, Elvis is controlled chaos. Luhrmann's style reflects Elvis' extreme impact on entertainment. This whirlwind atmosphere muddles the humanity, but undoubtedly amplifies the musical performances. Meanwhile, the visuals use stimulating warps, focus, motion, lighting, and angles. The editing employs energetic split screens, superimpositions, dissolves, match cuts, and intercuts. The flashy production meets the eras, the effects are supportive, and the iconic music is manipulated for magnified intensity. Plus, the sound perfectly utilizes risers, echoes, overlaps, volume, and punctuations for surreal symbolism. Overall, Elvis' technical bonanza overrides its spotty relatability. Writing: 6/10 Direction: 8/10 Cinematography: 8/10 Acting: 8/10 Editing: 8/10 Sound: 10/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.1/10 By @augustkellerwrites

Reviews by: @e.r.f.g_films This movie was sitting in my watch list for years before I finally watched it, and it really deserved my full attention. Upon watching the trailer you are lead to believe it is a film about UFOs and alien abduction, but 5 minutes into the movie you can tell it has a much deeper meaning than that. The film tackles some of the hardest subjects. We follow two boys, Neil (Joseph Gordon-Levitt) and Brian (Brady Corbet), who are polar opposites of each other. Gordon-Levitt’s character is fascinating to watch. For 2004 we are seeing an openly queer character, who does not follow the “stereotypes”. He is not the “gay best friend” trope, nor is he is not dealing with the struggles of “coming out”. Levitt gives an amazing performance, hard to think a few years prior he was playing a nerdy high schooler in “10 Things I Hate About You”. He constantly proves himself as a versatile actor. And we must of course mention Corbet’s performance. I think he gives a heart-wrenching performance, his delivery is delicate and effective and truly fits his character. There are multiple scenes in this film that are very difficult to watch. They do not shy away from the tough subjects, in fact there are layers of issues they touch upon. Childhood trauma, child abuse and rape just to name a few. And the film makers were not afraid to go into detail, making it a really uncomfortable watch. The realism is something I was not expecting from a film that advertised about UFOs and alien abduction in the trailer. However this metaphor for childhood trauma and how one deals with it in different ways is very clever. In fact that idea alone could have carried the movie. A boy struggling with reality, believing that he was taken by aliens as a child, but instead it was his mind protecting him from the truth. But on top of this we have Neil’s character, and we follow a different plot line all together, of him using his body to deal with what happened to him, which needless to say gets him into some trouble. We have two juxtaposing characters, with two different coping methods, both brought together by the same trauma. We are somewhat spoiled, it is like two perfectly good movies in one. This is definitely a “parking lot movie”, a film that once I had finished watching I immediately asked my friend to watch it, just so I could have someone to talk to about it. It is a tough watch, but the performances are beautiful and I would definitely watch this film again. By @e.r.f.g_films

Reviews by: @ryan_the_nixon 2022 15 Director: Cooper Raiff. Starring: Cooper Raiff, Dakota Johnson, Evan Assante, Vanessa Burghardt, Leslie Mann, Brad Garrett, Raul Castillo, etc. A young man who works as a Bar Mitzvah party host strikes up a friendship with a mother and her autistic daughter. Wow this movie is beautiful. The soundtrack was great, I loved that Cooper used the Cha Cha Slide. The cinematography was great, the film had this irresistible charming tone and it felt so personal and authentic. The themes on family, love, growing up and finding yourself were handled with such sensitivity and honesty it was refreshing. The chemistry and performances from the whole cast were truly something special. Cooper Raiff was a fantastic director here and delivered and excellent performance. Dakota Johnson, Evan Assante, Leslie Mann and Vanessa Burghardt were also incredible. The film was absolutely hilarious. The dynamics and the relationships between the characters were great and interesting. Particularly between Andrew and his family and especially between him and Domino and Lola. The autistic representation for Lola was authentic and genuine and handled very well. There was a lot of fun scenes. The film was so incredibly heartwarming and had a lot of emotional weight that was handled very well, the film worked best when it was the beautiful intimate moments between the characters. The characters were likeable. With fantastic character conflict development and depth especially for Andrew and Domino. The film broke the boundaries and stereotypes of this genre and it was refreshing and amazing to see. The script was absolutely excellent, the plot development was great and the final act was very moving. My only slight nitpick was that there was some pacing inconsistencies in the first half but this is me being picky. Overall, Cha Cha Real Smooth is a beautiful, raw and authentic look at growing up, discovering yourself and relationships. With a stunning script, incredible performances and an irresistible charm. This is one of my favourite films of the year and being a similar age to the main character this really connected with me. Overall Score: 98/100. By @ryan_the_nixon

