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Reviews by: @cinematic.thrills 🪓The Shining (1980)👨‍👩‍👦 Jack and his family move into an isolated hotel with a violent past. Living in isolation, Jack begins to lose his sanity, which affects his family members. For starters, this film was not what I initially expected. Before watching it I didn't really know the plot or storyline, I had just seen clips and scenes from the film around the internet. This film is broken up into chapters. In the first part we are introduced to the main characters and the plot. Jack is given a job, by his company, to look after a hotel for 5 months during winter. There had been a recent incident at the hotel involving the previous caretaker so they needed a replacement. Cinematography: The cinematography was very impressive. The use of wide camera shots, taken of vast mountains, emulated isolation and loneliness. We saw close ups of the characters faces, they were usually wide eyed and either scared or angry. The use of sound effects and music was very specifically placed. Music would only play when something scary was happening, if not we as the viewers were left in silence, and discomfort. This progressed throughout the film becoming more and more frequent. Acting: The choice of actors for this film was amazing. I was extremely impressed by how the three main characters were written; Jack, Wendy and their son Danny. Their display of tone and body language just made this film feel so real and unsettling. The pure emotion and fear that Shelley Duvall showed was terribly impactful! Wendy seemed like a very difficult role but her devotion to the character made her casting one of their best decisions. Jack Nicholson did such an amazing job with his character. The character progression and his descend into utter insanity was so chilling, it felt like something that could really happen to anyone and he really brought that to life. This film definitely didn't disappoint. The ending was pretty good and I have a feeling there are a lot of theories around it. I rate this film a 9/10, it is a very good horror film, a classic, and is definitely now on my list of favourites. I now understand why it's so popular. By @cinematic.thrills

Reviews by: @augustkellerwrites Senior Year is half-baked. Following an adult who returns to high school after being comatose for decades, she grapples with her old life and her new reality. This premise has comedic potential, but as a skit rather than a narrative. The script attempts numerous devices, yet amounts to nothing. Her romance is obvious, drama is insincere, motivation is weak, characters are inconsistent, and messages are muddled. Plus, the conclusion is rushed. Ultimately, every plot point is a superficial illusion. Really, Senior Year is a vehicle for Y2K references, wokeism jokes, and Rebel Wilson antics. That's occasionally amusing but mostly pointless. Technically, Senior Year is lifeless. The soundtrack is a nostalgia blast, but that's where the fun ends. The effects provide glossy graphics but also unconvincing cheerleading stunts. The visuals are basic and sterile. Also, there are blatant product placements, the acting is forced (and sometimes grating), and the directorial style is nonexistent. The editing has a little energy during dance sequences, but also fumbles the pacing. Furthermore, the cast is fairly unknown and underutilized. Overall, Senior Year offers slim craft and hopes to entertain with its humor alone. Unfortunately, that humor is limited, and the film falls flat. Writing: 2/10 Direction: 2/10 Cinematography: 4/10 Acting: 4/10 Editing: 5/10 Sound: 4/10 Score/Soundtrack: 7/10 Production Design: 3/10 Casting: 4/10 Effects: 4/10 Overall Score: 3.9/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Avengers: Infinity War is impressive, delivering everything that could be reasonably desired from a Marvel movie. It showcases thirty superheroes, provides a purposeful villain, and has genuine surprises. Infinity War could've easily been a mess, but it's held together by the significance of Thanos. Plus, protagonists are cleverly separated into digestible groups, giving everyone space to synergize and contribute. MacGuffins are central, consequences are temporary, and logic is inconsistent, but the film is so grand and character-driven that these shortcomings are forgivable. Ultimately, Infinity War connects because it puts character motivations first. Technically, Infinity War serves its drama. The filmmaking is safe, but subtle touches are optimally placed. Specifically, the acting shows real pain, the music is silent during low points, the sound gets symbolically muted, and the production design has undeniable magnitude. The effects are CGI heavy, but their range and detail are weighty. Plus, the editing balances all the moving parts, skillfully timing subplots and pacing the extensive runtime. The cinematography remains fairly straightforward (and occasionally unsightly), but some techniques are exhibited. Overall, because it unifies immense vastness through emotional focus, Infinity War is a triumph of scope. Writing: 7/10 Direction: 7/10 Cinematography: 6/10 Acting: 8/10 Editing: 7/10 Sound: 9/10 Score/Soundtrack: 9/10 Production Design: 9/10 Casting: 10/10 Effects: 8/10 Overall Score: 8.0/10 By @augustkellerwrites

Reviews by: @the_owlseyes “You're not Dostoevsky,' said the citizeness, who was getting muddled by Koroviev. Well, who knows, who knows,' he replied. 'Dostoevsky's dead,' said the citizeness, but somehow not very confidently. 'I protest!' Behemoth exclaimed hotly. 'Dostoevsky is immortal!” Mikhail Bulgakov, The Master and Margarita What's our body? Is it part of our identity or just a vessel with a crew called conscience? I think that it's possible. After all how can you be sure that this is your body. I'm not going to talk about the LGBTQ+ but our conscience doesn't have a gender so it would be natural to move it in different bodies or shells. Sure, digitalizing the mind would mean achieving eternal life or eternal damnation, but isn't it what we all want. To live forever and experience life. After a while it won't be life, I think, it would be a prolonged death. But this theory could justify another theory, the one about simulation but it's another concept, far from what we're talking right now. I'm not sure that it's me who is writing right now. I mean, maybe I'm thinking about the words but it's possible that I'm just an avatar of a multidimensional being who is playing Sims Online. What's the point of all of that? No one, because we like to question the pillars of our lifes. Usually we do it when we want to use our mind, for real. But saying that doesn't make me more clever, it just makes more miserable. My opinion is what it's because of my experiences and I'm just one among the others. My mind defines what I'm but doesn't make me unique. As well as the body. We should be part of a bigger grid of cosciences and live every experience together. Only then we will be unique. I think that uniqueness stand in unity. So, why would you live forever as a digitalized conscience who migrates between bodies like a ghost? PLOT "Set in a future where consciousness is digitized and stored, a prisoner returns to life in a new body and must solve a mind-bending murder to win his freedom" or "I'm not sure this is my body". SCRIPT This series should have stopped after one season because the second one ruins everyting which came before. All the character development, all the world building and plot weaving is out of the window in the second outing. Why? I think corporate agenda. It's clear that he second season is pushing ideas which are in line with movements like #BlackLivesMatter and #MeToo. I'm a bit, more than a bit, disappointed. An awesome concept and premise ruined by the politically correct. Why not focusing on the characters, the world and the themes when you can shove liberal ideas down the audience throat. This started as a clever show with an interesting idea and an overarching plot. Themes like social injustice, capitalism, life and death, ethics and more are used well in the first season. In the second one they get sidelined to focus on racism and things like that. The shift is