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Reviews by: @tylersnerdy_review The other day my friend and I watched Hulu’s original movie Fire Island. This movie is such a great and diverse look at gay culture in the modern age. This whole cast is just so much fun together and they all feel like actual friends. Bowen Yang is one of the best parts of SNL right now and I’m so glad to see him gaining more success outside the show. Joel Kim Booster works incredibly well with Yang and has a very palpable tension with Conrad Ricamora who is just great in this movie. Margaret Cho will never not be an absolute icon, she’s very funny here as the found family mother of this friend group. James Scully is super duper adorable in this movie and I am now obsessed with him, the chemistry he and Yang had together was so natural. Matt Rogers, Tomás Matos, and Torian Miller get a criminally small amount of screen time but really use what little they get to the best of their ability. This movie isn’t afraid to show the insecurities that a lot of gay men deal with everyday and how we’re not all the same. There are so many different types of gay men and each member of this group feels a little different from the last. And seeing their group bump into another group of gays that are very different from them shows this in such a great way. This movie is very funny but knows exactly when to slow it down a bit and get serious before giving it a normal rom com ending. I will say, despite being cheesy, it is nice to see not just two but four men participating in a cheesy rom com ending. I’ve never heard of Fire Island before watching this and I love that they give us the briefest of backstories about it. This is such a great Pride Month watch that I would suggest to any queer person I know. I’m giving Fire Island a big 8/10. It fills my heart to see so much Queer Representation in the media now. Hopefully the big studios start to give us more as well! -Tyler. By @tylersnerdy_review

Hustle isn't a champion, but it gets in the game. Unfortunately, sports movies are highly predictable, and Hustle is no different. While its drama is fair, it still hits all the familiar tropes and leaves little doubt about where things are headed. Yet, because characters are developed and Sandler tries, Hustle emotionally lands. Furthermore, the film is authentic to the NBA process. Hustle definitely had knowledgeable creative consultants, which helps NBA fans buy into the experience. Overall, Hustle doesn't break any dramatic molds, but it executes them well enough to appeal to sports fans and novices alike. Technically, Hustle has a refreshing indy style. The visuals add creative angles (like rim POVs), cinematic framing, and warm lighting. The production design is genuine and the cast has real NBA players (helping the gameplay, but stiffening dialogue). Sound is symbolic, music is fitting, and the tone is consistent (even if it's cliche). However, the best aspect is the editing. Montages are common in sports films, but Hustle differentiates itself with match cuts and transitions. They're emotionally stale, but the montages have energized filmmaking. Ultimately, Hustle presents an unoriginal story with decent sincerity and solid craft, making it a sufficient experience. Writing: 5/10 Direction: 6/10 Cinematography: 6/10 Acting: 7/10 Editing: 8/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 8/10 Casting: 7/10 Effects: 6/10 Overall Score: 6.6/10

Reviews by: @augustkellerwrites Enemy is a psychological trip. Despite its contained scale, the film tackles significant themes in abstract ways. Through a small story, ideas of subconsciousness, control, acceptance, objectification, and purpose are deeply examined. However, because Enemy is so metaphorical, it's also open to interpretation. Jake Gyllenhaal plays a troubled man who discovers his doppelganger, which quickly impacts his life and psyche. Surreal elements are sprinkled throughout, making each scene questionably literal. Furthermore, Gyllenhaal's performance (along with the supporting cast) is incredibly detailed and nuanced. This is key since the film is character driven and balances multiple levels of reality. Meanwhile, the technicals of Enemy are methodical and suggestive. Although it's subtle, the film has a potent atmosphere of anxiety. The cinematography uses sickly yellow coloring and gradual camerawork. The production design adds dingy scenery and symbolic structures. Plus, the melancholy music is unsettling, the editing is dreamlike, and the effects are understated. Together, these aspects delicately contribute to a building sense of dread and disorientation. Essentially, Villeneuve constructed a film that embodies the hypnotic nature of its heady material. Overall, Enemy is a quiet storm from our mental underbelly, making it a true work of art. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 9/10 Overall Score: 9.0/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review The Walking Dead Universe just wrapped up the seventh season of the original spin off show Fear the Walking Dead. I will continue to defend this show because I absolutely love the world and lore of The Walking Dead. I’m really easy to please when it comes to zombie stories and this season gives us some very cool new zombies, radioactive zombies that can’t touch you or you get sick. Following the events of last season when warheads were launched into the sky and destroyed large parts of Texas. The group finds themselves scattered (once again) across the state in different bunkers as they fight to survive in a whole new world with much more scarce food/water and supplies. But this time, the villain is one of our own, Coleman Domingo’s Victor. I think his character is very interesting but has never been given enough time to fully understand how his mind works. But what is most interesting is his relationship with Alycia Debnam Carey’s Alicia. Alicia has also been severely sidelined since Nick and Madison died and now it’s likely we won’t see her again as she has left the show. Which is why they needed to bring back Kim Dickens’s Madison. This show would not survive without any of the original Clark family around. And I don’t consider that a spoiler they it announced before this second half of the season and they put it in a trailer. Lennie James continues to shine as the new main character of this show. I love Morgan so much and hope we see so much more of him. Danay Garcia and Ruben Blades finally get a chance to shine with an entire episode to themselves. If you’ve seen my reviews for the past seasons you know how much I LOVE Mo Collins’s character and they do her so dirty this season. She’s in many episodes but gets nothing to do. Hope to see WAY more of you next season Mo! Jenna Elfman is another favorite of mine who is also severely sidelined this season even with many episodes focused on the building she’s in. I have no idea what they’re doing with Maggie Grace, her character is always gone and feels like a different person each time she comes back. Alexa Nisenson gets a few good episodes here but I’m afraid we won’t get much of her next season. Karen David is also gone for long stretches and is mostly only heard over walkie, and I hope we see her on screen some more going forward. Austin Amelio still works really well on this show and I like where his story has gone with Christine Evangelista. The two of them did good work on the OG Walking Dead and have moved to Fear very well. I’ve never understood where they wanted to take Colby Hollman’s character Wes. And this season he completely switches personalities but I felt he did a great job with what was given to him. Daryl Mitchell, Keith Carradine, Peter Jacobson, Omida Btahi, Spenser Granesse, Gus Halper, and Aisha Tyler all do really good for their roles whether big or small but they each get some good scenes or a good episode. I think this show has lost direction and they keep recycling plot points. I still like the show a great deal but they need a serious shake up to the writers room. Something like Walking Dead had between seasons 8 and 9. Someone with an idea and a direction. I’m still excited to see where the next season goes, excited to see more Madison and finally learn about Padre. I’m giving season seven of Fear the Walking Dead a 7/10. One of the weakest seasons of the series but still something I enjoyed watching each week. What other major show stars three people of color in the main roles? The diversity here has always been great and I hope to see it continue in season eight in October (I assume). -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites Uncut Gems is a rollercoaster. Its story doesn't have a conventional arc, but that's substituted with forceful tension and sobering messages. Dialogue is rarely so relentless as Uncut Gems is singularly focused on its intense protagonist. There are few moments to breathe, but they are powerful when they arrive. Overall, Uncut Gems is a masterclass in balancing anxiety, controlling chaos, and humanizing the despicable. Meanwhile, Sandler is perfectly cast in the role he was born to play, wielding his rage, persuasion, and tempo with precision and might. This cautionary tale might not be for the faint of heart, but it's an irresistible watch. Technically, Uncut Gems serves its fiery central performance. The music perfectly juxtaposes the dramatic intensity with atmospheric synths. The editing pushes each explosive scene, precisely advancing mayhem while stabilizing a brisk pace. The sound is grounded, with key stings. The cinematography is realistic, yet subtly underscoring emotions with composition and framing. The production design and effects aren't major, but they contribute to the high-stakes narrative. Lastly, the direction is razor sharp, balancing tension and emotion. Ultimately, Uncut Gems is a dominant and carefully constructed experience. Few movies have accomplished so much with such a tight scope. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 10/10 Sound: 8/10 Score/Soundtrack: 10/10 Production Design: 7/10 Casting: 9/10 Effects: 7/10 Overall Score: 9.0/10 By @augustkellerwrites

Reviews by: @augustkellerwrites The Bubble is low-effort. Apatow is known for structureless comedy, but this is downright lazy. Set during the pandemic, the story aimlessly follows a fictional movie production, loosely building around the conflicts among its mistreated cast. Characters don't arc because they are flat tropes. There isn't a clear protagonist because everyone is unlikable and dispensable. Also, the script doesn't say anything. Ideas surrounding the pandemic, elitism, and workplace toxicity are introduced, but never examined. In fact, the flippant writing actually trivializes those topics. The actors do alright with the empty material, but The Bubble produces more groans than laughs. Technically, The Bubble is more professional but still lifeless. The sound and music aren't detriments, yet they're never impactful. The cinematography is basic and uninspired. The effects are occasionally tacky (particularly the deep fake faces). The arbitrary editing relies heavily on filler montages (including one during the anticlimactic ending). Plus, the limited production design is cheap. Overall, the direction deserves blame because The Bubble is even less than its meager parts. The cast is interesting and the technicals are tolerable, but the product is a sloppy mess. Without substance, structure, or real humor, The Bubble is a complete misfire. Writing: 1/10 Direction: 1/10 Cinematography: 4/10 Acting: 5/10 Editing: 4/10 Sound: 5/10 Score/Soundtrack: 5/10 Production Design: 3/10 Casting: 6/10 Effects: 4/10 Overall Score: 3.8/10 By @augustkellerwrites

Reviews by: @tylernerdy_review Last 2021-2022 Cable TV show review for the night, this one is CBS’s only show to reach a finale this I’m a little late but Young Rock finally wrapped up it’s second season. Once more telling the story of Dwayne Johnson’s life through three separate timelines constantly moving forward. Adrian Groulx Bradley Constant and Uli Latukefu each play their different aged Johnson’s so well. Each one genuinely seems to bring something fun and unique to the character and their relationships with others. Joseph Lee Anderson and Stacey Leilua play Johnson’s parents very well and I’ve really enjoyed seeing the story of their marriage unfold despite knowing they stay together. Ana Tuisila is just fantastic as Johnson’s Grandmother, she is just so much fun and I could listen to her talk about her fancy white lawyer all day. Randall Park is still a great choice to be the interviewer in the future storyline, he keeps it all so light and fun. This season they continue the fourth timeline story of The Rock running for President in 2036. They continue doing good work not showing which party Johnson is running for but because Rosario Dawson’s Ahsoka Tano has become so big, her character sadly does not return to this season despite being Johnson’s running mate. This show is a lot of fun and brings some much needed representation to mainstream media. Between this show, The Book of Boba Fett, and everything that Taika Waititi makes, the rise in Māori and Pacific Islander representation has really skyrocketed. The first season of this show was really good and this second season just surpasses it in just about every way. I would get out there and binge these first two seasons before season three starts up next year. Young Rock gets a good 8/10 from me. Honestly, between Young Sheldon and Young Rock, I think I might pick Young Rock. -Tyler. By @tylernerdy_review