Reviews by: @theplokoonyreview This show provides good entertainment through the depiction of manipulating the past, but where it can provide entertainment through some elements, it also falls short in so many other ways. Half the characters are introduced then thrown to the sidelines, time travel is such a tired gimmick and the shows use of it is so shamelessly underdeveloped and unoriginal, while the fight scenes are awfully animated and executed. The soundtrack is pretty great and some of the characters and their dynamics are well explored, but it doesn’t make up for the lack of refinement and originality. Also, in the negatives I won’t really be mentioning the fact that they’re all 15-17ish and their maturity+fighting abilities+character designs are all wildly unrealistic. Everyone, even the largely positive reviews bring this point up and I don’t have much too add, so right here I’ll just say this part was bad and whenever I thought about it, I also thought it was annoyingly distracting. As for what the show did well, the soundtrack was pretty great at conveying the emotion of a scene while also sounding pretty unique to the show. During moments of melancholy, when when strong emotions aren’t emphasized at all and the show embraces a more meditative atmosphere, it also has a beautiful piano piece to accompany and subtly strengthen the qualities of the atmosphere. The piece drifts aimlessly, conveying a feeling of blissful nostalgia that fits all too well within a time travel show. The songs played during intense moments is well varied while each of them prove to be incredibly useful in strengthening the overall scene. There’s an epic quality to the orchestra, with the choir and string instruments creating a sense of grandeur, while the hard rock and metal mixed in gives it an edge. The pieces all build up as they progress, the climax of these songs is well timed with big events occurring, capitalizing on the power of these scenes and letting metal and hard rock compliment the scene well. The OST is nearly two hours long so there’s way more that can be said, it consistently accomplishes its job; the scenes absorb the atmospheric qualities of the pieces and any desired emotions become much more potent. Some of the characters are also good. This is mostly the case in the first 12ish episodes, and while I can’t remember these episodes as well as the others, I remember being much more satisfied with the show at this point. Hinata is the reason Takemichi risks his life time and time again, so the believability of their relationship is important. Fortunately, the show takes a varied approach that uses their dialogue and actions to solidify their commitment to one another. The dialogue between them is snappy and natural while it incorporates a lot of overly cutesy things such as teasing and making promises to each other. In most shows, this would be annoying but it contrasts really well with the rest of the show. Takemichi is surrounded by violent gangs and constantly fails at what he’s trying to do, so to have this jarring sweet moments is more revealing to Takemichi’s personality. In the first half of the show, Takemichi constantly meets with Hinata after fights, speaking to what he values since how seeing her or even thinking of her takes away any doubts of his commitment. Their personalities are also pretty well designed to go together, each of them are recklessly strong willed, no one in the show has this trait more amped up than them, giving them common ground. It’s still kind of weird that Takemichi is still 26 and she’s 15, plus the gag that Takemichi almost cheats on her twice is more detrimental to the strength of their relationship than funny, but aside from this and the fact that she barely shows up in the second half, it’s a good relationship. Mikey and Draken’s friendship is also well defined in the first half. Since the audience is introduced to their relationship through an outside perspective (being Takemichi) it’s hard to understand their strange interactions initially, but as the show reveals how much these two rely on each other, it speaks to their connection. Kisaki is also a pretty good villain, the show never overemphasizes his presence, but traces of his merciless plans can be seen across the entire show. He doesn’t have much of a personality, but he solidifies himself as a near unreachable threat with his willingness to do horrible things with technical precision and create schemes that work above the thought process or everyone else. As for the negatives, this show has trouble managing its long list of characters, it tries to build up characters but just zeroing in on 4 of them, to the detriment of 10 others at the time. The show is all about preventing the downfall of the Tokyo Manji Gang, so it seems strange that during these events where the fate of the gang is at stake, half the Gangs Captains don’t contribute. Events don’t feel very interconnected as a result, the show just picks 4-5 characters out of the 10-15 that it has available and just interconnects their character arcs, while the creator goes out of his way to conveniently ignore the other characters. This wouldn’t bother me nearly as much it does, if the creator didn’t emphasize that these characters were significant. Hinata is the reason Takemichi manipulates the past and she barely shows up for the second half. All the show does is have Takemichi occasionally have flashbacks to Hinata to encourage him. This is also really lazy, the audience and Takemichi already fully understand what’s at stake, so the constant flashbacks take the depth out of Takemichis actions while having it feel like the shows treating the audience like children. Takemichis friends also are almost completely ignored in the second half, all 5 of them still haven’t got past the point of just feeling like cliches that are mathematically designed to each fill a role in the group while being quirky (aside from Akkun). As for the Tokyo Manji Gang itself, they were handled pretty well in the first half with the conflict between Mickey and Draken. It was well contained and presented the two most important members of the gang first, so after their arc was finished I thought that the show would spread out to all the other significant members. However, it just does the same thing again but heavily focuses in on 3 new characters. While these characters are given good development and relationships, by doing this is weakens every other previous development from the first half and cuts off the possibility of any development for the rest of the characters. There’s