dramatic. I don't want to go on. I feel unsatisfyed and betrayed by this show. Script: 6/10 ACTING There's a big difference between the first and the second season and I think that it's all thanks to the change of lead. Even though I like Anthony Mackie and his charismatic persona( this is why his Marvel character works), I think that Joel Kinnaman does a better job at portraying the protagonist. I would also say that he's more likeable, which is unexpected, and charismatic. I think that he's more able to steal a scene. For the others is just the same. Martha Higareda is better than Simone Missick, James Purefoy and Kristin Lehman are better than Lela Loren and Torben Liebrecht. There're just a few actors who made thorugh the first season, like Reneè Goldsberry and Chris Conner, who delivers a good performance as Poe. Overall is a pretty mixed bag. Acting: 7/10 PHOTOGRAPHY I like how colours and lights are used to create this dystopic world. It isn't just grey but a chromatic dance which pleases the eye. I think that there're genuinely beautiful shots in this series, especially in the first season. I like the fact that they wanted to use different filters to show the different epochs of the world and how it degraded. Natural scenes are bright and colourful, while sci-fi frames tend have a grey or green filter, to make us feel uneasy. Almost all of it is thrown away in the second season. Unfortunately. Photography: 7/10 EDITING It's ok, sometimes it's remarkable and sometimes it isn't. I appreciate the fact that it tries, at least, to do something interesting when it's needed. This editing works but it isn't enough. It's sufficient because it does what the series needs from it. Nothing more. Editing: 6/10 SPECIAL EFFECTS They're good. Sure, they aren't top tier or groundbreaking but they're well done, considering the budget and how they're used. I like how they've built the two cities displayed in the series and the technology used in it. It grants pretty good visuals and amaze. For me this is what kept the series going in the second season. Special Effects: 8/10 SOUNDTRACK In the first season the series delivers a marvellous soundtrack. It's a pity that all of it is lost in the second season, where it becomes like a CW show's background music. You can appreciate a dreamy score made of synths and electronic music in the first season. This is one of the reason why the first half works so well. Unfortunately something is missing in the second one and that hurts the experience a lot. Thannks to it the series get worse and becomes mediocre. Soundtrack: 6/10 COSTUMES They're steampunky but I won't say that they're as original as Blade Runner. Surely they looks good and fits the characters perfectly, especially Kovac coat, but it isn't enough to say that they're majestic. I like the praetorians suits, a lot, but overall I think that, for being a series set in the future, it works. More than mediocre. Costumes: 7/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 7/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 6/10 Costumes: 7/10 AVERAGE: 6,71 A good series which became a low rated one thanks to Netflix politically correct and a shitty second season . Watch it, only the first outing. It deserves to be appreciated but we don't have to consider the second season. I won't. Never. Director: Uta Briesewitz, Alex Graves Screenplay: Laeta Kalogridis Cast: Joel Kinnaman, James Purefoy, Martha Higareda, Chris Conner, Dichen Lachman, Ato Essandoh, Kristin Lehman, Trieu Tran, Renée Elise Goldsberry, Anthony Mackie, Lela Loren, Simone Missick, Dina Shihabi, Torben Liebrecht Soundtrack: Jeff Russo, Jordan Gagne Cinematography: Corey Robson Running Time: 50 minutes By @the_owlseyes

Reviews by: @augustkellerwrites Firestarter is mixed, containing interesting ingredients that don't meaningfully integrate. First, the premise is promising, looking at superheroes on a smaller scale, with a somber tone, and in a horror/fugitive genre. However, the script disappoints its potential with obvious exposition, unnatural dialogue, and cliched tropes. Plus, the pacing is awkward, decisions are contrived, and motivations are unclear. Furthermore, the falling action is lacking because characters were underdeveloped. This is all worsened by the disinterested acting of Efron and the limited range of Armstrong. Ultimately, the emotional beats are impotent, making Firestarter a monotonous flatline. Meanwhile, Firestarter has sporadic technicals. The visuals utilize variety, composition, and focus. The editing has strong smash cut sequences. The sound highlights superpowers with abstract stings, echoes, and cracks. Plus, the John Carpenter soundtrack is successfully moody (and the only emotional force in the film). Conversely, the production design is sparse, the effects are inconsistent, the cast is unremarkable, and the direction delivers a fragmented project with a dull tone. Action lacks excitement, drama lacks vulnerability, and the experience lacks momentum. Firestarter isn't terrible, but it isn't effective. Overall, it's forgettable. Writing: 3/10 Direction: 4/10 Cinematography: 6/10 Acting: 5/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 7/10 Production Design: 4/10 Casting: 5/10 Effects: 6/10 Overall Score: 5.4/10 By @augustkellerwrites

Reviews by: @the_owlseyes If you think that animation has always been about kid's cartoons and disney, think again. Animation has been used, since its birth, as a way to spread ideas. It has been used for propaganda and more. Like this movie which, like most 80's animated movies, puts nudity and gore at its core and builds stories on it. At the time, and for some people today, it seemed preposterous but this style has returned recently in shows like Rick & Morty, Archer, Bojack Horseman, Animes,... Maybe it's because it's more comfortable to accept animated nudity rather than live action, because we undermine it by saying that it's just animated. Or it's just because this kind of language subvert the rules and makes us feel free. PLOT "A glowing green orb - which embodies ultimate evil - terrorizes a young girl with an anthology of bizarre and fantastic stories of dark fantasy, eroticism and horror" or "A bold anthology ahead of its time". SCRIPT It's an anthology so it's hard to talk about characters because there're too many. Nonetheless there's an overarching plot about good and evil. I like it but it isn't impressive. Some stories are more interesting than others but overall it's hard to talk about all of them. I think that this movie should have been a miniseries because the movie drags a lot and it's difficult to get invested in the characters. Beside the good-evil theme, there's also corruption, exploitation, capitalism, greed, religion and more. All of them allows the movie to create juicy stories but there're a lot and it's hard to give each one enough time to leave an impression. Honestly I think that this movie tried too much to be edgy and gory by showing, a lot of time unnecessary, nudity and blood. There's also an aspect which makes this movie pretty old: hypermasculine men and hyperfeminine women who just want to have sex. In the end the woman is used only as an object. Luckily the movie redeems itself, partly, in the end. Overall...I need to think about it. This flick is clever and dumb at the same time. Seriously. Script: 6/10 ACTING The narrator delivers a good performance but the other voice actors aren't on his level, unfortunately. This is a bit off putting and most of the time ruins the movie's flow. Acting: 5/10 PHOTOGRAPHY This movie manages well lights and shadows. Colours are particularly bright and symbolic, especially green. There're a lot of good looking scenes, some of them breathtaking. My only complaint is that sometimes the animation isn't fluid enough and photography results a bit weaker. Overall this is pretty good. Photography: 6/10 EDITING Some transitions are a bit sloppy but overall it's mediocre. There's a lack of particular shooting techniques but it doesn't hurt the experience. There isn't much to say, honestly. Editing: 6/10 SPECIAL EFFECTS Considering the period, the animation is gorgeous and original. I like the fact that some sequences are made of a blend of photography, coloured water and handrawn animation. The landscapes are amazing thanks to the quirky and psychedelic background, which is dynamic and beautifully coloured. All of it without cgi. It's just amazing. Special Effects: 8/10 SOUNDTRACK If you like 80's music, you'll love it. If you hate this kind of music, the movie will be hard to get through. This show has a highy noticeable style and the score is what defines it. Sometimes it fits the story and sometimes it's a bit out of place and campy. I consider it a bold choice but it's poorly executed and the soundtrack result obnoxious. It's one of the reason why this flick drags a lot. Soundtrack: 5/10 COSTUMES This animated movie is particularly edgy and clothes aren't relevants because it's all about the flesh. This anthology takes us off balance by presenting an highly sexualized animation. Nonetheless it isn't a reason to consider this aspect remarkable. It's mediocre because the characters have fitting costumes, nothing more. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 5/10 Photography: 6/10 Editing: 6/10 Special Effects: 8/10 Soundtrack: 5/10 Costumes: 6/10 AVERAGE: 6 A mediocre movie with some good ideas which paved the way for interesting projects like Love, Death and Robots. Director: Gerald Potterton Screenplay: Daniel Goldberg, Len Blum Cast: Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, Zal Yanovsky Soundtrack: Elmer Bernstein Running Time: 90 minutes Budget: $9,3 million By @the_owlseyes

Reviews by: @augustkellerwrites Iron Man 2 is overstuffed, pulling in superfluous directions. It introduces Black Widow (and expands on SHIELD), War Machine, two villains, Stark's degrading health, his father issues, and expands on his complicated relationship with Potts. Had these plotlines been in separate movies, they could've had proper development. Instead, nothing intertwines and the movie is messy. Furthermore, Stark's character doesn't arc. He solves problems, but doesn't grow. In fact, he finishes the movie by mocking his doubters (even though they were right about his technology being a public safety threat). Ultimately, Iron Man 2 only feigns drama around merchandising and action. Technically, Iron Man 2 is a downgrade. Rock music is more sparse, imagery is less dramatic, editing is basic, sound lacks symbolism, and the tone is muddled. The first action sequence is appealing, but the climactic battle is uninspired. Meanwhile, the cast adds several big names, but there's less emotional range for them to explore. Previously, Downey was able to show vulnerabilities that are noticeably missing here. Overall, Iron Man 2 is more like a collection of parts than a cohesive whole. Its individual ideas are interesting, but it's too cluttered to connect. Iron Man 2 is fine entertainment, but it's also a missed opportunity. Writing: 4/10 Direction: 5/10 Cinematography: 5/10 Acting: 7/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 8/10 Casting: 10/10 Effects: 7/10 Overall Score: 6.5/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Sharknado is maximum shlock. It isn't good or consistently amusing, but does serve an audience. The premise revolves around shark attacks throughout LA due to an extreme hurricane. That's comically absurd, but the actual plot is unimaginative. The protagonist gathers his estranged family before devising a plan to blow up the hurricane. There are trite character arcs because the bickering family predictably starts cooperating, but that's completely transparent and basic. Science is expectedly disregarded, filler side missions consume significant time, and dialogue is cringey. Still, writing fundamentals are technically present and the premise sets a self-aware tone. Meanwhile, Sharknado is a filmmaking mess. The cinematography and editing are disorienting. Space is unestablished and coverage is incomplete. Plus, the ordering of shots feels unrelated, nonconsecutive, and confusing. Therefore, it's often difficult to understand what is happening. Furthermore, the imagery is drab, overlit, and chaotic. Also, the effects and production are horribly cheap and unconvincing. It's hard to decipher scenes because pathetic staging is mixed with obvious stock footage and CGI. Overall, it's clearly a joke, but Sharknado is too unsightly and formulaic to actually be worthwhile. The gimmick is silly, but more enjoyable bad movies exist. Writing: 1/10 Direction: 1/10 Cinematography: 1/10 Acting: 2/10 Editing: 1/10 Sound: 3/10 Score/Soundtrack: 3/10 Production Design: 1/10 Casting: 2/10 Effects: 1/10 Overall Score: 1.6/10 By @augustkellerwrites

Reviews by: @the_owlseyes @thefilmobservatory “A lot of people here worked on five pictures with me, and I know there’s a lot of things said about what I think about these films or all of those, whatever. I’ve loved every single second of these movies, and especially this one because I’ve gotten up every morning and I’ve had the chance to work with you guys. And that has been one of the greatest honours of my life” Daniel Craig about his 007's experience PLOT "James Bond has left active service. His peace is short-lived when Felix Leiter, an old friend from the CIA, turns up asking for help, leading Bond onto the trail of a mysterious villain armed with dangerous new technology" or "A generic plot and a nice swan song" SCRIPT This is the weakest aspect of this movie. I like how they decided to close Craig's Bond arch but it would've worked better if the villain was good and some sequences didn't feel rushed. But it's the villain who ruins everything. He isn't compelling or sympathetic and he isn't, in any way, connected to 007. Sure, he gives a bit of depth to Madeleine but it's not enough. Blofeld is underused and I don't like his demise, like Felix's. The new 007 seems like an improvement but it feels too politically correct. The fact that the plot revolves around a virus created in a lab seems a way to profit on Covid. Overall I think that this movie has been a missed opportunity to make a masterpiece. Script: 6/10 ACTING All the actors deliver a good performance, especially Daniel Craig, who leaves his character on a high note. I liked the humanity he has been able to bring to the character. He's probably one of the best Bond. I liked a lot Ana de Armas and her character. Unfortunately she got only 5 minutes to shine. The actor who plays the scientist is funny enough. The worst actor among the cast is probably Lea Seydoux, who feels out of place. She's not able to convey emotions the right way and she's a bit wooden in my opinion. Rami Malek is ok but he's not able to do much because his character is shitty. Acting: 7/10 PHOTOGRAPHY This is not on the same level as Skyfall but it still retains a similar level of quality. Lights and Colours are used masterfully and there're amazing shots. This franchise has evolved into one of the best looking one. Photography: 7/10 EDITING Without it most of the action scenes would be irrelevant. This is one of the best shooted 007's movies. There are a lot of awesome sequences. The best one, in my opinion, is the car chase in Italy and the opening scene after the credits. The camera is used in pretty ingenious ways, even though sometimes it's a bit repetitive and stale. Overall it's pretty good. Editing: 7/10 SPECIAL EFFECTS They are cool and realistic. Sometimes they're bad because the director decided to rely too much on them in some passages but overall they're good. Not the best I've ever seen but they satisfy me. Special Effects: 7/10 SOUNDTRACK Probably one of the best Bond's soundtracks. Hans Zimmer gives another great performance and, finally, join this franchise. He's able to readapt the classic theme for different situations and to reimagine it in new settings. It's charming, sensual, exciting and epic. I think that the action scenes are highly improved by it and elevate this movie, a lot. Bond got his perfect score, finally. Billie Eilish's song is acceptable. Soundtrack: 9/10 COSTUMES Usual clothing which is present in the previous iterations. The villain's mask could've been iconic but it didn't serve any purpose in the movie. I liked Paloma's dress and some versions of 007's clothing. Costumes: 6/10 CONCLUSION Script: 6/10 Acting: 7/10 Photography: 7/10 