Reviews by: @the_owlseyes “People deserve a second chance, just like businesses.” Marty Byrde PLOT "A financial advisor drags his family from Chicago to the Missouri Ozarks, where he must launder money to appease a drug boss" or "Another type of Breaking Bad" SCRIPT This show is strongly inspired by Breaking Bad but deal with the matter of human corruption by a collective view. The show explore how a life of misguided choices brings yourself and all the other around you to follow in your footsteps, like the Byrde's kids, or to die, like a large part of the character of this show. You're going to cheer for the Byrde family as they get themselves out of their uncomfortable situation and build a new wealthy status as a strong family. It won't last long because the awe and respect for them will leave its place to a strange sensation and then you'll realise that the people you've been cheering up for so long where actually the villains of this story. This is what makes this show remarkably compelling and entertaining, because in the end, they aren't the kind of people you want to deal with. Script: 9/10 ACTING This series showcases a lot of talent which gets to show its extremely wide range. Starting with the superb Laura Linney who shows a lot of different emotions and becomes a ruthless selfish wife who cares only about the ends. Jason Bateman is pretty good as the cold, rational and detached husband who is selfish, sharp, bold and manipulatory. Sofia Hublitz and Skylar Gaertner deliver remarkable performances which mirror their fictional parents's ones. Julia Garner is awesome here. Not only she nails the south american accent which is out f her comfort zone but has emotional journey which push her to her mental and physical limits. The other actors are good as well. Overall this is a pretty impressive cast. Acting: 8/10 PHOTOGRAPHY This series doesn't shine and a lot of coldness permeate from every scene due to a undersatured blue filter which is strongly opposed to the setting of the show, which is usually hot. There're a lot of geniunely beautiful shots which makes this series more valuable than it looks. Photography: 7/10 EDITING The first season set up a good qualit which carries on in the next seasons. The point is that it becomes tedious and repetitive quickly, even though it doesn't ruin the experience, it makes it a bit cold. Considering that the series wants to look and feel that way, I think that this is a positive. Editing: 7/10 SPECIAL EFFECTS Most of them are seamless to keep the show grounded. This is why I won't go beyond a simple six with this section. Special Effects: 6/10 SOUNDTRACK In it's neatness I find it interesting. It doesn't deliver impressive highs but it's built in a way that when it's on, you can feel the tension crawling and growing on you.I'm lowkey impressed. Soundtrack: 7/10 COSTUMES Not much to say about it. Ordinary clothes with no uderlying meaning. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 7/10 Editing: 7/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 7,14 A powerful, cynical and entertaining series which will show you have families could be corrupted by money as a whole. A must see. Director: Jason Bateman Screenplay: Bill Dubuque, Mark Williams Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Jordana Spiro, Jason Butler Harner, Esai Morales, Peter Mullan, Lisa Emery, Charlie Tahan, Janet McTeer, Tom Pelphrey, Jessica Frances Dukes, Felix Solis, Damian Young, Alfonso Herrera, Adam Rothenberg Soundtrack: Danny Bensi, Saunder Jurriaans Cinematography: Ben Kutchins, Armando Salas Running Time: 60 min By @the_owlseyes

Reviews by: @augustkellerwrites Jurassic World: Dominion misses its opportunity. The story is needlessly convoluted, sidelining the dinosaurs (and their release) for a mediocre corporate scheme. There are multiple narratives that don't intertwine until the third act. Jokes misfire, plot points are convenient, and motivations are flimsy. Action sequences are messy and unrealistic, defusing their suspense. There are cheesy one-liners, lame fan service attempts, and inept villains. Still, the biggest issue is the missing protagonist or theme. Dominion is overstuffed, with no primary message. Plus, the actors are dull, especially Pratt. Only Goldblum is any fun. Overall, Dominion is emotionally draining and cluttered. Technically, Dominion is inconsistent. There are abundant animatronics, but the CGI is occasionally goofy. Reuniting the original cast is impressive, but less charming when they're past their primes. The cinematography uses decent lighting, angles, and extended shots. However, the sound coasts off of the originals without adding anything new. There is generic music, impersonal production design, and scattered direction. Tonally, Dominion attempts everything and lands very little. Lastly, the editing is bloated, boring, and unfocused. The film never gains momentum and feels like a chore. Whether it's excessive exposition, contrived drama, or numbing action, Dominion isn't engaging. Writing: 2/10 Direction: 3/10 Cinematography: 6/10 Acting: 4/10 Editing: 3/10 Sound: 6/10 Score/Soundtrack: 5/10 Production Design: 5/10 Casting: 7/10 Effects: 8/10 Overall Score: 4.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Jurassic World: Fallen Kingdom is one mess after another. It's awkward and ridiculous, split between bridging the past and setting up the future. Thus, Fallen Kingdom is a stepping stone, preoccupied with franchising rather than entertainment. Its moral dilemmas are minimized. It utilizes several irrational and superficial plot devices. There are continuity issues. Characters are weak, inconsistent, and illogical. Pratt is a Mary Sue, dialogue is cheesy, plot holes are abundant, and the climax is absurd. The film ignores its own implications, totally lacks substance, and is horribly paced. Ultimately, Fallen Kingdom includes excessive elements and executes them all poorly. Technically, Fallen Kingdom's flaws outweigh its strengths. Its surprising cinematography utilizes lighting, extended shots, framing, movement, composition, and angles. Plus, the effects employ impressive animatronics despite overusing CGI. Conversely, there's generic sound, ineffective music, and shallow acting. The editing uses intercutting but fails to establish structure. The direction is also disorganized, jumbling the tone and sanitizing suspense. Lastly, the production design is a massive downgrade because the settings are limited and nonsensical, undermining the adventurous atmosphere. Overall, Fallen Kingdom completely misses the point and fails to honor its own experience. Writing: 2/10 Direction: 3/10 Cinematography: 7/10 Acting: 4/10 Editing: 5/10 Sound: 6/10 Score/Soundtrack: 5/10 Production Design: 3/10 Casting: 6/10 Effects: 7/10 Overall Score: 4.8/10 By @augustkellerwrites

Reviews by: @blog.cinema.coin The Lobster, is undoubtedly one of the strangest movies I've seen, its plot is quite simple to understand but complicated to understand, and is that in a dystopian world, if you are single you enter a hotel where you must find a partner in a certain time to avoid being turned into an animal. One of the directors that catches my attention is Yorgos Lanthimos who directs what I think is his best film. And if you like movies that will leave you thinking once you finish them, you will definitely love the films of Yorgos Lanthimos. Moving on to the main actors, we find a very peculiar Colin Farrell, who plays a very restrained role although it is obviously due to the script. On the other hand there is Rachel Weisz who is not very well known by the general public but I find her to be a brilliant actress, who also due to the script is very restrained. As for the genre it varies between comedy, drama, suspense and science fiction. The film can be considered in several ways, from my point of view is a criticism of society which is obsessed with living in a couple and implies that you can both live well being alone or in a couple. Yorgos Lanthimos, expresses this idea in a very peculiar way that I personally love. I have seen this film several times, 3 times to be precise, and without a doubt it gets better with each viewing because you realize many details that makes this film an authentic masterpiece. The ending is very ambiguous and speaking with SPOILERS, gives rise to think that when he is in the bathroom of the restaurant, the protagonist either finally has cut his eyes or has become a lobster, from my point of view I think the second option is viable since you hear the waves of the sea and you can see the title of the film indicating that the same has been given a second chance as an animal. As I have already said it gives rise to many points of view, it is a brilliant film and I am sure that once you have seen it you will want to see it again, it is highly recommended. By @blog.cinema.coin

Reviews by: @augustkellerwrites Jurassic World is a generic blockbuster, prioritizing accessibility over substance. Unfortunately, the script is overstuffed with useless subplots and underdeveloped protagonists. Had Jurassic World focused on fewer characters, it would've been more effective. In particular, Pratt is missing vulnerability. Meanwhile, genetically enhanced dinosaurs and trained raptors are mixed plot devices. It's critiquing Hollywood's addiction to going bigger, but also playing into that trope. Ultimately, self-awareness doesn't forgive the absurdity or thematic undermining. Therefore, Jurassic World is superficially fun, but it's diminished by bloated writing, cliche emotions, and mixed messages. Technically, Jurassic World is varied. It has a sluggish beginning, a sanitized tone, and shallow acting. Conversely, the cinematography employs decent lighting, movement, and focus. The sound uses iconic dinosaur calls (with less impact) and has a fun intro misdirect. Similarly, the music recalls the original, but is otherwise forgettable. Plus, the cast is largely replaceable and the CGI is overused. Lastly, the theme park design is the best new addition made by Jurassic World. However, its excessive product placements and generic technology depersonalize that fun. Overall, Jurassic World blends simplistic emotions with passable filmmaking, making it middling entertainment. Writing: 4/10 Direction: 5/10 Cinematography: 6/10 Acting: 6/10 Editing: 5/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 7/10 Effects: 8/10 Overall Score: 6.3/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Stranger Things Season 4 Volume 1 is worthy. It's convoluted with excessive characters, but its ending is focused. As usual, Stranger Things blends mass appeal with heartfelt drama, remaining mysterious yet relatable. It's formulaic, but the formula works. Also, the acting is dynamite. Some people are sidelined, but the main characters excel. Particularly, Max and El display their prodigy acting, wrapping trauma in innocence. Meanwhile, the show diversifies its components with distinct motivations. Streamlining would've helped, but since that wasn't commercially acceptable, the situation is optimized. Overall, Season 4 Volume 1 provides classic emotions that viewers expect. Technically, Stranger Things is stronger than ever. Its iconic music is woven into the plot, heightening its impact. Symbolic and elaborate sounds punctuate transitions. The editing unifies storylines with smash cuts and match cuts. Cinematic movement, lighting, composition, and colors keep imagery fresh and thematic. Plus, the production design delivers the era and fantasy elements, the effects are significant (though CGI-heavy), and the darker tone is justified. Lastly, the cast remains golden. Ultimately, Stranger Things: Season 4 Volume 1's script is fairly overindulgent and formulaic, but its sincere drama, elite technicals, and strong climax greatly outweigh its shortcomings. Writing: 7/10 Direction: 9/10 Cinematography: 9/10 Acting: 9/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 10/10 Effects: 8/10 Overall Score: 8.9/10 By @augustkellerwrites

Reviews by: @blog.cinema.coin I'm going to talk about Christopher Nolan's Memento. Nolan is by far my favorite director, and my favorite movie of his is Memento, therefore I consider it one of my favorite movies. Memento with its narration changed the history of cinema as it tells the same story in linear order and in turn tells the story from the end, something that had never been seen before in cinema. Consider this film the first masterpiece of Christopher Nolan's many others, including Interstellar, Inception and The Prestige. It is worth mentioning that Memento was his second film and therefore from here he began to make a place for himself among the greatest directors of the time, and today he is considered one of the best and most pioneering in the industry. The story of Memento revolves around the memory disease that has its protagonist Leonard Shelby, played by Guy Pearce, the main plot is to find the murderer who killed his wife and the interesting thing is that the viewer feels just as confused as the protagonist as we follow the story from his perspective and one does not realize until the end of what is really happening. For me it is a perfect movie as it is entertaining, visually it is wonderful and the script is original and very complete, therefore it is a movie that I would spend to see it again for the first time, those who have not seen this work of art I am sure that when they see it they will regret not having seen it before.. By @blog.cinema.coin