no complexity within these narratives, it couldn’t care less about character management and it effects the entire experience. Time Travel has been done before, many times. Shows like Steins Gate take the time to clarify all the rules of time travel while presenting a fresh take on it, all while giving each of its characters a round personality and concrete dynamics. So, when the time travel actually begins it makes as much sense as time travel can while staying incredibly investing due to previous characterization. Shows like Steins Gate prove that time travel can be more than just a gimmick, but shows like Tokyo Revengers present time travel as unimaginatively as possible, depicting it as an old cliche that needs to stop being used. For something as unpredictable as manipulating time, time travel is frustratingly simple and always conveniently gives the main character the opportunities he needs. It always teleports him back 12 years, he’s never punished for going back in time and instead of combining the time travel and characterization (like Steins Gate did) the two are separated and much too contained within the past and the present. It doesn’t even bring up the possibility of alternate timelines, and it doesn’t consider all the effects changing the past may have on things outside the Manji Gang. I’m not saying Tokyo Revengers had to be Steins Gate, rather I wanted to reflect on how each of Steins Gates elements interweave while being filled with creative and precise detail. Steins Gate has appeal in so many ways, while Tokyo Revengers can only invest with its emotional beats which, for a time travel show is typically problematic. The problems I have with the time travel and the character management can be summarized in a very similar way. They both ignore the natural complexities that come with each situation they put themselves in, it keeps on simplifying itself and simplifying itself, but after a certain point it’s so overly simplified that the overall experience is really unsatisfying and unimpressive. Finally, the animation is passable for the most part. This is a character drama at its core, so the animation does what it needs to, however during fight scenes the limitations that the studio had involving budget, limited staff or even time restraints really begin to show. The fights usually take place between a lot of gang members (between 200-400) so a lot is demanded from the animation team, and their ways of trying to work around it are really obvious and hamper the intensity and emotional investment within the scene. It just turns into a bunch of slow changing still frames that have audio played over it, it happens so much that it can’t really be defended from an artistic standpoint and hurts the chaotic atmosphere it tries to create. Also, during actual fights between gang members usually it cuts away right before something happens, so it doesn’t have to animated it and then cuts back to see what happened. It was also pretty ridiculous how strong characters like Mikey are, fights aren’t very intense since he’s probably stronger than everyone else their combined. Furthermore, there’s a pretty bad back and forth between the two opposing sides, usually gang fights just end up being a compilation of watching the Tokyo Manji Gang leaders beat up people. Even when the show says that they’re losing a battle, this isn’t communicate through the visuals since the Manji Gang leaders are still beating up grunts. There’s only one time I can think of when the Manji leaders looked like they were in trouble, which lasted about a minute. Overall, there’s too much cheap animation tricks and boringly overpowered characters for these fight scenes to be any good at all. In conclusion, the first half does show promise, however as it went along the negatives became more and more obvious to a point where I couldn’t really enjoy or seriously invest in anything that was happening. The combination of awful character management, a cheap use of time travel and really bad fight scenes made the experience mostly negative. Enjoyment rating: 6/10 Critical rating: 5/10 Final rating: 5/10 By @theplokoonyreview

Reviews by: @augustkellerwrites The Great Gatsby opposes itself. Luhrmann's aggressive style is respectable but overshadows the human elements. It's a classic story, driven by emotions and themes. Unfortunately, that's often lost in this adaptation. Viewers may grasp why the novel is revered, but the film inconsistently conveys that. Specifically, Gatsby isn't sympathetic enough. His motivations are clear, but his vulnerability isn't fully developed. Gatsby's tragedy fuels the story and that doesn't connect here, muting emotional reactions. DiCaprio elevates his material (as does the entire cast), but despite the strong performances and iconic source, The Great Gatsby feels dramatically thin. Technically, The Great Gatsby is proactive yet incongruent. Its rapid editing utilizes superimpositions, the sound builds symbolic ambiance, and its intense visuals employ pronounced movement. Plus, the production design reflects the opulent era. However, these efforts rarely support the emotional core. Although The Great Gatsby involves extreme wealth, it critiques that excess. So, while these techniques are admirable, their overdone nature is antithetical to the themes. This is most apparent in the unnecessary effects and modern music, which foster artificial atmospheres and hinder immersion. Ultimately, more subdued, relatable moments would've served The Great Gatsby well. Writing: 7/10 Direction: 6/10 Cinematography: 9/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 5/10 Production Design: 8/10 Casting: 9/10 Effects: 6/10 Overall Score: 7.6/10 By @augustkellerwrites