Editing: 7/10 Special Effects: 7/10 Soundtrack: 9/10 Costumes: 6/10 AVERAGE: 7 A nice send off for Daniel Craig's Bond. Check it out because it's beautiful and entertaining. Director: Cary Joji Fukunaga Screenplay: Neal Purvis, Robert Wade, Cary Joji Fukunaga, Phoebe Waller-Bridge Cast: Daniel Craig, Rami Malek, Léa Seydoux, Lashana Lynch, Ben Whishaw, Naomie Harris, Jeffrey Wright, Christoph Waltz, Ralph Fiennes Soundtrack: Hans Zimmer Cinematography: Linus Sandgren Running Time: 163 minutes Budget: $270 million By @the_owlseyes 3.5/5 Action/Thriller James Bond (Daniel Craig) is called back into action, as a new bioweapon looms over the world of espionage, with potentially international consequences. It’s been a long wait for No Time To Die, and I think that that works for better and worse. While it’s great to see a high-budget action blockbuster in a packed cinema once again, the film itself is unfortunately underwhelming. Disclaimer: I’m not really a Bond fan so factors like franchise traditions and fun references/homages largely don’t apply to me. And No Time To Die is chock-full of them, which meant that I wasn’t able to relate to the same state of enjoyment and glee that I imagine many loyal acolytes would’ve been indulging in. While the film is only a decent action flick for me, I do think that it serves as a bold and emotionally satisfying farewell to Craig’s Bond, and even I could appreciate the bittersweet conclusion that the end of the film adopts. No Time To Die is no Skyfall or Casino Royale but I can confidently say (and reassure) that it’s better than Spectre, and successful in being an enjoyable yet predictable action romp. Setting aside uneven pacing and questionable narrative decisions aplenty, No Time To Die does open explosively, setting itself up to be a much better film than we eventually get. The relationship between Bond and Madeleine Swann (Léa Seydoux) is further explored, and a crucial event personal to him from Craig’s first outing is even significantly addressed, ultimately suggesting a more mature take on what the franchise can be. This is followed by that action sequence that we’ve all seen a million glimpses of through the main trailer, since before lockdown, which is executed very well. It’s always fun to see these kinds of sequences, where an action hero gets caught off guard and has to quickly adapt to the situation, showcasing their tactical prowess. He’s been in retirement for a time but it’s evident that Bond’s still got it. Everything in the picturesque Italian town looks gorgeous and serves nicely as the setting of the equilibrium for our main character, before the sudden and violent disruption, to reference Todorov’s Narrative Theory. The visuals here brilliantly contrast the stark and isolated icy terrain where I forgot to mention the actual opening scene takes place in. Here, we get some backstory and context for Rami Malek’s villain, Safin, and this dark sequence honestly establishes him as a menacing and intimidating antagonist for Bond. Until he isn’t. That’s because, he only gets about 10 minutes of screentime, across the whole 2 hours 45 minutes, which makes it very strange that he becomes one of the most boring and lacklustre Bond villains, in the franchise’s longest film ever. After a while, Safin’s motivations become strained and his evil plans unclear, and the character ends up feeling like a wasted opportunity. However, the bioweapon that he plans to use brings a genuinely interesting aspect to the film that does reach a bit of a stretch in parts but mostly works well as a plot device, especially towards the end. Swedish cinematographer Linus Sandgren makes the film possess the perfect degree of vibrancy and look pretty immaculate, and I can appreciate that No Time To Die succeeds in this technical aspect more than the common blockbuster. I did really like Billie Eilish’s title track, that was simply oozing of the exact stylish spy noir energy that a Bond theme song should bring, to accompany the film and establish the tone. Hans Zimmer doesn’t particularly add much here to the franchise’s already iconic music that had laid the groundwork before him, but he still delivers a fittingly epic score, with ‘Matera’ and ‘Final Ascent’ packing much grandeur and beauty in the strings, while the vibrant ‘Cuba Chase’ and the thrilling ‘Message From an Old Friend’ brought a lot of life to the action sequences, in their own respective ways. I was talking to my friend about No Time To Die and he referenced the film’s nice touch of blending Eilish’s main motif into Hans Zimmer’s music in the score, which was a cool and subtle way to further integrate it. In that same conversation, he explained an idea he had for a certain character that I personally think they should’ve gone along with too, bringing me to my next points of discussion: our protagonists, and the supporting cast. This particular character in question is Bond’s successor to the 007 title, Nomi (Lashana Lynch). Craig and Lynch share a fun back and forth, due to the latter having effectively replaced him, but also the conflict arisen because of their contrasting professional methods and ethics. Bond is the esteemed playboy who ‘can’t help’ but get the job done looking classy, while Nomi isn’t bothered with style and is straight to the point. Obviously, she’s presented as the better and more realistic agent but her character kind of begins and ends there. While not spending much time shifting the focus to secondary characters is forgivable for the movie as a Bond film, I feel that it unfairly detracts actual importance and necessity for her other than making it cool for our main protagonist to be fighting alongside somebody else in action sequences, and to provide some comic relief and jocose banter between them. My friend’s idea was that Bond should’ve had some kind of realisation that he was outgrowing this violent and relentless life, and then figuratively passed on the mantle to Nomi, in a moment of tipping his hat to her skill, professionalism, and worthiness of taking over as 007. Lynch can definitely bring charisma to the table, and it’s a shame that she felt underused by the end. However, she was great in action sequences, and nowhere near as lame as Malek’s villain. What No Time To Die has taught me is that once you’ve seen the trailer for a Bond film, you more or less know the entirety of the depth to each of the secondary protagonists’ characterisation and development, for better or worse, since the same goes for Naomie Harris’ Moneypenny, Ben Whishaw’s Q, and Ralph Fiennes’ M. They’re all fun to have in the film but don’t leave a significant mark. I did really enjoy to see Jeffrey Wright as Bond’s close friend Felix Leiter, an actor that I’ve admired for his subtle, and unfortunately underappreciated, stage presence, ever since I saw him interestingly enough play a character in The Last of Us Part II. Side note: I think he’s going to be a fantastic Commissioner Gordon in Matt Reeves’ The Batman (currently slated for March 2022). Without going into spoiler-filled detail, the action is no John Wick, or even Mission Impossible: Fallout, in terms of choreography but it’s mostly solid and occasionally impressive. A gunfight in Cuba was well-done, where our protagonists had to use the environment a lot, for cover and traverse, and a gorgeous colour palette made everything in the scene look great. A later section in a forest was entertaining, as Bond had to rely on things like traps and think on the go to survive. Towards the end, the action weakens in inverse proportion to the convolution increasing, as everything becomes a bit uninspired but there are some good moments. I think that that last part is an accurate way to describe the whole film actually; it’s a decent action thriller with some memorable sections. As for some open criticisms I have: No Time To Die definitely suffers from middle-act slog, and when it tries to tie in with Craig’s other films in terms of linking Spectre to everything, the narrative really loses me. I also found the script disappointingly average, since I’d heard Phoebe Waller-Bridge was serving writing duties, and it felt pretty watered-down. The film is also undoubtedly way too long, and I think