Reviews by: @the_owlseyes I don't want to write an introduction to this sh!£45t. “I’m so smart now. Everyone’s always like ‘take your top off.’ Sorry, NO! They always want to get that money shot. I’m not stupid” Paris Hilton “The most loving thing to do is to share your bed with someone” Michael Jackson “There’s an old saying in Tennessee — I know it’s in Texas, probably in Tennessee — that says, fool me once, shame on — shame on you. Fool me — you can’t get fooled again” George W. Bush “I definitely want Brooklyn to be christened, but I don’t know into what religion yet" David Beckham “I think gay marriage is something that should be between a man and a woman” Arnold Schwarzenegger “Is this chicken or is this fish? I know it’s tuna but it says chicken of the sea” Jessica Simpson “I’ve got taste. It’s inbred in me” David Hasselhoff “So, where’s the Cannes Film Festival being held this year?” Christina Aguilera “I’ve never really wanted to go to Japan. Simply because I don’t like eating fish. And I know that’s very popular out there in Africa” Britney Spears “You know, it really doesn’t matter what the media write as long as you’ve got a young and beautiful piece of ass” Donald Trump “Smoking kills. If you’re killed, you’ve lost an important part of your life” Brooke Shields PLOT "Dom and the crew must take on an international terrorist who turns out to be Dom and Mia's estranged brother" or "Same sh!t as the previous ones". SCRIPT I'll try putting it down in a way which doesn't seem offensive or else. This movie has no script. Every character is a blur. The villain is forgettable and weak. The plot is thin like a paper sheet. There's also the fact that most of the thing on display here doesn't make sense and physics is non existent. This movie starts in a way which seems interesting but after a while it's clear that it's just a bait. Characters who care more about wrecking the world than their kid, a lack of tension and dialogues which seem written by a 5 years old kid. The movie seems self aware of its dumbness, and there's a character who function as a audience proxy. None of the characters seems killable, which is the reason why it's hard to identify with them. Death is a joke here because we have a popular character coming back from the dead with a stupid explanation. A motivation which makes some installments non sensical. Sure, this movie is pure entertaining but it doesn't justify the fact that it lacks every aspect necessary to a script. I'm not disappointed but I'm sicken by the fact that a scipt like that has made the final cut. Script: 4/10 ACTING I'm not saying that it's the worst thing I've ever seen but surely it isn't good. It's strange because Charlize Theron and Helen Mirren are part of the cast. Maybe it's because mediocre or bad actors have more screen time. Vin Diesel has just two expressions and his acting goes to the dogs. The only one amongst them who does a better job is John Cena but I wanted to see more of him. Also, I don't buy him as a villain. There're cameos of actors who have been part of the franchise but their roles are sidelined. Overall, if it wasn't for John Cena, Charlize Theron and Helen Mirren, this would've been worst. Acting: 5/10 PHOTOGRAPHY As the editing, it's just there to make this movie seem competent, but it isn't. The light is always flat and seems like shadows don't matter at all. Colours don't have a meaningful role. There're just a few beautiful shots but most of them aren't. This movie is so lazy. Photography: 5/10 EDITING Basic and formulaic. It's by the book but it doesn't try anything new. It's underwhelmingly mediocre. Editing: 5/10 SPECIAL EFFECTS Sometimes they work and sometimes they don't, nonetheless they respect the industry standards. Beyond that there isn't anything interesting about them. Special Effects: 6/10 SOUNDTRACK It's forgettable and this franchise keeps using the same genre of pop music present in previous installments. It's so obnoxious that the instrumental part of it is just background noise. It's annoying. If it wasn't for Brian Tyler, I would've given a lower vote to this section. Soundtrack: 5/10 COSTUMES Nothing interesting about it. The characters wear the same outfit of the previous outings and it seems like they're part of a universe where everyone has only one type of clothes. It's more like a cartoon than a movie. Which is weird. I don't expect much, considering that this is a realistic movie, but there's no trace of originality whatsoever. Costumes: 5/10 CONCLUSION Script: 4/10 Acting: 5/10 Photography: 5/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 5/10 Costumes: 5/10 AVERAGE: 5 Skip this sh!!!t. Director: Justin Lin Screenplay: Daniel Casey, Justin Lin Cast: Vin Diesel, Michelle Rodriguez, Tyrese Gibson, Chris "Ludacris" Bridges, John Cena, Nathalie Emmanuel, Jordana Brewster, Sung Kang, Michael Rooker, Helen Mirren, Kurt Russell, Charlize Theron Soundtrack: Brian Tyler Cinematography: Stephen F. Windon Running Time: 143 minutes Budget: $212 million By @the_owlseyes

Reviews by: @augustkellerwrites Independence Day: Resurgence is everything wrong with Roland Emmerich. Bigger ships, aliens, and battles aren't better action. Excessive overdramatic characters (literally a bus full of pointless kids) isn't better drama. Death without lasting impact isn't genuine emotion. Overall, Resurgence is a transparent cluster of half-baked manipulations because it's wholly insincere. Characters are cliche, plot points are formulaic, and connection is shallow. The action is illogical and chaotic, nullifying all tension. The relationships are forced and predictable, negating their relatability. Lastly, the story is simplistic and pointless, creating a void experience. Truly, Resurgence offers nothing of substance. Meanwhile, the filmmaking of Resurgence is an afterthought. The CGI is detailed, but is excessive and looks unrealistic. The cinematography has no artistic intention. The sound is far from stylized or heightened. The editing is a non-factor (outside of some mismanaged climatic moments). The soundtrack is generic. The production design is elaborate, but feels like a cheap imitation. Finally, the cast is decent yet is noticeably missing Will Smith. In the end, Roland Emmerich has perfected his brand of obnoxious action, disingenuous emotions, and tone deafness. That might be enough for some, but others will find the experience miserable. Writing: 2/10 Direction: 3/10 Cinematography: 5/10 Acting: 5/10 Editing: 5/10 Sound: 6/10 Score/Soundtrack: 5/10 Production Design: 6/10 Casting: 5/10 Effects: 7/10 Overall Score: 4.9/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @the_owlseyes “The porn films are not about sex. Sex is airbrushed and digitally washed out of the films. There is no acting because none of the women are permitted to have what amounts to a personality. The one emotion they are allowed to display is an unquenchable desire to satisfy men, especially if that desire involves the women’s physical and emotional degradation. The lightning in the films is harsh and clinical. Pubic hair is shaved off to give the women the look of young girls or rubber dolls. Porn, which advertises itself as sex, is a bizarre, bleached pantomime of sex. The acts onscreen are beyond human endurance. The scenarios are absurd. The manicured and groomed bodies, the huge artificial breasts, the pouting oversized lips, the erections that never go down, and the sculpted bodies are unreal. Makeup and production mask blemishes. There are no beads of sweat, no wrinkle lines, no human imperfections. Sex is reduced to a narrow spectrum of sterilized dimensions. It does not include the dank smell of human bodies, the thump of a pulse, taste, breath—or tenderness. Those in films are puppets, packaged female commodities. They have no honest emotion, are devoid of authentic human beauty, and resemble plastic. Pornography does not promote sex, if one defines sex as a shared act between two partners. It promotes masturbation. It promotes the solitary auto-arousal that precludes intimacy and love. Pornography is about getting yourself off at someone else’s expense” Chris Hedges, Empire of Illusion: The End of Literacy and the Triumph of Spectacle PLOT "A New Jersey guy dedicated to his family, friends, and church, develops unrealistic expectations from watching porn and works to find happiness and intimacy with his potential true love" or "A modern adaptation of Don Jon". SCRIPT As a modern adaptation of Don Juan by Lord Byron, it works perfectly. The main character Jon, has an amazing journey which brings him to become a better partner and to find a person who truly loves. I like how Barbara and Esther are used to show two different sides of relationships, and the first one gets a lot of criticism. I like how subtle is the movie about Jon past and parent's relationship, which leaves us wondering how he became such a cynical porn addict womanizer. This movie not only criticizes toxic masculinity, codependent relationships, possessive partners, porn misinformation and such, but it's also able to deal with other themes like friendship, family, loss and career aspirations. Unfortunately only Jon gets a development, because the other characters, especially his friends and family are just blurs. That's a shame because the movie has a good pacing and an interesting concept but it wastes it to focalize on the protagonist. Overall is good but it doesn't go beyond average. Script: 6/10 ACTING Joseph Gordon-Levitt is a carismatic and likeable lead, even though he plays a role which is a bit douchy and a bit himbo. Scarlet Johansson is perfect for her role, which seems written for her. Julianne Moore is amazing as well. Her casting is on point and her character is the perfect opposite to Johansson's character. The other players are just ok. Brie Larson has a marginal role and she doesn't get to say much, which is kinda strange, considering her talent. Tony Danza is good and I like how he plays his character, by making him a mirror to Gordon-Levitt's Jon. Overall is pretty good. The weakest link is Jeremy Luke. Acting: 7/10 PHOTOGRAPHY It doesn't have anything interesting or remarkable about it. Light is mostly flat and the movie doesn't try to be anything more than mediocre in terms of photography. It doesn't hurt the audience but it isn't a strength of this flick. Photography: 6/10 EDITING I find it good and, sometimes, original but I won't say that impressed me. Sure, it isn't insufficient but it doesn't elevate the overall quality of this movie. It's ok, nothing more. Editing: 6/10 SPECIAL EFFECTS They're marginal and not invasive. As it should be, because this movie is simple and realistic. Special Effects: 6/10 SOUNDTRACK It's good and it evolves with the character. I find Good Vibrations by Marky Mark and the Funky Bunch particularly fit for Joseph Gordon-Levitt character. This movie is also able to make a simple jingle memorable and then it takes it and integrates it in the final track, which represent the character growth. It isn't the most remarkable soundtrack but I like it. Soundtrack: 7/10 COSTUMES Nothing interesting about them. They works and fit the characters that's all. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 6,28 An interesting movie with an interesting concept and a poorly executed script. Watch it because it can help you understand a lot of things about love and relationships. Director: Joseph Gordon-Levitt Screenplay: Joseph Gordon-Levitt Cast: Joseph Gordon-Levitt, Scarlett Johansson, Julianne Moore, Rob Brown, Glenne Headly, Brie Larson, Tony Danza Soundtrack: Nathan Johnson Cinematography: Thomas Kloss Running Time: 90 minutes Budget: $7.5 million By @the_owlseyes

Reviews by: @augustkellerwrites Skilled yet flawed, Harry Potter and The Deathly Hallows: Part 2 is a fitting end to the series. First, the story is comprehensive but incomplete. It's entirely third act, completely consumed by a climactic battle. This is emotionally tiring and thematically cramped. Furthermore, character limitations are exposed. Specifically, Voldemort is a flat villain. After so long, viewers never learned his motivations. Meanwhile, Harry is similarly generic. There isn't much complexity inside his "chosen one" trope. Conversely, Snape's compelling reveal gives him and Dumbledore depth (with performances to match). Yet, while that counters the script's shortcomings, it doesn't erase them. Likewise, The Deathly Hallows: Part 2 is technically good, not great. The cinematography uses Dutch angles and composition, yet fails to utilize focus, color, or symbolism. The editing has powerful smash inserts and memory montages, but is awkwardly paced due to structural issues. The complex sound is occasionally stylish, but lacks thematic implications. However, the music revives John Williams' iconic score, the production is epic once again, and the cast is as elaborate as ever. Plus, the extensive effects are a given. Thus, The Deathly Hallows: Part 2 is an above average film that deserves both judgement and recognition. Writing: 7/10 Direction: 6/10 Cinematography: 7/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 9/10 Effects: 8/10 Overall Score: 7.8/10 By @augustkellerwrites