Reviews by: @thefilmobservatory 4/5 Thriller/Crime SPOILER WARNING After escaping imprisonment, Jesse Pinkman (Aaron Paul) must confront his past and face some final challenges before salvation. Vince Gilligan’s follow-up to Breaking Bad (BB) can be summed up pretty concisely: do I think this film needed to happen? Probably not. Am I glad it does? Absolutely yes. El Camino works neatly as an epilogue to the legendary series, as well as effectively providing some further closure for fan-favourite Jesse Pinkman. It was a bit risky to make this film, as it could have tarnished BB’s legacy had it not been up to standard, which may have left a sour taste in fans’ mouths, however, I think the gamble paid off. You’ve probably heard that El Camino feels like 2-3 BB episodes stitched together and I think that’s a more than fair comparison, although I should put it like this: who would refuse extra BB episodes? Overall, there’s practically no reason to watch this if you haven’t seen BB because it’s a sequel that doesn’t try to justify its existence on its own, but I do consider El Camino to be a pleasant treat for fans invested in the characters and story of the show. Aaron Paul really is the anchor of this film, returning to further demonstrate his unpretentious mastery of this complex and tragic character. After his horrifying, long-term imprisonment at BB S5’s neo-Nazi compound, Jesse is suffering major PTSD, along with his physical issue of locating enough money to get away for good. My favourite aspect of El Camino’s story isn’t so much the specific events, rather how it functions as an evaluation of Jesse’s mind, body and soul, instead of how some thrillers of a similar vein may have opted to simply present high-octane action and introduce new antagonists that significantly raise the stakes even so late in the process. I appreciate that El Camino maintains tension and a sense of danger throughout, while still feeling mostly low-key, as the weight is on character rather than spectacle after the long, winding and often hellish journey that Jesse went on (and suffered through) in BB. While Walter White (Bryan Cranston) is the main figure of Jesse’s past still metaphorically haunting him from beyond the grave, we surprisingly spend a lot of time with sadistic sociopath and neo-Nazi Todd (Jesse Plemons), as we didn’t know what exactly happened during the protagonist’s imprisonment in season 5, and it was just as, if not more than, horrifying as we could have expected. To call Todd a monster would be understating the term ‘understatement’ and what Plemons does is impressive in how both intimidating and repulsive he makes the character. Even when Jesse flips the situation and manages to pull a gun on him, he’s too psychologically scarred and damaged from Todd to go through with anything, demonstrating the tragic degree to the nightmare that was his captivity. Despite new minor antagonists in the present, El Camino’s tensest moments are generally the ones with Todd, largely because of how inhumane and horrifying Plemons renders the character, but also due to Gilligan’s impeccable ability to craft individually compelling scenes that patiently and subtly build up the suspense. Even though we know Jesse’s ultimate fate after the time these scenes are set in, we can’t help but feel constantly on edge, as Todd clearly broke him physically and mentally, therefore making him unfortunately the biggest presence still terrorising Jesse, meaning that it’s in step with the character that we experience so many scenes showing his unforgettable pain. To provide some catharsis, it’s nice to remember how violently Todd dies at the end of BB but that doesn’t fix the irreparable damage caused to Jesse, which is why El Camino is important to continue and hopefully build towards an improved end for his story. The cameos in the form of flashbacks that we get with Mike (Jonathan Banks), Walt and Jane (Krysten Ritter) could have felt shoehorned in for cheap fan service but, instead, each serves a purpose as a key figure in Jesse’s life that he must bid farewell to if he wishes to move on and find ‘the way’ (a.k.a. the English translation of ‘el camino’). This film interestingly structures the placement of these flashbacks, as we open with Mike’s, where the pair are discussing how Walt’s going to take their wish to strike out. As Mike offers some pseudo-fatherly advice by a serene lake, we get the setup of Jesse’s aims and hopes for freedom that take up this film (including the literal idea to move to Alaska). His scene with Walt in the diner reminds us of where the pair were in some of the early season 1-2 days before the greed settled in, occasionally functioning almost like father and son before the latter’s abuse grew and ruined Jesse for the long-term. This glimpse suggests that Jesse wishes to remember a time before Walt wrecked his life and everything he cared about, as we tragically see some shreds of care from him when he talks about the possibility of our protagonist going back to school that would obviously never come to fruition. However, after Jesse has worked to rid himself of the demon that was Walter White, it’s significant that we end on a more hopeful note with an appearance from Jane. Jesse talks to Jane about how he’s interested by the philosophy she spoke of about simply going where life takes you (near-nihilism), essentially how a drug addict may think as they unloose themselves from reality, however, it’s pertinent that she goes back on it and tells him that that path will only lead to a lack of control over one’s life. It’s a wonderful way to bookend Jesse’s story that the final memory he reminisces over is the person he arguably loved most in the world telling him that “It’s better to make those decisions for yourself”, as he forges his own path towards a new life in Alaska, no longer under the harmful influence of those he once looked up to. While it may sound unusually happy as a Breaking Bad ending, I think it was earned and almost necessary to provide some closure and hope for the future at least for this character who was trapped as a victim for so long. Obviously, it’s a lot of fun to see Jesse’s companions Skinny Pete (Charles Baker) and Badger (Matt Jones) fight alongside him for his freedom, as they cooperate in his escape. However, they also help serve a juxtaposition between the old Jesse’s personality and lifestyle against