that at least 20 minutes should have been chopped off, to contribute to a likely more effective urgent and kinetic pace. While I’m not really part of the Bond fanbase, I would hazard a guess that No Time To Die’s ending will be divisive. Occasionally, the type of route that the climax adopts can feel cheap in blockbusters, which often like to utilise ‘shock factor’ but I loved the ending, and what it represents for the character. James Bond learned something. Over the course of 15 years, Craig’s iteration displayed genuine maturity and I liked that. If this was to be the end of the franchise, the film’s ending would do it great service overall. However, it’s nearly guaranteed to not be so I’d like to give my thoughts on the question we’re all asking right now: in today’s climate and modern ideologies, should 007 as a franchise die? Long story short, I don’t think it needs to but only if there’s change. They can’t keep recycling the same tropes and ‘traditions’, with the same demographic of white, stereotypically attractive male in his 30s as the star. It’s not about creating controversy by ‘being woke’, it’s about applying to the expansive following that the internationally popular franchise has today, by introducing major diversity and representation, otherwise, these films are simply going to cease to be relevant. Bond has such a colossal pedestal that it would be irresponsible for the movies to not engage with and weigh in on our current world. Dr. No was released in 1962 when marginalisation because of race, gender and sex, sexual orientation, religion, and more was still widespread, so why, in today’s time when discrimination is no longer ever regarded as acceptable, is the Bond film series still applying to the conventions of its initial roots? Craig’s run has made significant strides in reducing the atrocious objectification of women that the franchise has long been guilty of, but it’s still not enough. If things don’t change considerably, then I don’t believe that Bond should continue. Directors with the attitude of this film’s Fukunaga, who has openly stated the mistakes and aggrievances of the franchise’s past but evidently believes that it can keep going through acceptance, responsibility and change, should be getting hired moving forward. It’s far from perfect in execution, but No Time To Die does fortunately represent this willingness to grow into something different, and ultimately better. Now, is Bond’s latest also Craig’s greatest? I would say not but there was some entertaining action, plot contrivances and cheesy one-liners. In other words, it’s a fun blockbuster. I would recommend seeing No Time To Die in a packed cinema, with a gratuitous amount of popcorn, and I think that Bond fans will ultimately be satisfied. By @thefilmobservatory

Reviews by: @augustkellerwrites Drag Me To Hell is irresistible fun with Raimi's horror-comedy mastery. Its basic story strikes a fabulous balance of suspense and levity. The protagonist (Christine) is a banker who's fighting for a promotion and rejects an old woman's extension to win her boss's approval. That woman then curses Christine, who spends the rest of the film escaping her impending doom. Surprisingly, this is possibly all a metaphor for eating disorders, which is fairly thoughtful. Still, the script is a standard narrative, so praise there should be measured. Nevertheless, Drag Me To Hell is uniquely funny and scary enough to deserve its cult following. Meanwhile, Drag Me To Hell is technically fantastic. The cinematography is constantly moving and stylized with intention. Dutch angles, push-ins, and lighting provide striking visuals. Plus, the editing is equally active. Even in quieter moments, match cuts and jump cuts create flair and energy. Furthermore, the sound design is absolutely electric, getting dramatic, symbolic, and distorted to heighten the demonic atmosphere. Additionally, the effects are multifaceted, the music sets a campy mood, and the direction brings everything together with a dynamic vision. Ultimately, Drag Me To Hell's simplicity is elevated by craft and enthusiasm. Writing: 6/10 Direction: 8/10 Cinematography: 9/10 Acting: 7/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 7/10 Production Design: 7/10 Casting: 5/10 Effects: 8/10 Overall Score: 7.5/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Fantastic Four has forced plot points, corny dialogue, generic relationships, and a hollow story. Plus, the climax is underwhelming and characters don't arc. First, the script glosses over conflicts and pads the runtime with filler. Entire scenes are dedicated to failed jokes and thrills, stalling the narrative. Next, since real drama is avoided, dynamics are shallow. Johnny is impulsive, Sue and Reed conflict, and Ben feels grotesque, but that all miraculously resolves without true motivation. Lastly, Fantastic Four's lighthearted tone is excessively cliche because the writing isn't substantial, interesting, or unique. Consequently, the movie is emotionally void. Technically, Fantastic Four is mixed. The atmosphere is dull, the editing is diluted, and the music is dated. Also, the production design is unconvincing because lighting is overdone, extras are sparse, and sets lack detail. Conversely, there is decent camerawork (focus, dolly zooms, and movement), the cast has memorable members, and the sound is complex (despite being occasionally silly). The effects are mainly dated CGI, but the make-up and prosthetics deserve credit. Lastly, the acting is repetitive, but that's the material's fault. Ultimately, Fantastic Four's subpar technicals and lifeless script deliver a lazy film that falls completely flat. Writing: 3/10 Direction: 3/10 Cinematography: 6/10 Acting: 3/10 Editing: 4/10 Sound: 5/10 Score/Soundtrack: 3/10 Production Design: 3/10 Casting: 6/10 Effects: 5/10 Overall Score: 4.1/10 By @augustkellerwrites

Reviews by: @the_owlseyes “Laments of an Icarus The paramours of courtesans Are well and satisfied, content. But as for me my limbs are rent Because I clasped the clouds as mine. I owe it to the peerless stars Which flame in the remotest sky That I see only with spent eyes Remembered suns I knew before. In vain I had at heart to find The center and the end of space. Beneath some burning, unknown gaze I feel my very wings unpinned And, burned because I beauty loved, I shall not know the highest bliss, And give my name to the abyss Which waits to claim me as its own.” Charles Baudelaire PLOT "Nine noble families fight for control over the lands of Westeros, while an ancient enemy returns after being dormant for millennia" or "Everyone wants to sit on a chair, everyone dies, everyone has sex, everyone schemes like a politician...all of it for a chair". SCRIPT It's a masterfully crafted show for four seasons but after the fourth the quality starts to drop. Characters who were interesting and sharp slowly becomes blurs and dumb, like Tyrion Lannister or Lord Varys, characters who were beacons of hope and revolution turn into homicidal maniacs and unuseful henchman with one line. The characters archs are generally interesting but in the last season all of them are out of the window, shredded and given to the dogs. The main villain is defeated in a cliche and boring way by a character who doesn't have any connection to him. The series theme becomes irrilevant and puzzling during the last season and it makes all unworthy of the multitudes of time we spent after it. The show falls during it's climax and becomes a meme and a shadow of his former self, pooping all over its past. All because the writers, Dumb and Dumber, were more focused on their next project and wanted to cut the series short and wrap up everything in only 8 episodes. This is hubris and indifference. And the show deserved more. It's hard to value it because I'm so conflicted between punishing it and recognizing it's worth. I'll do what's right instead, because this show deserves to be acknowledged for what it is. Script: 8/10 ACTING Every actor poures is heart and his passion in his character, this is why each of them is memorable and original. I'm not just talking about the leads but about everyone involved here, even the ones who have less screen time are able to shine and