Reviews by: @augustkellerwrites @kino_mit_alex Top Gun: Maverick is a flawed improvement. Its story is straightforward, which works. Maverick has one last mission, his relationship with Goose's son is complex, and his romance has baggage. None of this is inventive, but it's enough to fuel the climax. However, Top Gun: Maverick changes paths and loses steam. A dramatic peak is nicely set up, yet the film backtracks on that, introducing a new layer to the mission. This second climax is action-packed, but also fatiguing and muddied. Had Top Gun: Maverick kept its bittersweet climax, it would've been more meaningful. Instead, its emotional mediocrity feels like a missed opportunity. Meanwhile, Top Gun: Maverick has solid filmmaking. First, visuals are polished (utilizing focus, lighting, and mounts), acting meets the material, and the tone is clear. The soundtrack balances nostalgia, and the production is authentic. Plus, the editing employs montages, dissolves, and energetic action. Next, the sound design mirrors emotions, using symbolic echoes, silence, and J-cuts. Finally, the effects are the star of Top Gun: Maverick because its stunts are impossibly real. Overall, Top Gun: Maverick advances its drama and thrills, but still lacks a core message. Unfortunately, without a conscious theme, it feels like war glorification. Writing: 5/10 Direction: 6/10 Cinematography: 7/10 Acting: 7/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 10/10 Overall Score: 7.6/10 By @augustkellerwrites Top Gun: Maverick #FSK: 12 Jahre / #Laufzeit: ca. 131 Minuten #Kinostart: 26. Mai 2022 #Genre: #Action #Sequel #TopGun Nach über 30 Jahren wird Pete „Maverick“ Mitchell wieder zurück zu den „Top Gun“ beordert. Sein Auftrag: Eine Gruppe von Piloten auf einen lebensgefährlichen Einsatz vorbereiten. Doch kann Pete den Ausbilder mimen? Beim letzten Mal hat das eher leidlich gut funktioniert… ***ACHTUNG: FORTSETZUNG*** Bei diesem Film handelt es sich um die geschichtliche Fortsetzung der Geschehnisse. Daher können im nachfolgenden Text Spoiler aufgrund einer eventuellen Bezugnahme auf den Vorgänger möglich sein! Handlung: Über 30 Jahre ist es her, seitdem Pete keinen Fuß mehr auf das „Top Gun“-Gelände gesetzt hat. Sein Plan dort als Ausbilder durchzustarten war nur von kurzer Dauer. Mit der noch lebenden Familie seines Ex-Co-Piloten Goose hat er es sich auch in den Jahren verscherzt, also konzentriert sich „Maverick“ auf seine Stärken: Das Fliegen. Doch auch hier gibt es kürzlich immer wieder ein Anecken mit der Navy und gar dem Pentagon. Die Navy hat schlussendlich und einmal mehr die Nase voll von Petes „Alleingängen“ und beordert ihn zu „Top Gun“ – auf den speziellen Wunsch des obersten Befehlshabers der „Schule der Besten“. Iceman und Maverick haben über die Jahre immer den Kontakt gehalten. Jetzt bittet er Pete Mitchell um seine Hilfe, denn es steht eine gefährliche Mission an. Für diese Mission werden einmal mehr die besten Piloten eingeflogen, um sie nicht nur noch besser zu machen, sondern aus ihnen auch einen Einsatztrupp zu formen, der diesen Einsatz fliegt – und bestenfalls überlebt. Pete ist zunächst wenig begeistert, doch nach einem Ultimatum bleibt ihm fast keine andere Option als die Zusage. Die ersten Tage offenbaren aber, dass diese Vorab-Mission keine einfache wird. Sowohl Pete fehlt der Zugang zu den Piloten, aber auch diese untereinander sind alles andere als eine Einheit. Zu allem Überfluss ist auch der Sohn von Goose unter den ausgewählten Piloten. Die angespannte Atmosphäre zwischen ihm und Pete kann man förmlich greifen. Es kommt immer wieder zu verschiedenen Reibereien und irgendwann muss sich nicht nur Pete fragen, ob diese Mission in der aktuellen Besetzung machbar ist… Ist die Zeit des Maverick vielleicht wirklich rum? Einschätzung: Die beiden „Top Gun“-Filme schaffen etwas bei mir, dass im Genre der Actionfilme durchaus selten ist: Sie liefern etwas Besonderes ab und können mich damit erreichen. So viel schon einmal vorab. Was genau das im zweiten Film ist, verrate ich in den kommenden Zeilen und werde dabei selbst ein wenig mit meinem eigenen Empfinden für das Actiongenre brechen müssen. Aber der Reihe nach. Wer sich „Top Gun: Maverick“ ansieht und die Geschehnisse und vor allem die Szenen aus dem ersten Teil noch einigermaßen gut vor den Augen hat, der wird bereits nach den ersten Sekunden mit einem nostalgischen Lächeln in den Sitz sinken. Denn der Einstieg in den Film ist eine beinahe 1:1-Kopie des Vorgängers. Dieses hohe Maß an Nostalgie begeistert mich und zeigt eine tiefe Verbundenheit zu den Wurzeln. Diese wird man übrigens auch im Film immer wieder erwähnen. Das Auftreten von Rooster – der Sohn von Goose – habe ich ja bereits angerissen. Auch sonst verstecken sich immer wieder tolle nostalgische Momente, Erinnerungen oder Neuinterpretationen von Szenen aus dem ersten Film. Das sind grandiose Fan-Geschenke, die einem hier gemacht werden. Insgesamt verfolgt die Handlung einen wesentlich geradlinigeren und vor allem auch actionlastigeren Pfad. Petes Gefühle stehen bei weitem nicht mehr so im Mittelpunkt, stattdessen darf er jetzt das sein, was sich nicht nur seine Rolle, sondern vor allem dessen Darsteller, in den letzten Jahrzehnten erarbeitet hat: Ein Actionheld. Eine Tatsache, die im ersten Film auf keinen Fall gut funktioniert hätte. Jetzt passt sie aber perfekt zu Pete und er lebt diese Rolle der (alternden) Fliegerlegende grandios und mit teilweise augenzwinkerndem Humor aus. Eine installierte Romanze fühlt sich in „Top Gun: Maverick“ dann aber tatsächlich so an, wie jede emotionale Szene in einem Actionfilm: Fehl am Platz. Sie wäre aus meiner Sicht nicht nötig gewesen, im Gegensatz wäre ohne sie der Film noch ein wenig gedrungener gewesen und hätte dann beinahe etwas von einem Thriller gehabt. Schade eigentlich – aber auch hier wollte man sich dann wohl auch noch ein wenig an der Vergangenheit festhalten. Während das in allen anderen Einstellungen des Films hervorragend funktioniert, will das bei der Romanze nicht wirklich zünden. Technik und Besetzung: Wenn man auf die technische Inszenierung von „Top Gun: Maverick“ blickt, dann gibt es da natürlich viele Bereiche, auf die man blicken muss. Wie aber schon beim ersten Teil stehen auch hier für mich die Luftaufnahmen und die Flugszenen im Mittelpunkt. Blickt man heute auf den ersten Teil zurück erscheinen die damaligen Aufnahmen noch ein wenig gewaltiger und imposanter, denn wenn man sie mit dem zweiten Teil vergleicht, muss man feststellen: Allzuviel hat sich nicht getan. Die Aufnahmen besitzen sicherlich eine bessere Qualität, aber an der Stilistik hat sich wenig getan und das ist ein für mich beeindruckender Fakt. Sicherlich ähnlich – wenn nicht sogar mehr - beeindruckend ist die Tatsache, dass der Großteil der Flugszenen real gedreht wurden – mit den passenden Darstellern. Es war eine der Kernforderungen von Tom Cruise, dass er das Projekt umsetzt. Waghalsig und auch ein wenig wahnsinnig, doch man hat direkt noch viel mehr Respekt vor der Leistung, wenn man diese Aufnahmen sieht, in denen teilweise G-Kräfte von 5 oder höher gewirkt haben. Musikalisch gesehen lässt auch die Fortsetzung aufhorchen und das liegt nicht nur daran, dass Pop-Granden wie One Republic oder Lady Gaga mit Songs an diesem Film mitgewirkt haben. Nein vor allem in der Kompositions-Abteilung hat man aufgerüstet. Dort hat neben Rückkehrer Harold Faltermeyer (u.a. „Feuer und Eis“, „Fletch“) jetzt auch Lorne Balfe (u.a. „Black Widow“, „Gemini Man“) und Hans Zimmer (u.a. „Dune“, „Inception“, „The Dark Knight“) platzgenommen. Dieses Mehr an Komponisten macht sich dann natürlich auch im Film bemerkbar, in dem sich dieses Mal das Gleichgewicht zwischen originalen Kompositionen und Lizenzstücken ganz klar zu Gunsten der Kompositionen verschiebt. Die Stücke leben dabei vor allem von der Dramatik eines Faltermeyer und der Wucht eines Zimmer. Es ist eine Freude den Werken der beiden Meister der Musik zu lauschen. Beim Blick auf die Regie wird man einen Namen finden, den man jetzt noch nicht sonderlich oft gehört hat. Schließlich ist „Top Gun: Maverick“ auch erst der fünfte Langfilm – über eine Zeitspanne von zwölf Jahren. Joseph Kosinski (u.a. „Tron: Legacy“, „Only the Brave“) überzeugt in seinen bisher wenigen Filmen meist mit einem großen Szenario. Dieses große Szenario wird ihm auch in „Top Gun“ geliefert, aber er lenkt die Aufmerksamkeit ganz geschickt auf die Piloten sowie deren Maschinen. Vor allem das Herausarbeiten eines Pete als die Legende, die er mittlerweile geworden ist, war ein Glücksgriff und tut dem Film unglaublich gut. Blickt man auf die Darsteller, dann ist es in der Fortsetzung noch ein wenig eindeutiger, von wem der Film abhängig ist. Denn obwohl man mit den zahlreichen Piloten eine etwas „ensemblelastige“ Leistung provozieren will, klappt das nur leidlich gut. Am Ende können gerade Glen Powell (u.a. „Hidden Figure") und Miles Teller (u.a. „War Dogs“) mit ihren Nebenrollen Akzente setzen. Teller tritt dabei in die Rolle des Rooster und rückt damit zwangsweise dann und wann in das Zentrum des Geschehen. Diese Momente kann Miles Teller für sich nutzen und lässt sein schauspielerisches Talent durchblitzen, kann aber niemals mit der Leistung eines Tom Cruise mithalten. Es ist sicherlich kein Geheimnis, dass Tom Cruise (u.a. „Mission Impossible“, „Oblivion“) hier allen die Show stehlen muss. Durch die wesentlich prominentere und „epischere“ Inszenierung seines Petes im Vergleich zum Vorgängerfilm, rückt auch Cruise mehr ins Rampenlicht. Und es steht ihm natürlich ausgezeichnet. Die Rolle des Actionhelden leben nur wenige so gekonnt und gleichzeitig entwaffnend charmant wie ein Tom Cruise. Dabei muss man vor allen Szenen Hochachtung haben, wenn man bedenkt, was sich dieser Mann mit seinen mittlerweile 60 Jahren noch so alles aufhalst. Ganz groß und unfassbar sympathisches Kino – schön Tom wieder als Pete zu erleben! Fazit: „Top Gun: Maverick“ macht eigentlich alles das, was ich an Actionfilmen nicht mag: Actionhelden mit markigen Sprüchen, testosterongeschwängerte Sequenzen, „Quotenfrauen“, (amerikanischer) Patos…. Doch bei „Top Gun“ ist das alles ein wenig anders. Ja, die beschriebenen Dinge sind alle vorhanden. Aber der Film hat auch einen Pete „Maverick“ Mitchell und der reißt unglaublich viel in diesem Film. Ausgestattet mit einem grandiosen Charme, wirklich gut platziertem Humor und komischen Momenten, aber auch mit Gefühlen (wenngleich bei weitem nicht mehr so viele wie im ersten Teil), kann er mich nicht nur abholen… … er kann mich auch begeistern und das einmal mehr. Dieses Mal sicherlich nicht mit dem wilden Genre- und Emotionsmix wie noch im Erstling, sondern vor allem mit einer grandiosen Mischung aus modernem Actionkino (das eben auch Humor erlaubt) und großartigem nostalgischen Flair, der den Vorgänger in Ehren hält. „Top Gun: Maverick“ ist für mich einer der besten Actionfilme der letzten Jahre, vor allem weil er sehr kompromisslos an der Grundästhetik wie vor über 35 Jahren festhält: (Trotz Genre-Stereotypen) sympathische Figuren treffen auf atemberaubende und beeindruckende Flugszenen. Hinzu kommt dann noch ein wenig „cruis´scher Charme“ und schon ist das weit mehr als eine arg verspätete Fortsetzung. Es ist ein Testimonial an das Actiongenre und kann auch 2022 wieder als Genredefinierer bezeichnet werden. By @kino_mit_alex