the worn, irreversibly damaged figure they meet after his long-term disappearance during imprisonment. It’s heart-breaking to see Jesse instinctively pull a gun on them while trying to discern his surroundings once waking up, yet they demonstrate unconditional loyalty and friendship as they try to understand his situation and help him get away for good. Saying goodbye to parts of his life other than the pain was something El Camino needed to take time with and moments like remind the viewer of the aspects such as friendship that can shine through in Jesse’s memory, even as he must physically leave them behind permanently. Another brilliant return from BB is Robert Forster’s (a wonderful actor who died around the time of the film’s release, R.I.P.) Ed, a.k.a. ‘the Disappearer’, a character featured most significantly in season 5 when Walt and others attempted to go off the grid to escape the consequences of their actions as it all came crumbling down. He maintains an effective balance of stoic yet sympathetic professionalism, as Jesse is practically on his knees begging for help, whose money-oriented mindset keeps him unfortunately realistic. As for villains, we have Scott Shepherd’s Casey, an admittedly quite forgettable antagonist whose only purpose is to present some conflict for Jesse as he figures out how to accumulate enough money to ‘disappear’. Him and his band of thugs never come close to Breaking Bad’s big bads but they’re serviceable and at least make for a well-done final showdown drenched in suspense, in which El Camino digs into Gilligan’s Western influences even further than the whole series did. Overall, it’s obvious that El Camino is at its best when Jesse Pinkman’s primary conflicts are mentally with the demons of his past and the film is acting as an epilogue to BB that wraps up the character’s storyline rather than trying to introduce new antagonists. Alongside the aforementioned aspects, chuck (Better Call Saul pun not intended) in some engaging music from BB composer Dave Porter and compelling, well-constructed cinematography from Marshall Adams, and you’ve got yourself a good movie that works effectively as a low-stakes thriller and holds its ground as a follow-up to arguably the greatest show of all time. A slightly mixed aspect is that El Camino ensures that, as for the stories of Jesse Pinkman and Walter White, the ‘Gilligan-verse’ doesn’t go out on a bang, more-so a quietly victorious drive to Alaska, meaning that it may be a good idea to regulate your expectations to accommodate for this, however, I’d say that this film will likely reward your patience (plus, BCS S6, so it’s a great time to be a fan of this world!). Overall, this follow-up to Breaking Bad absolutely is not the essential that its predecessor will forever be but it frankly isn’t trying to be. As a companion piece, I’d consider it an intriguing watch for anyone already invested in Jesse and co.’s story: there’s little point in checking it out if you’ve not seen the show but I would highly recommend El Camino to fans who also like fairly slow thrillers. By @thefilmobservatory

Reviews by: @augustkellerwrites Jurassic Park 3 is mediocre. Its rescue narrative is basic but fine. The deception twist is fair. Yet, beyond that, the script is lame. Grant's motivation is void and cliche. The Kirbys are unlikeable and inappropriate protagonists. Billy is bland, the mercenaries are generic, and Eric's survival is way too easy. Meanwhile, there's no antagonist, there are no arcs, character choices are idiotic, plot points are contrived, and the ending is deus ex machina. Thus, Jurassic Park 3 devolves into a series of manufactured chases that have no emotional weight, thematic relevance, or payoff. Ultimately, this is Jurassic Park at its shallowest. Technically, Jurassic Park 3 is decent but cheaper than its predecessors. Theoretically, the combination of CGI and animatronics is admirable, yet neither effect is convincing. Daylight CGI close-ups are weak, green screening is sloppy, and animatronics look robotic. Also, the sound is less detailed and impactful. The cinematography only utilizes occasional focus and lighting. The tone is monotonous. Plus, the production design feels hollow, the music isn't John Williams, the acting is repetitive, and the only editing positive is its short runtime. Overall, Jurassic Park 3 is mindless and ordinary. Its simplicity isn't painful, but it's still a franchise disappointment. Writing: 3/10 Direction: 4/10 Cinematography: 6/10 Acting: 6/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 7/10 Casting: 6/10 Effects: 7/10 Overall Score: 5.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Lightyear is enjoyable. The story starts strong with drama, psychological sci-fi, and an intriguing quest. Plus, the tone blends in lighthearted comedy, maintaining family fun with substance. There are solid character arcs, clear themes, and surprisingly metaphorical villains. The only issue is that Lightyear overemphasizes missions during its second half. These adventures are exciting and executed well; they just get slightly repetitive after a while. Also, because Lightyear focuses on these tasks, it becomes less emotionally deep and more of a standard adventure. Overall, it's a good dramatic journey, but is a mild letdown after its promising beginning. Technically, Lightyear is reliable. Animated acting and casting are inherently limited, yet Evans balances Lightyear's heroism with vulnerability. The editing has a captivating montage, the futuristic sound gets symbolic, and the music gets trans-diegetic. Meanwhile, the cinematography uses focus, lighting, movement, angles, color, and composition. Plus, the production design balances Pixar's recognizable style with sci-fi homages. Finally, while the direction isn't thoroughly powerful, there are excellent moments (such as hitting hyper speed) that keep the film going. Ultimately, it might not meet Pixar's highest standards, but Lightyear is still a strong experience. Writing: 7/10 Direction: 7/10 Cinematography: 8/10 Acting: 7/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 9/10 Casting: 7/10 Effects: 9/10 Overall Score: 7.