elevate this series from a simple show to an epic one. It's hard to say who is the best one but I like a lot Peter Dinklage and Aidan Gillen because they're able to give depth and charisma to characters which aren't righteous, by making them sympathetic. I think that the quality tends to dwindle a little bit while moving toward the last series. I find Sophie Turner an overrated actress and she isn't the best fit for her character, because she lacks facial expressions and emotions. Acting: 8/10 PHOTOGRAPHY There're a lot of breathtaking scenes here. You'll be able to appreciate differe t kind of landscapes: desert's warmth, mountain's coldness, wood's darkness, castle's magnificence and more. Almost every scene is an eye's delight . War scenes are my favourite but I think that photography here is able to enhance the beauty of a world which is fascinating, large and unknown. Light isn't used in a corny way and colours are pretty relevant to make us understand the difference between every setting and its characters. Photography: 8/10 EDITING Sometimes it's impressive, sometimes is awesome and sometimes is just mediocre. Overall I don't think that it's high class but I don't even think that it's bad or low quality. It works without taking a lot of risks and doing something original. This isn't the worst section of the bunch but for sure it isn't the best. Editing: 6/10 SPECIAL EFFECTS As a series it has an impressive cgi, I could say that it's on the level of what you can get from a movie with a professional production. The dragons are the best thing about it and a lot of work and money has been put to make them as believable as possible. Sometimes the quality is a bit lower but I think that it's hard to do better than that. I could say the same about the practical effects which looks amazing and are pretty effective. Consider that all of them are related to the multitudes of deaths present in the show, because the series likes to have fun with it. There're also some grandious VFX which are marvellous, because the producers wanted to go all in with the grandeur of landscapes and buildings, to give them a sense of stateliness. Special Effects: 9/10 SOUNDTRACK It's hard to define this soundtrack not iconic. The theme will be stuck in your mind for ages because it's pretty original. I like how every house has its own theme and how these themes mix up when the houses clash or ally. The villain theme is also interesting, because it infuses fear and a sense of threat, but the best one is Targaryen's house theme for me, especially the dragon part. Ramin Djawadi has previously impressed with the Iron Man soundtrack and here is at the top of his game. A thing which he will repeat in Westworld. Soundtrack: 9/10 COSTUMES A gargantuan production which delivers in this section. Every costume fits the world, the character and diversify every house from another. There's an attention to details which is remarkable....incredible. I like the fact that the character's growth is also reflected in his clothes. I think that this exceeds my expectations because usually fantasy adaptations are hard to pull off. I can say that it's on the level of The Lord of The Ring's saga in terms of variety and consistency, but I can't say that it's better than that. The threshold is too high to be passed. Costumes: 9/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 8/10 Editing: 6/10 Special Effects: 9/10 Soundtrack: 9/10 Costumes: 9/10 AVERAGE: 8,14 This is an incredible show which could have been the best or one of the best ever produced. Everything is amazing about it and I think that it deserves to be remembered what it is, a masterpiece with a bad ending, and hwat it represents for the silvers screen and pop culture. Who says that this series is bad operates by following the halo effect, which brings you to value something based on last impressions and average ones. You have to see it because everyone should know about this sharp and subversive series which brings something new to the fantasy genre. Valar Morghulis Director: David Nutter, Alan Taylor Screenplay: David Benioff, D.B. Weiss Cast: Peter Dinklage, Lena Headey, Emilia Clarke, Kit Harington, Sophie Turner, Maisie Williams, Nikolaj Coster-Waldau, Iain Glen, John Bradley, Alfie Allen, Conleth Hill, Liam Cunningham, Gwendoline Christie, Aidan Gillen, Isaac Hempstead Wright Soundtrack: Ramin Djawadi Cinematography: Anette Haellmigk, Jonathan Freeman Running Time: 71 minutes By @the_owlseyes

Reviews by: @augustkellerwrites @nknews_ @voir_un_film_ @rodriguezone3 @tylersnerdy_review Doctor Strange in the Multiverse of Madness absolves messy writing with spunky flavor. Still, the story is cumbersome, protagonists are underdeveloped, and dialogue is unnatural. The plot is straightforward (villains trying to capture a kid), yet there's so much complicated exposition that Multiverse of Madness feels laborious. Plus, that significant groundwork leaves little time to explore the characters. Strange gets some emotional moments and Wanda is powerfully motivated, but that's it. Furthermore, the only actor with enticing material is Olsen. Despite all this, Multiverse of Madness connects because of its trippy elements and heartfelt touches. Meanwhile, Multiverse of Madness is the most artistic MCU film because Raimi's personality shines through. There is camera movement, suggestive framing, and dramatic lighting. There are beautiful match cuts, striking dissolves, and clever transitions. These techniques set a psychological mood that suits the narrative. Moreover, the sound is complex, symbolic, and creepy. Also, the music heightens adventure and punctuates horror. This is all harmonized by unique direction and production, which cohesively blends clean MCU, bizarre multiverses, and horror undertones. Overall, Multiverse of Madness overcomes its bloated script and MCU ties with fair drama and eccentric craft. Writing: 6/10 Direction: 8/10 Cinematography: 8/10 Acting: 7/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 9/10 Casting: 9/10 Effects: 8/10 Overall Score: 8.1/10 By @augustkellerwrites No voy a decir mucho ,pero fue una de las pocas películas de Marvel que no te deja distraerte ni un segundo. La película tiene ese toque oscuro ,momentos de suspenso y violencia que solo Sam Raimi sabe darle a sus películas. Los actores saben conectar muy bien con sus personajes, sobretodo Benedict Cumberbatch y Elizabeth Olsen, cada uno sabe sacarle todo el jugo a sus papeles. Supieron presentar bien a América Chávez y supieron hacerla encajar con la película. Tiene un par de problemitas con el cgi....pero ya es costumbre 🙄 En conclusión, es una buena peli ,entretenida y cumple con varias de las expectativas. Vayan a verla al cine ,si es posible en 3D. Y RECUERDEN QUE TIENE DOS ESCENAS POSTCREDITOS. Calificación: 8,5 / 10 ⭐ By @nknews_ 📢 샘 레이미 👨‍👩‍👧‍ 베네딕트 컴버배치, 엘리자베스 올슨, 베네딕트 웡, 레이첼 맥아담스, 추이텔 에지오포, 소칠 고메즈 ⠀ 드디어 큰 게 왔다. 작품 내외 양면으로 엄청난 존재감을 과시하며 수많은 이들의 기대와 설레발을 일으킨 <닥터 스트레인지: 대혼돈의 멀티버스>. 마블의 첫 공포영화이며 샘 레이미가 연출한다는 점, 우주 최강 마법사 스트레인지의 캐릭터성, 거기에 무엇보다 코로나의 여러 굴레가 드디어 벗겨짐과 함께 어린이날 특수까지 겹쳐 말 그대로 관객들이 쏟아져 나오고 있다. 이 다양한 연령대의 많은 사람들을 최대한 폭넓게 만족시켜서 극장가를 살려야 하리라고 많은 무비고어들도 바랐는데, 아쉽게도 흥행과는 별개로 절반의 성공에 머무를 것 같다. 아주 이질적인 MCU 작품이다. 무서워 봐야 깜짝거리는 정도겠지 생각했던 나를 적잖이 당황시켰다. B급 호러 감독 색깔을 디즈니가 퇴색시킬 거라는 걱정도 기우였다. 9년 만에 메가폰을 잡은 샘 레이미는 물 만난 고기처럼 자신의 장기를 신나게 펼쳤다. 고전 공포 영화에서나 볼 법한 호러 연출과 고어의 영역을 넘볼 정도의 묘사를 희석만 시켜서 마음껏 부어 놓았다. 만약 <데드풀>처럼 R등급으로 제작했으면 감독은 그야말로 폭주를 했을 것이다. MCU 영화이기 이전에 샘 레이미 영화라고 하는 편이 나아 보인다. 이런 점 때문에 <닥스2>는 그동안의 MCU 영화들의 방향성과 달리 호불호가 갈리는 매니악한 성향을 띠게 된다. 한편 그 매니악한 요소들은 대중성을 낮출 뿐만 아니라 영화의 톤앤매너 자체를 애매하게 만든다. 대놓고 공포영화였거나, <판의 미로>처럼 전체적으로 딥다크한 판타지로 만들었다면 일관성이 있었을 텐데, <닥스2>는 우선 슈퍼히어로 영화이되 호러 요소를 주입하는 게 일차적으로 요구되기 때문에 중간중간 마블스러운 유머도 들어가 있고, 음표 배틀처럼 유치 또는 황당한 장면도 넣는다. 그런데다 샘 레이미는 양쪽의 비율을 살짝 넘치게 잡았다. 히어로보다 호러에 집중한다. 물론 호러 연출은 샘 레이미답게 과감하고, 판타지가 베이스이기 때문에 기상천외하게도 느껴진다. 그런데 다른 요소들의 퀄리티는 거기에 한참 못 미친다. 부실하고 중구난방한 각본, 일회성의 진수를 보여주는 캐릭터 활용, 주인공과 조연들의 무력함과 무매력, 중반부를 살리지 못한 완급조절… 특히 액션 연출과 비주얼이 전편보다 퇴화했다. 입이 떡 벌어졌던 전편의 미러 디멘션을 위시한 비주얼이 어느 SF영화에서나 볼 정도로 매우 평이해졌고, 액션은 스칼렛 위치의 레이저빔 한번에 미니언이든 챔피언이든 썰려나가는 허무한 그림이 대부분이다. 타노스를 상대로 날아다녔던 스트레인지는 어디 가고 멀티버스 관광 다니면서 이리저리 치이고 러닝타임 날로 먹으며 나중에는 좀비물이나 찍고 있으니. 거기에 일루미나티 일동은… 말 아끼겠다. 듣던 것과 달리 꼭 <완다비전>을 봐야 이해가 가능한 정도는 아니었다. 