Reviews by: @augustkellerwrites The Avengers is peak commercialism, fusing merchandising and fun. Despite its flaws, the script successfully paces characters and tension by restraining action early on. Meanwhile, Whedon's humor is measured, taking key threats seriously. Furthermore, as the first crossover superhero film, its gimmick was still novel. Yet, it's difficult to overly praise the writing because of its generic conflict, convenient devices, nonsense science, sanitized action, and predictability. Plus, the finale doesn't establish objectives, spacing, or tactics. Characters aimlessly run around, artificially serving emotional beats. Therefore, while The Avengers is an enjoyable blockbuster, its story is fallible. On a technical level, The Avengers is solid. First and foremost, its casting is king and paved the way for the franchise juggernaut. Next, the soundtrack has an iconic melody (yet is generally forgettable), the production design is a merchandising extravaganza (yet is otherwise unimaginative), and the sound is comprehensive with abstract touches. The editing isn't dynamic, but blends plotlines and keeps the pacing tight. The cinematography has energy and a symbolic upside-down shot. Lastly, the effects are significant (despite being obvious). Overall, The Avengers has a cohesive tone and moves with purpose. It's not art, but it's landmark entertainment. Writing: 6/10 Direction: 7/10 Cinematography: 7/10 Acting: 7/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 10/10 Effects: 8/10 Overall Score: 7.6/10 By @augustkellerwrites

Reviews by: @the_owlseyes “There is a fountain of youth: it is your mind, your talents, the creativity you bring to your life and the lives of people you love. When you learn to tap this source, you will truly have defeated age.” Sophia Loren PLOT "An aging actor, who long ago enjoyed a brush with fame, makes his living as an acting coach" or "Two and a Half Old Men" SCRIPT This is why this show exists in the firstplace. It's a well written script, with beautiful themes and interesting characters, which ties it all up in the last season. The main characters are flawed but wise and that's make them good to watch. They grow on you. The shows deals with important themes like ageing, family, loss, fame, friendship and loyalty. It's hard to talk about the side characters who are mostly written as caricatures of real people. There's charm but sometimes is cringy. The ending is deserved but, in my opinion, incomplete. I think that this show had the potential to e better but it didn't try to dare more. Overall it's a satisfying script with its flaws. Script: 7/10 ACTING This is one of the few good aspects of this shows, even though only Michael Douglas and Alan Arkin do an impressive job at emboding their frail and old characters. I think that they're well casted and that their chemistry is what drags this series for more than a season. Arkin's absence is felt in the last one and it shows. The other players are ok. They don't do much in my opinion. Acting: 7/10 PHOTOGRAPHY As the editing, this is flat and uninspired. It does the bare minimum without bringing something new to the table. Photography: 6/10 EDITING I don't think that there's something interesting about it. It's decent but beyond that there isn't anything which makes the show remarkable. Editing: 6/10 SPECIAL EFFECTS Just a few and hard to notice. Considering that this series is supposed to be grounded in reality, that's exactly what I was expecting. Special Effects: 6/10 SOUNDTRACK Tender and Sweet but unforgettable. Although it fits the show, it isn't enough to consider it more than decent. Soundtrack: 6/10 COSTUMES Ordinary. Unremarkable. There aren't much words about them. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 7/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,28 A simple sitcom with a decent script which is pretty formulaic. Give it a try if you want but feel free to skip it. Director: Chuck Lorre Screenplay: Chuck Lorre, Al Higgins Cast: Michael Douglas, Alan Arkin, Sarah Baker, Nancy Travis, Paul Reiser, Kathleen Turner Soundtrack: Jeff Cardoni Cinematography: Anette Haellmigk Running Time: 27 min By @the_owlseyes

Reviews by: @augustkellerwrites Revenge of the Sith fittingly concludes a disastrous trilogy. Although it has a protagonist arc, its writing remains abysmal. The tone is erratic, dialogue is blunt, character choices are confusing, and the narrative is needlessly convoluted (a flaw worsened by the prequel's predictable nature). Specifically, side characters and plotlines are unproductive filler. Really, this story should've focused on Anakin's unraveling, allowing him to evolve naturally. Instead, he's consistently angsty and deprioritized behind illogical politics. Thus, Anakin's descent is faint and the script is disengaging. Despite centering around a downfall, Revenge of the Sith fails to emotionally connect. Meanwhile, familiar technical issues continue. Revenge of the Sith has some cinematic lighting and composition, but its visuals are predominantly stale. Dream sequences provide insert edits and abstract sounds, but they're sparse. Fundamentally, Revenge of the Sith presents minimal effort and basic craft. The production design remains sterile, the atmosphere lacks detail, and the pacing is monotonous. Plus, CGI overuse is still distractingly obnoxious. Clearly, the goal was merchandising, not artistry. Therefore, Revenge of the Sith is predictable, apathetic, and pointless. Ultimately, there's more entertainment in a single scene of the original trilogy than this entire film. Writing: 3/10 Direction: 1/10 Cinematography: 3/10 Acting: 4/10 Editing: 3/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 2/10 Casting: 6/10 Effects: 3/10 Overall Score: 3.9/10 By @augustkellerwrites

Reviews by: @come.and.review David Cronenberg is undoubtedly the father of the body horror genre in the sense we intend it today. Films such as Videodrome, The Fly, Naked Lunch have pushed boundaries towards its goriest and most grotesque margins. His latter films were however non-horror: Eastern Promises, A History of Violence and Cosmopolis all proved the worth of the canadian filmmaker outside the genre. Crimes of the Future was to be his glorious return to his origins, being a science fiction horror centered on a society in which the understanding of body and pleasure are different. Whether Crimes actually is the coveted film, remains to be seen. Right from the first scene featuring Viggo Mortensen, the film strongly reminds of Cronenberg’s past masterworks, in the implementation of similar props to Naked Lunch for example. This sensation remains always there on the surface, but somehow never truly blossoms, even when those scenes come up, that should have made audiences at Cannes flee the screening room according to Cronenberg, the form of gore that we are presented is not as gruesome as it was in the classic films by the filmmaker. What emerges from Crimes of the Future is the feeling that it could have been far, far more radical. Somehow neither the topics are studied deeply enough, nor the plot is entirely fleshed out: what we see is a two hours long first act of a film, a continuous worldbuilding that never reaches a storyline, even if there are several pinches that could have lead to one. Since there is no way to know how much was the budget – presumably, low – and certainly, covid regulations also forced production to be small-scoped, these might be factors that lead to the aforementioned issues, but a more intricate or at least more complete storyline could have been derived even so. Its cast is certainly not to blame: Viggo Mortensen and Lea Seydoux have a great chemistry, Kristen Stewart probably reminds too much of Spencer in her performance but still fits. Some have deemed Crimes of the Future as Cronenberg’s most political film to date. This is partially true, if ecology is considered a political matter, but performance arts and the relation between body and meaning are central to the film. There is an interesting subtext that revolves around a newfound interpretation of the concepts of body and sexuality, yet somewhat a natural follow-up to the canadian filmmaker’s previous works, especially Videodrome. The co-inclusion of the ecologist subtext, which gradually takes over the narrative is however the authentic social commentary, but even so, its swift inclusion is too hasty for a deeper analysis. What strikes most is Cronenberg's vision of the future, well structured albeit mysterious, criptical, not fully decipherable. The choice of the Athens downtowns as the location is most fitting for a broken, beat-down setting. Undeniably, it is Cronenberg's vision, coherent with his entire filmography. As aforementioned, worldbuilding is one of the strongpoints of the film, almost calling for a sequel, which will unlikely come, due to the arthouse nature of the feature. Ultimately, Crimes of the Future is not the film it promised to be. It is a coda, an epilogue to Cronenberg’s more daring days, even if it has some interesting concepts that give it dignity. By @come.and.review

Reviews by: @tylernerdy_review Last 2021-2022 Cable TV show review for the night, this one is CBS’s only show to reach a finale this week, this is the fifth season of Young Sheldon. I’ll continue to say it because I feel really bad about it but no matter how good this show gets, it’ll never step out of the shadow of The Big Bang Theory. Big Bang was just so good, but this show is a good place to learn more about what the gang is up to now because Jim Parsons’s narrations are set after the end of Big Bang. Iain Armitage continues to be a truly fantastic choice for a younger Sheldon and now with the finale of this season, he’s starting to become the Sheldon we all know and love. Season six is going to be a mix up wardrobe wise and I’m very excited to see it. Zoe Perry does such a great job as Sheldon’s Mom and portraying the character we heard so many stories of on Big Bang and the many times we saw her there as well. Lance Barber is great as the Dad and he has some very interesting story lines this season and I’m curious where they go. This show makes me nervous since we know that he dies when Sheldon is younger. Montana Jordan gets a big story this season that’s going to be very interesting next season when it comes to a head. Raegan Revord plays so well off of Armitage and really convinces the audience that they’re twins. I absolutely love Annie Potts, all of her scenes are gold and we all deserve a fun Meemaw like her. This season puts the Cooper’s through a lot and at times it really doesn’t feel like they’ll get through it. It’ll be quite the journey next season with so many story lines left unanswered by the time the finale ends. They are setting up season six to be a big one but it does make me happy knowing that it’s already been picked up through a seventh season. Season five of Young Sheldon gets a 9/10 from me, very excited to see more in a couple months. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Good Time is authentic danger, a day on the edge. Its protagonist breaks several laws, staying a step ahead of impending doom. The plot is continually tense, the dialogue cuts, and the atmosphere is raw. Despite its grisly exterior, the script is hypnotic because of its emotional undertones. Characters are despicable yet understandable, humanizing the underbelly of society. While Good Time depicts heinous acts, it suggests that they're products of a corrupt environment. Safdie shows bottled vulnerability, Lee is unhinged, and Pattinson is forcefully cold. Thus, Good Time is a whirlwind of drama that will grip viewers to their cores. Meanwhile, Good Time is technically precise, subtly igniting its gritty atmosphere. First, the cinematography uses extreme framing, snap zooms, lighting, and shaky cams. These techniques intensify tension and convey unity. Next, the editing is naturalistic with fragmented punches, producing an uneasy mood. Plus, sound builds chaos, production is unsightly, and effects heighten brutality. Lastly, the soundtrack is nostalgic, ominous, and emotional. Its bittersweet finale is perfect. Overall, Good Time is potently anxious, yet real and familiar. Furthermore, its retro touches are timeless, which fits its systemic themes. Undoubtedly, Good Time is aggressively memorable. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 9/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 8/10 Effects: 7/10 Overall Score: 8.8/10 By @augustkellerwrites

Reviews by: @tylernerdy_review When will The Goldbergs ever not be good. This is one of my top three favorite sitcoms currently airing. Season nine continues to bring the laughs and puts a bow on the last nine years of story telling as Adam finally graduates high school. I assume season ten is going to be a big shake up as we see Adam off at NYU. With all three kids out of the house, adjusting to an empty nest Momma Bear will be an interesting story to watch next season. Wendi McLendon Covey is a hit in every single thing she’s in, a pinnacle of comedy, she is so good at playing such a hard core smothering mother. Sean Giambrone has grown so much over the course of the show and I’ve really connected with his character over the years, there’s so much of me in Adam and so growing up alongside him has been a fun journey so far. Troy Gentile and Hayley Orrantia get a lot to do this season as they both take their relationships to new levels, from one getting married to another beginning to change himself for her. Sam Lerner is great as Geoff and I’ve loved seeing how much his character has changed over the years. Jeff Garlin is missing from a lot of this season or just has very small roles and a lot of times he can be the best part of an episode when used right. Patton Oswalt is so good as the narrator of the series, he is such a great choice to play a grown up Adam. Of course, the loss of George Segal is present over the whole season. It’s hard to believe he’s really gone and the house feels so empty without him. The Goldbergs brings so much joy to me and my family and I hope it continues to for many many years. There’s at least a good four more seasons they can milk for Adam’s college years. Season nine is another hit for this series and I give it a good 9/10. If you aren’t watching this fantastic ABC series then what are you doing? Get on Hulu and binge the hell out of it. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Attack of the Clones amplifies its predecessor's mistakes. Anakin has mild depth as the protagonist, but he's generic and static. He never develops or shows layers behind his angst. Instead, his repetitive dialogue announces his feelings. Plus, his romance with Padme is cringey because there's no emotional connection. They have no chemistry, influence, or warmth. Meanwhile, the plot is disengaging. Politics are silly, information is limited, and the result is emotionally inconsequential. Viewers won't care when the narrative is needlessly illogical, confusing, and unrelatable. Furthermore, the actors struggle with this trite material. Thus, Attack of the Clones is lifeless. Technically, Attack of the Clones is painfully dull. The exception is John Williams' score, which struggles to overcome every boring scene. The sound design is iconic, but utilized without intention. Also, the editing and cinematography are incredibly plain, never conveying meaning or influencing emotions. Additionally, the production design is fully cartoonish and sterile, abandoning Star Wars' gritty origins. This issue is exacerbated by floods of CGI, making the film look fake, empty, and stifled. Finally, the tone is a mess. Corny humor neighbors tragic drama, creating emotional whiplash. Overall, Attack of the Clones fundamentally fails as entertainment. Writing: 2/10 Direction: 1/10 Cinematography: 2/10 Acting: 4/10 Editing: 2/10 Sound: 6/10 Score/Soundtrack: 7/10 Production Design: 2/10 Casting: 6/10 Effects: 2/10 Overall Score: 3.4/10 By @augustkellerwrites