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Spiderhead is promising sci-fi that's spread too thin. Originally a short story, it would've worked better as a Black Mirror episode. Still, there are consistent themes, motivations, and developments. Hemsworth shows layered range, the cast portrays extreme mood swings, and Teller provides quiet sadness. Furthermore, everyone is conflicted, surrendering autonomy to external influences (like drugs, coercion, and trauma). Unfortunately, these insightful themes, metaphorical premises, and dynamic characters grow dull in a repetitive script. Thus, it's less smart than it hopes (despite a respectable attempt). Overall, Spiderhead supplies interesting ingredients but misses its potential. Technically, Spiderhead is solid. Visual close-ups, movements, filters, mounts, and lighting are aesthetic, yet inconsistently meaningful. Meanwhile, sleek designs match themes yet sometimes look cheap. Similarly, the limited effects sporadically support but also distract. Conversely, successful intercutting and dissolve edits convey drama. Also, recontextualized pop music sets a lively mood with ominous undertones. Lastly, utilized echoes, J-cuts, crashes, and futuristic sounds heighten atmosphere and emotions. Ultimately, Spiderhead has detail, but its muddled tone, pacing, and drama fumble relatability. Still, Spiderhead should satisfy sci-fi enthusiasts, even if it's forgettable. Writing: 6/10 Direction: 6/10 Cinematography: 6/10 Acting: 8/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 8/10 Effects: 6/10 Overall Score: 7.1/10 By @augustkellerwrites

Reviews by: @the_owlseyes "This is our purpose. Fighting for justice, for glory, protecting the kingdom and stuff. Most importantly, lots of money!” Scanlan Shorthalt PLOT "In a desperate attempt to pay off a mounting bar tab, a band of misfits end up on a quest to save the realm of Exandria from dark, magical forces" or "D&D brought to life". SCRIPT This is a show which is inspired by D&D and it feels exactly like it. There're a lot of different and interesting characters in Vox Machina but I want to single out Percy, Vax and Pike, because they're the one who get the best characterization. Scanlon is a fan favourite but we'll see if in the next season he will get some kind of development or not. Vex, Grog and Keyleth aren't utilized much and unfortunately are the most forgettable. The villains are interesting too. The Briarwoods seem like an evil couple without a reason but Delilah has one of the noblest reason you can think about, which makes her particularly compelling. In this word every species is well integrated and the show is able to use it at its advantage. Worldbuilding isn't a strength of this series but, fortunately, it makes up for it by focusing on the characters. Here themes like Loss, Vengeance, Justice, Sexuality, Love, Loyalty and Knowledge are well managed to create an interesting plot made of twists and turns. Script: 8/10 ACTING The voice actors do a remarkable job and each actor fit the characters to perfection. I liked the one who dubbed Vax'ildan, Scanlan and Percy. Overall all the actors deliver a performance which is between good and impressive. I liked the fact that they chose a bunch of newcomers to voice the main characters in order to make them more iconic. Acting: 7/10 PHOTOGRAPHY Lights and shadows aren't used well because they're both flat for most of the time. Colours are better because they have a symbolic meaning and they're what gives life to this show. Sometimes they're too oversaturated but overall I find photography pleasant. Photography: 7/10 EDITING Not much to say about it because it isn't impressive. Only the fight scenes stand out but the rest is just boring to watch. Editing: 6/10 SPECIAL EFFECTS I don't consider the animation particularly remarkable because the show uses a style which is becoming kind of trite. Some scene feature full CGI monstrosities which I hoped not to see because these are not good and they kinda ruin the experience. Overall I think that this section is just decent. Special Effects: 6/10 SOUNDTRACK The soundtrack itself is plain and unoriginal but the singed parts are gold. Yeah, sometimes Scanlen's songs are a bit out of place but I find them enjoyable. Soundtrack: 6/10 COSTUMES Even though they respect the source material, I think that they don't bring anything new to the genre. I consider them acceptable but it hardly goes beyond that. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 7/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,57 An enjoyable and flawed show which will introduce you to the marvellous world of Dungeons & Dragons. Director: Young Heller Screenplay: Brandon Auman Cast: Laura Bailey, Taliesin Jaffe, Ashley Johnson, Matthew Mercer, Liam O'Brien, Marisha Ray, Sam Riegel, Travis Willingham Soundtrack: Neal Acree Running Time: 25 min By @the_owlseyes

Reviews by: @augustkellerwrites Despite being the weakest in the franchise, Toy Story 4 delivers. Toy Story 3's conclusion was perfect, yet Toy Story 4 finds motivation in Woody's new situation. No longer the favorite, he realizes his work is ending. Although slightly redundant, this arc is justified. Where Toy Story 3 concludes Andy, Toy Story 4 concludes the job. Plus, Bo's counterweight deepens Woody's development. Toy Story 4 is still about purpose, but this time Woody discovers it in himself. Furthermore, there's witty dialogue and exciting adventure. Ancillary plotlines feel clunky and veteran characters are sidelined, but that's all in service of Woody's worthwhile narrative. Technically, Toy Story 4 isn't magical, but remains great. Notably, the cinematography is more dynamic than ever, using arcing shots, POVs, overheads, dramatic movements, dolly zooms, and reflections. Plus, there's cinematic lighting, focus, and composition. Meanwhile, the editing employs montages, passing cuts, dissolves, match cuts, and stylized transitions. The sound is quiet during