왜냐하면 내가 그랬기 때문. 그런데도 이 영화가 닥스 영화라기보다 완다 영화라고 불리는 것은 비중 분배의 완벽한 실패라고 봐야 한다. 스토리의 뒷배경과 속사정 이전에, 기억나는 캐릭터가 동에 번쩍 서에 번쩍 하는 완다뿐이니. 덕분에 MCU 내에서 독보적인 위치를 차지하면서 기억에 남을 <닥스2>는 그저 호러를 결합한 새로운 시도 이외엔 남는 게 별로 없어진다. 물론 그 시도 자체는 의도도 좋았고 신선도도 좋았지만, 홀로 툭 돌출되어 깊이 없이 빠르게 휘발되는 자극적인 맛의 양념으로 남았다. 그래도 보고 나서 되짚어 봤을 때 얘기지, 보는 동안에는 나름 괜찮았다. 다행히. ⠀ 🙆 “모험적인 시도가 놓친 많은 것들의 빈자리를 과감하고 기상천외한 호러 연출이 덮는다” ★★★ By @voir_un_film_ Doctor Strange in the Multiverse of Madness está entretenida. Tiene acción, efectos especiales, comedia, romance, horror y algo de drama. Desde el primer minuto la película es toda una explosión de efectos especiales, lo que está cool. La película también tiene sus sorpresas, algo que está chevere. La trama tiene muchas referencias a los cómics y al MCU, si eres súper fan las vas a disfrutar mucho. La trama también juega mucho con el tema del multiverso, algo que me gusta. Los personajes y actuaciones están bien, ninguno me pareció terrible. Elizabeth Olsen como Wanda / Scarlett Witch está genial, especialmente cuando ataca a un atrapado Doctor Strange y a un poderoso grupo en el multiverso. Sin lugar a dudas, Wanda es lo mejor de la película. Es la única que realmente se puede decir que llega a las emociones o crea impacto en el espectador. Doctor Strange in the Multiverse of Madness es una película divertida, nada más y nada menos. No puedo terminar mi opinión sin resaltar la segunda escena post créditos. ¡Qué clase de escena! ¡El futuro del MCU luce prometedor! By @rodriguezone3 Went out with some friends last night to see Marvel’s newest MCU film, Doctor Strange in the Multiverse of Madness. This film opens on action and then runs from there. They slow it down in a few spots but this movie rides fast and I kinda like it. They fit a lot into that super fast two hour time, but not everything everyone wanted. Most people dislike this because they theorized the shit out of it and almost none of the theories were right. But you have to get over yourself, you aren’t the writer. There are some fun cameos and appearances, but there would have been more had Marvel not ruined it in a trailer. There just aren’t as many as everyone was suspecting. But that being said, this wasn’t a perfect movie and I think the only person to blame for that is Sam Raimi’s directing. Controversial to say because he gave a lot of people three Spider-Man movies, but whatever he was doing on this movie just wasn’t it. Thankfully though the story is really solid and his odd directing can’t ruin that. You will be lucky you watched WandaVision but Loki and What If…? do not get the return on investment. They even stuff WandaVision into the opening Marvel logo for this one. And if you’re wondering, no one takes the time to mention anyone’s costume change (and there are a lot). Wanda’s emotional arc reaches its peak here and I loved every little second of it. Her action sequences are just so cool. The different universes they travel to are very cool but they only explore a couple, those ones would be very interesting to learn more about. There are two credit scenes. One sets up the MCU future, although just like both of Eternals’s and Shang-Chi’s, who knows when we’ll see that story again. The second one is just a return on a joke from Act One, so if you need to pee, no rush if you miss that one. But now I assume it is time to talk about performances. Benedict Cumberbatch is just so good at the Doctor Strange role. It’s like he was born for the role, the way he has the perfect amount of arrogant Strange and great hero Strange. The way he moves his hands to do all the really cool magic he does in this movie, and the way he handles the more emotional parts of Strange. Elizabeth Olsen is such a phenomenal Scarlet Witch. She also understood the assignment and she is terrifying for it. Yes, this Wanda is very much the villain and good god is she a good one. I’ve heard people say her transition to villain is not well portrayed on screen and those people must not have watched WandaVision right, and they probably aren’t mothers. I don’t know if this is a spoiler but I was really disappointed that Chiwetel Ejiofor’s Mordo isn’t OUR Mordo. I was looking for a continuation on his character from the first movie, and while it is mentioned, he isn’t here. But, he is good in this movie. His scenes are limited but very fun, and he just looks so damn cool. Benedict Wong returns as Wong the Sorcerer Supreme. Wong is just such a delight in every MCU movie he appears in, he’s such a fun character that can be serious when he needs to be. Xochitl Gomez is a really good America Chavez, but I’ll need to see her fight more to make a final decision on her. But her role in the story here is really good and I’m so angry that some people are banning the movie for literally two or three lines talking about her moms, not even her being Lesbian yet, just her moms. Rachel McAdams is back as Christine, and while our Christine gets a good scene at the start of the movie, the one we spend the rest of the movie with is such a better Christine in every way. She’s definitely a bigger part of this movie than she was the first one. Julian Hilliard and Jett Klyne are just so good as Billy and Tommy, it’s great to see them again far more than I was expecting. We do meet a lot of Doctor Strange’s and they are all really cool and Cumberbatch does a good job of playing them each a little differently. Now, I really want to discuss spoilers, so I’ll drop my score here and the next part will be spoilers, so do not look at it, you have been warned. Doctor Strange in the Multiverse of Madness is the first time I’ve been this torn on an MCU movie in a long time. While I really like the story and plot and characters, Raimi’s direction really pokes holes in the rest. So, I haven’t done this in a while, but I will be giving this a coveted half point, this movie gets an 8.5/10. [SPOILERS!] Now, I really need to talk about those cameos because wow! Marvel finally did it. After being a little disappointed that the Dark Strange is not Strange Supreme from What If…? or Captain Carter being the What If…? one, they gave us some really good cameos on top of that. So yes, Hayley Atwell is back as Peggy Carter, the Suped up Peggy we love. I was absolutely shocked to see such a sweet actress get cut in half by her own shield. And of course, Patrick Stewart finally returning to the role of Professor X. Based on the music when he appears I think he’s the one from the 90’s X-Men show but let’s hope not since he gets his head snapped and dies in Wanda’s mind. Lashana Lynch is back as well, this time powered up as a badass Captain Marvel that gets the least brutal death of them all. Then of course, someone who might be a better liar than Andrew Garfield, John Krasinski finally makes his debut as Reed Richards, and he’s just as good as we thought he would be. Hopefully he returns in our universe since this one also dies a violent death. And honestly the biggest shock to me, Anson Mount from the Inhumans TV show returns as fucking King Black Bolt. Kevin Feige hates the Inhumans so seeing him was a big shock. Granted, he does die the most violent death of the bunch and he dies first like a bitch. So that could be why. But he’s ten times cooler in this than he was on his own show. And lastly, just like in Eternals, Marvel gives us a huge celebrity reveal in a post credit, no Harry Styles this time, now it’s the one and only Charlize Theron as Clea! And she brings our first peak into the Dark Dimension since the first Doctor Strange movie. She looked so fantastically comic accurate and I can not wait to see her and out Darkhold corrupted Strange again. Okay, I think I’m done talking about this movie, again, an 8.5/10 for sure. -Tyler. By @tylersnerdy_review