Reviews by: @tylernerdy_review This week saw the main burst of season finales of this 2021-2022 Cable Season. So here comes a whole bunch of sitcom reviews from the shows that ended this week. First up is NBC’s recent addition Mr. Mayor. Season two of Mr. Mayor brought with it mostly the same things as the first season. Pretty solid laughs here and there but mostly at the expense of my generation. A lot of sitcoms seem to over fixate on jokes about this incoming generation, we get it, you don’t understand us but then they make very pathetic attempts to try and connect with us. Attempting to use modern slang just makes them look so desperate. Ted Danson is still good as Mayor Neil Bremer and he only really seems to care about being Mayor for the last couple episodes of this season when it seems like he might lose it. Holly Hunter completely breaks from her character in the last couple episodes, or quite possibly is exactly who she said she was for the very first time, either way, it’s an unexpected change. Vella Lovell and Mike Cabellon are such a delight this entire season. Being the main diversity in a show set in Los Angeles, it’s a shame how little diversity this show has in its main cast. But Lovell and Cabellon work really well together and I love seeing their friendship grow. Kyla Kenedy is a fun representative of the younger generation and poses an interesting divide between her and her Dad. Bobby Moynihan is just so much fun and I enjoy the antics of his character very much. It was nice to see him expand a little more and become more connected with the team. Yedoye Travis is a great addition to the cast this season and I hope he can find a way to stay for the next season. If the show comes back for a third season I’d be happy to watch it but you won’t see me disappointed if it doesn’t return even after the cliffhanger final moments. I think this season was a step up from the first season but it still felt like it was missing something to get me to connect with it more. Season two of Mr. Mayor gets a 7/10 from me, I’m sure NBC will bring it back because they don’t have many sitcoms but I hope they step up their game just a little. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites The Phantom Menace is a boring mess. Its plot is overstuffed with dry exposition and convoluted politics. The characters are generic and shallow. There's no main protagonist or sincere drama to connect with. Dialogue is stale, relationships are cold, and motivations are impersonal. Overall, the script lacks humanity and relatability. Some viewers might force investment because of the Star Wars brand, but that external factor is the only reason to care. Plus, the acting is stiff, rarely elevating the flat material. Particularly, the child performances are grating and distracting. Simply put, The Phantom Menace emotionally flops. Technically, The Phantom Menace is mixed. The sound design is iconic, using familiar blasts and hums. John Williams' timeless score is equally recognizable. Still, these aspects lose impact when serving an emotional void. Meanwhile, the editing and cinematography are lifeless. No techniques are utilized for tempo or visual suggestion. Furthermore, instead of feeling tangible and lived-in, the production design is fake and empty. Lastly, the overuse of sterile CGI undermines immersion. Ultimately, The Phantom Menace frequently contradicts itself, aiming for a grand epic without providing dramatic or atmospheric detail. Consequently, it lands as hasty and hollow. Writing: 2/10 Direction: 1/10 Cinematography: 2/10 Acting: 3/10 Editing: 2/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 3/10 Casting: 6/10 Effects: 4/10 Overall Score: 3.7/10 By @augustkellerwrites

Reviews by: @augustkellerwrites The Bob's Burgers Movie meets expectations. It's funny, purposeful, and developed enough to maintain investment. Fundamentally, it's a murder mystery, but also intertwines Bob's money issues (which is the emotional force). Plus, Louise is intrinsically motivated to prove her bravery, making her the main protagonist and giving her the clearest arc. Bob's Burgers doesn't have the tightest crafted humor, but these dynamic characters help it connect emotionally. The film is still lighthearted and silly (with skilled setup and payoff), but it peppers in enough drama to create substance. Thus, Bob's Burgers succeeds because it delivers a sincere combination of laughs and relatability. Technically, Bob's Burgers is proficient. Surprisingly, there are musical numbers that heighten the soundtrack, cinematography, editing, and direction. There is dramatic lighting, framing, and camerawork. Also, passing cuts, smash cuts, and time lapses help the comedic rhythm. Furthermore, voice acting is ranged, animation is personal, and CGI is supportive. Punchlines are heightened by exaggerated music, transitions, and surrealism. Overall, the filmmaking reinforces the humorous mood. It isn't high art, but it possesses consistent craft. Therefore, Bob's Burgers is a fairly enjoyable experience. Viewers should expect skilled comedy and decent emotions. Writing: 7/10 Direction: 6/10 Cinematography: 8/10 Acting: 7/10 Editing: 8/10 Sound: 7/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 7/10 Effects: 7/10 Overall Score: 7.2/10 By @augustkellerwrites

Reviews by: @s.sohan2005 Return of The King(Extended Edition) is four hours of cinematic excellence. This movie is a colossal achievement. It's a masterclass at paying off stories in a powerful yet satisfying manner. This movie's scale and scope easily eclipse the previous movies in the trilogy with the battle at Minas Tirith and at the gates of Mordor. The characters are well written so far in the trilogy and adapted exceedingly well from the books despite some changes here and there. The plot is well structured with its two subplots being fairly balanced instead of one sabotaging the other which feels momentous when they reach their conclusion. It's a commendable job to adapt something so dense as the LOTR books well. The production feels confident and quite mesmerizing and it captures Middle Earth splendidly. The usage of 35mm film makes the cinematography look authentic and evokes the feel of Middle Earth. The usage of quick cuts is succinct and a great way to show the interwoven and tightly connected subplots. It makes the world seem rich and brimming with life when it comes to locations like Gondor, Mordor, etc. The practical designs and CGI have aged like a fine wine for the whole trilogy. The cinematography makes these movies seem like historical epics thanks to the efforts of Andrew Lisne for which he won an Academy Award. The battle scenes look gorgeous have aged really well and those battles capture the world of middle earth perfectly. The use of Dutch angles, panning camera with a richer color pallete gives a sense of majesty to its battle scenes. The battle scenes also work due to the intricate human drama bing the driving force within it which lead to high stake situations and keeps you on the edge of your toes. Overall Return Of The King is Peter Jackson's masterpiece and it is the crowning jewel in the LOTR trilogy and it remains an astonishing achievement looking back twenty years from now and considering the gamble this whole trilogy was this movie paid off and concluded this great trilogy on a high. By @s.sohan2005

Nowadays, I think that in the world of cinema and in general, composers are very underrated, so today I come to talk about Hans Zimmer who along with Ennio Morricone and John Williams have composed the great anthems of cinema. Hans Zimmer, with his music manages to perfectly convey what the film is portraying, he has many works that are outstanding as the soundtracks of The Dark Knight trilogy, Rain Man, The Lion King, Interstellar, 12 years a Slave, Sherlock Holmes, The Pirates of the Caribbean and Madagascar among many others. For my personal taste, I would highlight the soundtrack of Inception with the song TIME, the music of GLADIATOR and PEARL HARBOR. These soundtracks transmit a lot of tranquility and manage to generate a climate of well-being at the moment in which they are listened. As for Hans Zimmer's career, he is closely linked to Christopher Nolan, with whom he has worked on all his films, except for Tenet, when he decided to compose for Denis Villenueve's Dune. Thanks to his soundtracks he has won multiple awards, including 2 Oscars for Dune in 2022 and The Lion King in 1995. By @blog.cinema.coin

Top Gun is style without substance. It has crafted action, but a generic script. The protagonist, Maverick, is a hotshot who plays by his own rules. He has something to prove and suffers losses, but never grows as a character. Instead, formulaic plot points and shallow drama simulate thematic progression. This also applies to the contrived romance. The awkward chemistry and unrealistic dialogue play out like an uninformed fantasy rather than an authentic courtship. Cruise just isn't as charming as the script intends. Both his stiff acting and the forced material are to blame there. Overall, Top Gun's emotions are manufactured cliches. Conversely, Top Gun is technically proficient. Its flight visuals are cohesive and engaging, utilizing various mounted camerawork. Its editing is well-paced and energized during action. The aircraft sound design is realistic, detailed, and immersive. Meanwhile, the music is dated and overdone, but fairly iconic nonetheless. Plus, the production design is elaborate and believable (using real fighter jets, bases, and gear). Finally, the effects stand out because the authentic pyrotechnics and stunts maximize excitement. Therefore, Top Gun is ultimately polarized. The emotions don't work, but the action does. Thus, viewer enjoyment will depend on what they value. Writing: 4/10 Direction: 7/10 Cinematography: 7/10 Acting: 6/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 9/10 Overall Score: 7.2/10

Reviews by: @tylernerdy_review ABC brought another show to season finale this week with the fourth season of The Conners, the sequel series to Roseanne after Roseanne Barr did some stupid racist shit and got her character killed off. I really enjoy watching this show every week and despite the hate it continues to get purely based on the absence of Roseanne, the show pushes on. It has already been picked up for a fifth season, so despite what that loud minority thinks, the show connects with a new audience that wants to see the story continue. John Goodman continues to lead the family and take care of his kids as life finds ways to mess with The Conners. Laurie Metcalf is a good sport essentially just playing the family punching bag, but this season she gets a few fun story points of her own. Sara Gilbert and Alicia Goranson play off of each other and their costars very well despite being total opposite sisters. Michael Fishman never gets anything to do, he’s rarely around as well and when he is he only gets a few lines, give the man more to do please. Emma Kenney is pretty great and watching the ways her character grows has been a lot of fun. Ames McNamara and Jayden Rey are great actors that also don’t get much to do. McNamara gets a decent amount here and there but never for very long. Jay R. Ferguson keeps finding ways to work himself back into the story and I can’t complain, I really enjoy his character and the vibes he brings to the show. Katey Segal and Nat Faxon continue to be really good additions to the cast and I’m so happy they have a solid place to stay in the cast for as long as the show keeps going. I’ve really enjoyed what they’ve been doing with this show and I just want them to lighten up a bit. This poor family has been through so much and they could really use a win or two. So many episodes are so depressing or pessimistic but I applaud their continued effort to portray real issues facing real families as our world continues to change. I’m giving season four of The Conners a very big 7/10, very excited to see where they take the show in season five. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites The Simpsons Movie is pretty good. It's more of an extravagant episode than a transcendent culmination because (despite its crafted comedy) it's missing heart. Specifically, the humor works because jokes are layered into synergistic flurries. Meanwhile, there's abundant setup, making the comedy feel earned. Still, The Simpsons lacks sincere emotions. Main characters arc, but they're also unrelatable because they've become so exaggerated. That's convenient for gags, but undermines the drama. Furthermore, the film touches on social and relational issues, but never emphasizes a true message. Thus, while The Simpsons Movie is enjoyable, it also rings hollow. Technically, The Simpsons Movie optimizes its humor. The editing uses fadeouts, match cuts, and pacing for punchlines. Plus, the cinematography delivers comedic composition, angles, and lighting. Generally, this non-dialogue based comedy is refreshing. Furthermore, the voice acting is iconic, the sound realism is balanced, and the classic theme song is utilized. The CGI effects are less than personal, but they support the amplified humor. Lastly, the production art style is probably the most recognizable part of the franchise. Overall, its dramatic beats and filmmaking are inconsistent, but The Simpsons brings enough diverse comedy to overcome its flaws. Writing: 7/10 Direction: 6/10 Cinematography: 8/10 Acting: 7/10 Editing: 8/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 9/10 Casting: 7/10 Effects: 7/10 Overall Score: 7.3/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review Okay, last review for the night, I promise. My friend and I got home and wanted something light to watch after Men destroyed our minds so we went to Netflix to watch something. We decided on their new romcom A Perfect Pairing. It must be because I went in with the absolute lowest expectations, but I came out having enjoyed this movie a good deal. It wasn’t as bad as I assumed it would be. I haven’t seen Victoria Justice in ages, not since her show Victorious on Nick. I really liked her here and I thought she was very likable and fun. I forgot how well she can sing, shocked they only gave her one scene to sing in. Adam Demos was also just an absolute delight and he played really well with Justice. All of the other acting is pretty good but I can’t shout them out because a lot of them are missing headshots and I don’t remember character names very well. The Australian setting is very cool and the sets are nice, but it’s VERY obvious when they’re using green screen, it’s very distracting from what should be great shots. It’s a fun rom com movie but it doesn’t bring much new to the formula and is just as predictable as all of these movies are. If you’re looking for something light, sweet, and funny this is the one. But other than that it’s nothing special, just a good watch if you need something quick and that you don’t need to pay much attention to. I’m giving A Perfect Pairing a 6/10. -Tyler. By @tylersnerdy_review