emotional peaks and meaningfully distorted before the finale. Also, there's amazing CGI, original songs, significant character designs, and ranged acting. Lastly, the direction isn't as emotionally potent, but provides cohesive flair. Overall, Toy Story 4 doesn't break ground but is still impressive. Writing: 8/10 Direction: 7/10 Cinematography: 9/10 Acting: 8/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 9/10 Effects: 9/10 Overall Score: 8.6/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review This was… another Madea movie. I don’t really know what else to say. 12 films in I think Tyler Perry just stopped caring. There’s still plenty of fun jokes with the Madea we know and love but everything felt different and off. The family and house seems to change without mention in every film. At least this one gave us another man in drag to go with Perry. They queer baited us too, made it part of the twist near the end. So I’ll just leave it here because I don’t really have much else to say. 5/10. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Despite magnified scrutiny from inevitable comparisons to its predecessor, Toy Story 2 is special. Characters have fresh depth, nuanced messages remain potent, and the plot successfully blends comedy with drama. It's debatable whether its execution matches Toy Story, but that standard speaks to this film's strength. Ultimately, it's remarkable what Toy Story 2 accomplishes without retreading. Woody is deepened, the world is expanded, Jessie's painful backstory redefined Pixar, Buzz's role reversal reinforces themes, and the villains are purposeful. All this differentiates Toy Story 2 while honoring the original. Since that's rare for sequels, Toy Story 2 is a true success. Similarly, Toy Story 2 is technically great yet overshadowed. Its CGI is improved (especially during Woody's repair), but not as groundbreaking. The music is emotional, yet not as recognized. New character designs are fitting, but don't meet the genius of the originals. However, the uses of passing cuts, match cuts, symbolic sound, and visual surrealism are powerful. Still, despite Toy Story 2's clever humor and biting drama, its tone isn't definitively transcendent. Overall, these are nitpicks of an entertaining and meaningful film, but they're why it's sometimes unfairly dismissed. Nevertheless, Toy Story 2 is skillful and worthy of its lofty franchise. Writing: 9/10 Direction: 8/10 Cinematography: 8/10 Acting: 8/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 9/10 Casting: 9/10 Effects: 9/10 Overall Score: 8.8/10 By @augustkellerwrites

Reviews by: @ryan_the_nixon @tylersnerdy_review 2022 PG Director: Domee Shi Starring: Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park, Maitreyi Ramakrishnan, Orion Lee, Wai Ching Ho, Tristan Allerick Chen etc. Mei Lee is a confident, dorky 13 year old torn between staying her mothers dutiful daughter and the chaos of adolescence. Changes to her interests, relationships and body are beginning to happen plus whenever she gets too excited she transforms into a giant red panda. I absolutely loved this and Pixar further cements themselves as the greatest animation studio out there. The animation was incredible and very impressive to look at. The Asian representation was great and handled with a lot of depth and respect. The film had a unique, fun and charming tone. The pacing was great and flowed very smoothly. The voice work was great. Particularly from Rosalie Chiang, Sandra Oh, Ava Morse, Hyein Park and Maitreyi Ramakrishnan. This film had some amazing and insightful themes on finding yourself, balancing friends and family, and the fear of not being perfect for your family. Really diving deep into what it is to be a mother and what is considered overprotective, also the more adult themes and metaphors for growing up and hitting puberty were great. The worldbuilding was fun, with some really interesting moments, plus the movie was hilarious. The characters were likeable, and the character design for the red pandas was adorable. The character background was great with some good stakes to the plot. There was great chemistry between the characters and voice cast and some good plot development between all the different characters relationships. The character and the film managing to find the balance between Mei's relationship with her family and friends was great. With a fun final act with just the right amount of emotional weight. My only slight criticism was that the set up for Mei becoming the Panda felt rushed and could of been executed in a more interesting way. Overall, Turning Red is beautifully animated, fun and charming. With some very insightful and important messages about growing up, and for me is one of Pixar's strongest films. Overall Score: 97/100. By @ryan_the_nixon Wow, Disney and Pixar hit the ball out of the park yet again with their new Turning Red movie, now streaming on Disney+. I found this movie to be an absolute blast from start to finish. I know so many people like the girls depicted in this movie and it’s so great to see people that act like my real friends in a movie. And it helps that there is a Tyler in this movie. Rosalie Chiang is a true delight, bringing so much character and personality to Mei. Sandra Oh plays such a great overbearing mother that I’m sure a lot of people can relate to. Ava Morse, Hyein Park, and Maitreyi Ramakrishnan play some of the best movie friends I’ve seen, they are all so fun and unique. Tristan Allerick Chen’s Tyler gets a lot more to do than you’ll be expecting but I think you’ll like what they do with him. Orion Lee is really good as Mei’s Dad, coming in clutch with multiple important scenes. I never thought that I’d see pads in a Pixar movie or so many outright period allusions, nor did I think I’d hear the word “stripper” but these are all things that are in this movie. That’s right, Turning Red is a metaphor for periods, get over it. I can’t imagine how important this movie could be for a little girl going through her first period and puberty. There’s even some very subtle LGBTQ+ nods, but of course, never outright when it comes to Disney. Which sucks because our community has given this company so much money. This movie has so much personality and full of great characters representing a great culture. The representation here is pretty great, from random background characters being from cultures not normally represented to a little girl having a diabetes patch. Now, I was 2 years old when it was 2002 so I can’t claim to be super nostalgic for the setting of the movie but it was really nice the work they did to make you believe it was 2002. The Toronto setting is really great, the animation makes not just the city but everything look good. There are some really great images in this that I want screen grabbed and made into wallpapers. There is so much about Turning Red to like, make sure if you’re watching with a younger kid that you’ve had the puberty talk. 9/10. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites A rocky lifestyle presented with delicate care, The Florida Project is as genuine as it is enlightening. Evoking feelings of nostalgia and sincerity, The Florida Project takes its time to display lives of poverty with the utmost humanity. The filmmaking is stripped down, using minimal music, cuts, and camera movement. This allows space for audiences to submerge into the community. Plus, although the techniques are subtle, there is plenty of skill involved. The cinematography is striking because the framing is purposeful and the colors are vibrant. The ambient sound design is realistically filled with impoverished chaos. The editing is hypnotic, steadily drawing viewers in with its methodical pace. However, despite these strengths, the centerpiece of the experience is the acting. The script is illuminating but the performances elevate that immaculate material. The cast is a genius combination of seasoned veterans (Willem Dafoe) and authentic newcomers (Brooklynn Prince and Bria Vinaite), all of whom feel real enough to touch. This creates an intimate atmosphere that leaves a powerful impression. In the end, it is clear that Sean Baker had a passionate vision and an important story to tell, making The Florida Project a cinematic triumph and a meaningful experience. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @tylersnerdy_review In the process of my move I managed to sit down for a minute and watch Netflix’s new World War Two drama Operation Mincemeat. I watched with my friend and my step mom, one who doesn’t care much for history and one who really likes WWII, and then me, a big fan of history but somehow never knows enough about WWII. I’ve never heard of this operation so it made this a very fun watch since I didn’t know where it was going. Colin Firth is good here but his character felt very singular and unchanging. Matthew Macfadyen is a good foil to Firth who also doesn’t change much but has so much more opportunity to do so. Kelly Macdonald got a shocking amount to do as a female character in a WWII drama, but of course it’s all romance linked. But I really liked her here and how she worked off of Firth and Macfadyen. Penelope Wilton is a lot of fun here and she really played a big part in this mission. Jason Isaacs is great in his few scenes and it blows me away that Lucasfilm didn’t choose him to play the Grand Inquisitor in live action. But I really liked what Rupert Fiend is doing with him. The idea of using a dead body with fake, highly classified material to trick the Nazi’s is so absurd and I can’t believe a group of people actually thought of it. So much of the plan relies on luck before their ideas can even begin to be used. The art of confusion and subterfuge is absolutely insane, the amount of details that went into the plan, the level of secrecy they had to operate under was mind blowing. The movie is just maybe a little too long. I think it could have been shortened by at least a good ten minutes maybe even fifteen. There was a lot of slowness to it that just felt like they were trying to make it longer. The reason for the name of the mission is discussed very briefly and since I watched this well over a week ago now I can not for the life of me remember why it has such a dumb name. I will say, the trailer made this look to be a little more comedic than it really was with all of the jokes in the movie being used in the trailer. So do expect a much more dramatic movie than the trailer presents to you. In the end, Operation Mincemeat gets a good 8/10 from me. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Toy Story is groundbreaking. Its writing provides iconic characters, memorable quotes, recontextualized world-building, and complex themes. The film explores a toy's reality, creating rules and social structures. Meanwhile, Toy Story is surprisingly deep, relating to all ages. Woody feels replaced and Buzz loses purpose, yet Toy Story is truly about their bonds with Andy. Each toy cares for Andy and prioritizes his needs (even if he'll eventually outgrow them). Therefore, Toy Story mirrors parental relationships. Woody's plight is similar to a parent watching their child become independent. So, while Toy Story is superficially for kids, its subtext is substantial. Technically, Toy Story is a landmark. It's the first fully CGIed film and still holds up today (besides the human characters). Consequently, Toy Story redefined animation. Next, the production design and soundtrack are iconic pieces of pop culture. Furthermore, the editing builds energy and emotion. Buzz's reveal is dramatically paced and the montage of Andy's transition is powerful. Plus, sound punctuates comedy, cinematography is multifaceted (using angles, lighting, framing, and movement), and the voice casting is distinct. Overall, Toy Story establishes Pixar's signature combination of levity, depth, and detail. Thus, it's one of the greatest family films ever. Writing: 10/10 Direction: 9/10 Cinematography: 8/10 Acting: 8/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 9/10 Effects: 10/10 Overall Score: 9.2/10 By @augustkellerwrites