Reviews by: @tylernerdy_review Paramount+ just aired the season finale of their new take on Halo, a live action show based on the classic Microsoft video game series. The nine episode run of this first season was very interesting to say the least. They made a lot of odd choices but credit where it’s due, the fight scenes on this show are absolutely fantastic. But they’re so far and between for a nine episode show about a war. And good god did it need a bigger VFX budget. But that team did the best with the money they had. It was an odd choice to actively choose to have so much story devoted to characters that are not Spartans and then to not show personality between the Spartans. I know that’s the point of them but they don’t even have personalized armor, it’s so hard to tell the two females apart when in armor, the other guy is easy because he’s the one not in green armor. But Chief’s green is a lot more dark than the games. The Halo doesn’t begin to be referenced until well after half way through the season and we never really see it. But they also take away time from the Spartans and set up many stories that don’t get answers. Two characters are not seen at all in the finale even though they got an entire episode to themselves. Pablo Schreiber does a really good job as Master Chief, just remember it’s not his fault that he talks this much or that we see his face so damn much. But he brings personality to a typically voiceless character. Shabana Azmi is a cool character they established but then didn’t give her much screen time or backstory. Natasha Culzac, Bentley Kalu, and Kate Kennedy are really good as the other three Spartans who get a fair amount of personality by the end and if we get a second season I’m excited to see more of them and what they might become. Olive Gray got a cool story that slowly unfolds across the season even though by a few episodes in you should be able to guess the twist about her character. Yerin Ha gets a great part as a very interesting character that builds a lot of lore for this world but then they don’t use her in the finale at all and she literally never meets Chief again after they part. She also plays well off of Bokeem Woodbine. She shares most of the season with him and he has a really interesting past that never gets much light shined on it. Charlie Murphy has a very important role to the story and I think she does a good job with it, the alien language they make her speak does not seem easy. Danny Sapani works so well with Gray and I want to see more of their story unfold. Jen Taylor is a fantastic voice to Cortana but she doesn’t show up for a long time, but I really liked her. Natascha McElhone and Ryan McParland work very well together but McElhone makes herself into a really good villain character that slowly gets worse and worse. This show has a very good and diverse cast but many of the characters go nowhere or don’t get the justice they deserve. The Covenant are done pretty well as all of the classes that we love to kill are here and they come with all of the fun weapons and vehicles, and the show is full of the many sounds the game is well known for. I’m shocked they used more Elites than Grunts since they looked more expensive to animate. But, this is by no means a bad show. I quite enjoyed and looked forward to tuning in to each week and I’m hoping they get a second season. I think now that the story has reached a certain point they can tell an even better story next season. I’m giving the first season of Halo a solid 7/10 with good hope for what may come next. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Iron Man 3 is a bounce back. After Iron Man 2's overextension, this film shows restraint by emphasizing Stark's character and delaying action. Specifically, Stark suffers from PTSD after the events of The Avengers, which doesn't intertwine with the villain but prompts emotional reflection as he solves Mandarin's puzzle. This personal quality, where Stark works with less while finding himself, is fairly refreshing from Marvel. Unfortunately, that aspect is lost once the finale shifts into excessive action. Nevertheless, this character arc is still the best of the trilogy. That, along with the witty dialogue, helps counterbalance the unmotivated villain story. Technically, Iron Man 3 is an improvement. Notably, Stark's panic attacks are portrayed with rapid editing, distorted sound, and dramatic camerawork. Plus, there are cinematic overhead shots of Iron Man's broken suit. The effects remain reliable (despite being overdone), and the limited production design is still highly recognizable. Also, the freefall rescue sequence is tense and relatively unique. Furthermore, the acting is strengthened by Downey's range and Kingsley's antics. The music is the most generic of the trilogy, but Iron Man 3 is otherwise proactive. Ultimately, it's not peak Marvel, but Iron Man 3 is a step in the right direction. Writing: 6/10 Direction: 6/10 Cinematography: 7/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 5/10 Production Design: 7/10 Casting: 9/10 Effects: 7/10 Overall Score: 7.0/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Chip 'n Dale: Rescue Rangers is surprisingly effective. It could've been a cash grab, but the film actually puts forward interesting efforts. First, Chip 'n Dale creates a universe where animation lives in reality. Cartoons, CGI, claymation, and puppets all intermingle with humans, supplying plenty of gags and giving the film a creative edge. Plus, the emotions are decently motivated. Chip holds a grudge against Dale, and Dale lives in the past, romanticizing his fading fame. These aren't original character arcs, but they're sufficient. Additionally, meta humor about show business, reboots, and animation solidifies Chip 'n Dale as fairly engaging entertainment. Technically, Chip 'n Dale has key strengths. Generally, the cinematography is unremarkable (with some motion and sight gags), editing is standard (with solid pacing and flashbacks), and the soundtrack is adequate (using familiar tunes as punchlines). Conversely, the acting has comedic timing, sound gets abstract, and the cast is recognizable. However, Chip 'n Dale's utilization of diverse animations gives the film life. Meanwhile, its inclusion of pop culture references is enjoyable (without feeling excessive). Overall, Chip 'n Dale impresses because it supports clever ideas with acceptable filmmaking. It isn't a must-see, but Chip 'n Dale is likely to satisfy. Writing: 6/10 Direction: 7/10 Cinematography: 6/10 Acting: 7/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 9/10 Casting: 7/10 Effects: 9/10 Overall Score: 7.0/10 By @augustkellerwrites

Reviews by: @tylernerdy_review As the 2021-2022 Cable TV season begins to end this week, expect many reviews for the sitcoms this week and next. First up however is Call Me Kat season two which aired its season finale last week actually. I was a big fan of the first season despite its poor reviews but I saw the potential in it and I really think it’s found its footing and what it wants to be. FOX could have a good show if they give it good attention and appreciation. Mayim Bialik is such a delight and it’s so weird seeing her as such the opposite character from her Big Bang Theory character. Kat is so incredibly likable and fun and I can’t wait to see her again in season three. Swoosie Kurtz is so fun as Kat’s Mom and and plays so well with my favorite person on the show Leslie Jordan. Jordan is great on every sitcom he’s on and I’m still disappointed that his retirement home show from a few years ago never came back for a second season. Kyla Pratt is such a fun character that is very fun to learn more about, this season it is her relationship with Julian Grant’s character that fleshes her out more. Grant’s CJ doesn’t get much of his own to do sadly, but it is nice to see a male character defined by a relationship for once. Cheyenne Jackson’s Max is so adorable and attractive and fun to see on screen. I can’t wait to see where his story with Kat goes next season. Christopher Rivas gets done dirty this season and I’m sad to see him leave the cast, I hope to see him in other shows soon though, I really liked him (and looking at him). Laura Bell Bundy and Andy Favreau are good additions to the cast that I hope to be seeing more of next season. I think season two of Call Me Kat realizes the potential it’s debut season had and I really hope they continue to keep it great for the third season. There will be a lot of new things to come in that season based on the finale of this one. I’m giving this second season a very happy 8/10 and it now makes the coveted spot of one of my three favorite current sit-coms. Meaning it is one of the three I look forward to the most to watch each week. Keep up the incredible work, the cast and crew seem like such great people. See ya in the 2022-2023 season! -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites On the Count of Three conceals surprising heart under dark humor. Despite being legitimately funny, the film examines deep topics and finishes bittersweetly. The characters and dialogue are natural and clever, yet significant. For example, mental health, politics, and abuse are casually yet respectfully considered. Also, the acting is ranged, delivering unlikely comedy, sincerity, layered trauma, and varied mental states. This contrasting wit and tenderness synergizes, making each more impactful. Overall, On the Count of Three provides abundant substance in digestible ways. Never sanctimonious, unfocused, or predictable, it's an honest and motivated perspective. Meanwhile, On the Count of Three supports its material with sharp technicals. The direction balances a specific tone and optimizes its weighty climax. The editing punctuates jokes, hooks with a timeline jump, and paces emotional beats. The sound provides juxtaposed tranquility, heightened anxiety, chaos, and sentimental silence. Plus, music is eclectic, effects are adequate, and the cast mixes newcomers with veterans. Finally, the cinematography employs meaningful framing, composition, angles, and focus. Each technique supports the drama, underscoring feelings with space and style. Ultimately, On the Count of Three is crafted and vulnerable. Undoubtedly, it's time well spent. Writing: 9/10 Direction: 9/10 Cinematography: 8/10 Acting: 9/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 6/10 Effects: 6/10 Overall Score: 7.8/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Downton Abbey: A New Era is simple escapism. The script emphasizes quantity over quality, parading numerous trivial plotlines rather than digging into any particular idea. The excessive cast of privileged protagonists go through minor inconveniences before everything predictably works out. Stakes are low, drama is mild, and messaging is insincere. Characters are hollowly pleasant because, ultimately, nothing is consequential. Easy entertainment has its audience, but some viewers might want tonal range, character depth, strong themes, or significant tension. The acting is charming enough and the soapy plot keeps moving, but Downton Abbey is more of a getaway than a journey. Technically, Downton Abbey: A New Era is equally plain. The mood is monotonously cheery, the cinematography and sound convey no meaning (because there's nothing to convey), and the editing of redundant plotlines is tedious. There are no artistic choices, just straightforward presentations. Meanwhile, the music is adequate, and the effects are nonfactors. The production design is the only surefire standout because it's era specific and reflects the extravagant wealth of the protagonists. Overall, Downton Abbey: A New Era will please fans of the series and those seeking mild distractions. However, anyone looking for enlightenment, excitement, or emotion should pass. Writing: 4/10 Direction: 5/10 Cinematography: 5/10 Acting: 7/10 Editing: 6/10 Sound: 5/10 Score/Soundtrack: 6/10 Production Design: 7/10 Casting: 7/10 Effects: 5/10 Overall Score: 5.7/10 By @augustkellerwrites

Reviews by: @tylernerdy_review The other new Netflix show I’ve been dying to watch but didn’t have the time for was the long awaited second season of last years breakout Lockdown hit, Bridgerton. I’ve noticed that the reviews for this season are a lot lower but I quite enjoyed this season. It’s definitely a lot slower with a whole lot less sex to fill the empty space between big scenes. It also feels weird because they seemed to go out of their way to explain why a certain someone was missing from the show. Jonathan Bailey was one of the most unlikeable of the incredibly sexy Bridgerton men last season and he’s still unlikeable here until the last episode or two. It’s so excruciatingly painful waiting for him and Simone Ashley’s character to realize they love each other. They are both very toxic to each other for awhile and somehow their story was the least interesting of the season. I was more engrossed in Golda Rosheuvel and Claudia Jessie’s story of finding out who Lady Whistledown is. And now knowing that it is Nicola Coughlan’s character kept things interesting to see how she operates and decides what to write. Ruth Gemmell is still such a great mother character and she does a great job being a proud mom to Phoebe Dynevor’s few scenes this season. Adjoa Andoh plays such a great character that is so fun to watch. Julie Andrews is so good as the voice of the Whistledown narrations. Luke Newton is great as Colin, aka my favorite Bridgerton boy and I’m really happy that season three will be about him and Penelope. I’m very disappointed in the story around Luke Thompson’s Benedict since last season they gave him a lowkey bisexual story line and then had no hints of it here. I still like his story here but now there are no Queer stories on the show. It was nice to finally get a year for the setting of the show based on an amount of time they said it has been since the father passed away and then showing the year he passed. There are way to many characters to shout out all of them but I have to end with Charithra Chandran’s Edwina who is such a delight in all of her episodes and I wish her character the best. I really like the actress and I hope to see her around more. 8/10 overall. -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Men is atmospheric, meaningful and emotional. Its protagonist (Buckley) is processing the trauma of a toxic relationship, yet she's haunted by constant echoes of that toxicity. With every interaction, Buckley is reminded of the enabled dehumanization that surrounds her. Men builds tension and drama naturally. It has capable characters, significant subtext, and consistent payoff. Notably, the final act becomes very symbolic and thematic, which will frustrate some viewers. Still, examining the trained inheritance of misogyny deserves recognition. Plus, the entire cast delivers. Specifically, Buckley ranges across anger, dismay, strength and resignation. Thus, Men is emotionally striking. Technically, Men is beautiful. Its tone is unsettling, yet intimate. Visuals employ lighting, contrasting colors, confining composition, focus, reflections and creeping movement. Editing uses methodical pacing, synergized timelines, match cuts and surreal montages. Effects are intense and visceral. Lastly, the score and sound are driving forces. Folk songs, ominous choirs, and vulnerable pianos set moods. Meanwhile, ambient nature, abstract silence, J-cuts and echoing motifs underscore themes of heritage, disconnect and repetition. Overall, Men unites impressive filmmaking, deep emotions and weighty messages. Its manifestation won't please everyone, but its ambition is undeniable. Writing: 8/10 Direction: 9/10 Cinematography: 9/10 Acting: 9/10 Editing: 9/10 Sound: 10/10 Score/Soundtrack: 9/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.7/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Spider-Man 3 is an enigma. Some aspects echo its outstanding predecessors while other aspects are downright terrible. Because few movies vary between such extremes of genuine craft and complete disasters from scene to scene, Spider-Man 3 is difficult to evaluate. For starters, the writing is an obvious culprit because the film is structurally overstuffed and tonally inconsistent. However, amidst the corny dialogue and flimsy motivations, the script has its virtues because all the characters have reasonable arcs and there is a through line conflict between Peter and MJ (even if that all feels forced). Meanwhile, the direction and editing deserve criticism because the tone and plot are muddled (complete with some truly cringey sequences), but Raimi's energetic cuts and camerawork still make appearances. The music is noticeably less impactful (and occasionally detrimental), but generally solid. Topher Grace was a casting misfire but everyone else is still great. The special effects overemphasize CGI but Sandman's introduction is visually beautiful. All told, Spider-Man 3 is clearly a letdown compared to its precursors but is better than the backlash indicates. In fact, compared to the landscape of superhero movies today, it's fairly average. Writing: 4/10 Direction: 6/10 Cinematography: 8/10 Acting: 7/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 6/10 Casting: 8/10 Effects: 7/10 Overall Score: 6.7/10 For more of my work: https://guskeller.wixsite.com/moviefilmreviews By @augustkellerwrites

Reviews by: @s.sohan2005 Alien is a classic horror movie with Sci-fi elements in it. After 40 years this masterpiece still holds up pretty well for the most part. Ridley Scott along with screenwriters Dan O Bannon and Ronald Sushet create an essay about space being an extension of human paranoia, the hell of people, nihilism, and not an adventure of seeking new things we see in other sci-fi franchises. This movie on its fundamental is just a "haunted house in space" but it is far from that but a brilliant horror movie that takes its time to slowly envelope you in fear. The biggest strength of "Alien" is its slow pacing which slowly builds throughout the movie instead of cheap jumpscares seen in today's horror movies (looking at u Annabelle Comes Home) but it gets under your skin slowly and then when the payoffs happen due to the kills u feel the horror and shock of characters you root for dying. I love the grim tone throughout the movie which is expressed through the crude and crass style of Nostromo. It gives off a more jaded feel instead of other well-known ships in sci-fi. The characters are normal people instead of heroic figures and that gives them a sense of relatability and grounds the whole movie and u root for them. They are easily likable and u feel a sense of terror and dread when something terrible happens to them. This movie uses a pretty clumsy plot device by the changing size of the alien through molecular acid and making it a perfect organism through its body but the execution of that plot device gives room for some great thrilling moments and scares. It allows for uneasiness in the atmosphere as we have no idea how the alien looks. The alien is kept mysterious throughout the movie which works to its advantage. That is the sign of a great horror movie. The most underrated part of this movie is Jerry Goldsmith's score. It is particularly eerie and dreadful and fills u with uncertainty for our protagonists, especially Ripley. The direction of this movie is impeccable and it is an outstanding achievement as Ridley Scott had a lot on his plate. The direction for The Alien and capturing the movements and storyboards by practical effects is no mean feat. The cinematography by Derek Vanlint rises up to the occasion. The screenplay by Dan O Bannon is intelligent and full of interesting horror ideas to explore i.e. body horror, psychological horror, etc in the case of Ellen Ripley. The screenplay finds a meticulous balance between horror and character development with great twists and turns which makes the movie special and iconic after 40 years. By @s.sohan2005

Reviews by: @augustkellerwrites X-Men: First Class succeeds by emphasizing characters, exploring Xavier and Magento's backgrounds, friendships, and ideologies. Plus, this origin story starts them off from relatable places and makes them more human. The main plot and villain aren't unique, but they tie in with the themes and motivate our complex cast of protagonists. Oddly, that plot isn't important because character arcs and relationships are the true core of X-Men: First Class. Thankfully, the acting (especially Fassbender) elevates the material and gives the film real emotions to connect with. Consequently, X-Men: First Class is driven by drama and has lasting impact. Technically, X-Men: First Class is tastefully restrained. The editing has flavorful montages, meaningful match cuts, and passing transitions. The sound is complex and symbolic. Fantasy elements blend with the era through detailed production designs. The effects are mostly CGI, but do include elaborate make-up and prosthetics. Also, the cinematography informs through focus, composition, and movement. Meanwhile, the music is forgettable, but supports the delicate tone. Overall, this controlled filmmaking creates a grounded atmosphere that enhances the material. All told, X-Men: First Class isn't a universal must-see, but it proficiently delivers memorable emotions. Writing: 7/10 Direction: 7/10 Cinematography: 7/10 Acting: 7/10 Editing: 8/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 7.5/10 By @augustkellerwrites

Reviews by: @s.sohan2005 The Abyss is a standard film elevated by the filmmaking craft of James Cameron and company. This movie is colossally ambitious in its style and scope by using the cutting-edge technology of ILM and its seven FX studios. It's a great movie on building tension throughout the movie with a cast that is insanely likable. The cast is insanely likable as it has Ed Harris and Mary Elizabeth Mastrantonio play off against each other's interactions in a great manner. James Cameron knows how to make you care about a character to build the tension from it. The supporting cast shines too with Leo Burmester and Todd Graff being standouts with great material. Michael Biehn is outstanding as a chilling Navy Captain who is increasingly getting paranoid. The technical craft is stellar too. The CGI work on the underwater aliens and their "kingdom" looks stellar and has aged incredibly well. The usage of practical effects and CGI makes the underwater aliens tangible and gives them a sense of mystique and wonder. The composition feels smooth and fits the underwater aspect of it. The practical sets feel drab and lifeless due to its lonely and withered setting. I love the backdrop of this movie set in the US vs Soviets conflict (added to the Special Edition). It is a great usage of worldbuilding organically. The chase scenes are shot with clinical precision and frantic cutaways to buy us into the disorientation of the underwater. The execution of a straightforward simple story is where the movie excels best. Overall The Abyss might not be James Cameron's best work but it is a cool sci-fi movie with subtance by giving you an enthralling tension filled flick without being completely nauseating and dumbed down. By @s.sohan2005

Reviews by: @augustkellerwrites The Survivor provides a fresh perspective on a known atrocity. Narratives surrounding the Holocaust are often meaningful, but this adds tragic layers of survivor’s guilt and complicated love. Ben Foster (who is underappreciated) gives a conflicted and vulnerable performance while also sacrificing his body for the role. The third act awkwardly shifts away from boxing and the dialogue is straightforward, but the plot remains extremely humanizing. By maintaining a small scale and examining the protagonist's complexity, The Survivor makes unbelievable horrors relatable and recontextualizes a desensitized story. For that, the film stands out and succeeds. Technically, The Survivor is mixed. The production switches eras and settings. The effects enhance aging and violence. Plus, there are emotional songs sung by characters, and moments of cinematic focus, angles, composition, and motion. Still, it's the sound (using abstract stings, J-cuts, and silence) and the editing (using smash cuts, match cuts, and wipes) that are the highlights here. Conversely, the lighting makes mistakes, the pacing is clunky, and the production is overly clean. Overall, The Survivor possesses strengths but never transcends its parts. It has important source material and a powerful lead, yet The Survivor's safe filmmaking limits its ceiling. Writing: 9/10 Direction: 6/10 Cinematography: 7/10 Acting: 9/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 7/10 Effects: 7/10 Overall Score: 7.5/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review Okay, last review of the night, I promise. Staying with Netflix again, we got their newish horror film Choose Or Die. This movie has such a good plot idea that is used pretty well but could have been done so much better with a little more work. But they do go there and I loved that about it. Iola Evans is pretty good here and makes herself into a good female protagonist. Asa Butterfield is fun here but I feel like he wasn’t giving it his all, I hate to say it but it felt like he was catching a check between seasons of Sex Education (which I really need to watch!). Robert Englund makes a couple fun voice cameos as himself and why he’s the voice is never really explained. Literally no one else is on screen long enough for me to care enough to discuss them here. With just the two main characters the film feels very empty and I think they could have done a lot more showing us other people playing this game. The idea of a game that messes with reality to discover if a player is worthy of the reward at the end is really good. But again, they could have done so much more with it. Like, the final round had such a cool idea to it that could have been so much better with some better directing and acting, with better stakes and a longer runtime. I think this movie should get a sequel with a new creative team behind it that can show the true potential of the idea proposed. This just felt like the exact elevator pitch that was given and not fleshed out beyond that. So much more world building could have been done. But what world building is here is pretty good and goes into the supernatural which I was afraid it wouldn’t. There aren’t enough decent supernatural horror films, granted this isn’t that scary, another thing they could have done better as well. They went down more of a saw route but I think combining horror with the saw self mutilation could have been really good. At the end, Choose or Die gets a 6/10 from me. It’s a decent movie that could have been executed much better. I don’t have anything else to say about it, it’s such a short film, only an hour and twenty minutes which makes it feel rushed. It’s worth a watch because the idea is really cool. -Tyler. By @tylersnerdy_review