Reviews by: @augustkellerwrites X-Men pioneered modern superhero movies by becoming a critical and financial success. Fundamentally, the story is reinforced with defined motivations and themes surrounding prejudice. Sometimes the subtext is obvious and sometimes relationships are rushed, but generally, X-Men is skillfully written. Specifically, Magento is arguably the most understandable supervillain ever. His methods are cruel, but his perspective has merit. Meanwhile, the protagonists have distinct personalities and purpose. Everyone feels real, relatable, and interesting. Consequently, X-Men is as much a drama as an action-adventure, and in turn, resonates on an emotional level. Technically, X-Men is sturdy and cohesive. Its realistic production fuses polish with ruggedness. The cinematography utilizes dramatic lighting, steady camerawork, focus, and composition. The editing executes smash cut inserts and efficient pacing. Its sound design is detailed and symbolic. The effects combine CGI with practical stunts, make-up, and props. The music isn't memorable (besides the ending song), but supports the delicate tone of serious fantasy. Lastly, the cast elevates their recognizable roles, even becoming the definitive incarnations of their characters in some cases. Overall, plenty could've gone wrong, but X-Men prospers with thoughtful effort. Writing: 8/10 Direction: 8/10 Cinematography: 8/10 Acting: 9/10 Editing: 8/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 10/10 Effects: 8/10 Overall Score: 8.4/10 By @augustkellerwrites

Reviews by: @s.sohan2005 Star Trek Undiscovery is an absolute gem of a Trek movie only behind the popular installment (Wrath Of Khan). It gives a fitting sendoff to the first generation of Trek in a glorious fashion after the embarrassment of Star Trek 5. It revitalized the franchise after a huge slipup that almost killed the Trek franchise in the late eighties. The cinematography by Hiro Narita is evocative of the film's mood and fits the tone of the movie being a Cold War political thriller by the use of dim lights instead of the overtly bright lights we have come to expect in a Trek movie. His job on the movie is commendable despite being faced with numerous budget problems as the film was made on a reduced budget due to the failure of Star Trek 5. The production design by Herman Zimmerman is back to form and smartly and economically creative with the sets despite being used in other Star Trek productions but it does not come across as cheaper in quality despite the lower budget. The acting is top-notch here with William Shatner, Leonard Nimoy, and DeForest Kelley giving their strongest performance as the golden trio. The supporting cast is phenomenal as well and gets something important to do in the final act of this movie franchise. The characterization is well crafted and brilliantly executed by the actors. My favorite bit from this movie is Kirk's prejudice towards the Klingons for the death of his son and how this movie is centered around the idea of moving on from past prejudices and accepting a braver new world writing being incredible and adding a lot of Shakespearean lines into the movie which naturally fits the premise of the movie instead of being pretentious and on your face. Nicholas Meyer's direction is phenomenal with its polished editing and energetic direction which makes the action scenes feel engaging and thrilling and the comedy bits feel natural and not forced. The climactic set-piece in the final act is my second favorite Star Trek action set-piece only being the Battle Of Mutara Nebula in Wrath Of Khan. The optical movements are well done due to ILM's cutting-edge technology. Christopher Plummer succeeds in stealing the movie from the cast with him relishing his Shakespearean lines and the well-written lines by Nicholas Meyer. His acting gives those Shakespearean lines their own charm and dread during the action set piece. He is my second favorite antagonist only behind Ricardo Moltaban's iconic turn as Khan Noonien Singh. Overall Star Trek Undiscovered Country is a great sendoff to the beloved first family of Star Trek with a blazing adventure that established their legacy in pop culture till the end of time. By @s.sohan2005

Seasoning MCU formulas with philosophical ideas, Doctor Strange introduces themes of spirituality, ego, and surrender, yet sidelines them for a generic finale. Meanwhile, Strange predictably arcs by becoming selfless and the final battle resolves somewhat cleverly. Plus, the spacetime manipulations are refreshing. Still, this is all in shallow service of tired action shlock, limiting the script's originality, abstraction, and depth. Cumberbatch balances sarcasm, contempt, and vulnerability. Swinton is stoic yet tender. However, McAdams, Ejiofor, and Mikkelsen are trapped in flat characters. All told, Doctor Strange has decent emotions but could've been creatively transcendent. Similarly, Doctor Strange's technicals are regrettably restrained. Psychedelic special effects are paired with standard CGI. Likewise, the editing, cinematography, and sound all inconsistently commit to the hallucinogenic atmosphere. Engaging jump cuts, dolly-zooms, and echoes are underemphasized. Lastly, the production design exemplifies Doctor Strange's union of mind-bending concepts and bland familiarity. The alternate dimensions and supernatural villains all look fairly trippy, yet still feel routine. Complete with a forgettable soundtrack and the mild MCU tone, this film is safer than need be. Considering its abstract nature, Doctor Strange is adequate, but also a missed opportunity. Writing: 6/10 Direction: 6/10 Cinematography: 7/10 Acting: 7/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 5/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 7.0/10

Reviews by: @augustkellerwrites Avengers: Endgame is complicated, yet satisfactory. It has issues, but hits key goals. First, Endgame explores the aftermath of Infinity War, solidifying its impact and earning the ensuing redemption. Next, the time heist is convenient, but effectively reflects on the franchise and develops core characters. Lastly, the finale is excessive, but that's what the masses want. Plus, its prelude fight between Thanos and the three core Avengers is exciting. Power levels are inconsistent, the climax gets desensitizing, and the plot is clunky, but Endgame finishes with emotional closure. Because drama is strategically emphasized, Endgame ultimately overcomes its flaws. Technically, Endgame isn't as cohesive as Infinity War, but still succeeds. Visually, there are extended shots, overheads, and conscious composition. The editing is cumbersome, but manages a massive scope. The sound isn't as symbolic and the music isn't as restrained, but both still contribute. Meanwhile, the production design of the finale is noticeably colorless. This was likely an attempt at a gritty atmosphere, but it's mostly just unsightly. However, the effects are extensive (though CGI heavy) and the cast is amazing. Plus, the acting is touching. Overall, it's a downgrade from Infinity War, but Endgame still offers plenty. Writing: 7/10 Direction: 7/10 Cinematography: 7/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 10/10 Effects: 8/10 Overall Score: 7.8/10 By @augustkellerwrites

Reviews by: @tylernserdy_review @nknews_ @ryan_the_nixon I took a quick break from finals last night and watched the Moon Knight season one finale. Marvel strikes again with yet another really good show that brings a fan favorite comics character into the MCU. This show felt very MCU light however, with only about four references to the MCU and most of them just background details. Moon Knight is a character I don’t know too much about, I’ve only read a couple crossovers with him involved and never one of his solo stories. But Oscar Isaac is absolutely fantastic as not just Marc Spector but as Steven Grant as well. It’s really easy to forget that they’re the same person, Isaac plays both of them so uniquely that you just completely forget. The Moon Knight and Mr. Knight outfits look very stunning and have great movement to them. Ethan Hawke is very very good as the villain despite the fact that we don’t get to learn very much about him. May Calamawy doesn’t show up for a second but she does a great job with her scenes. She gets a fantastic scene in the finale that reminds everyone how important representation is. F. Murray Abraham provides a really good voice to Khonshu that has an interesting relationship with Marc/Stephen. Antonia Salib is so adorable and fun as Tawaret and I really hope we get to see more of her character sometime. The first two episodes may seem a little slow but it makes sense now that the show is over. Two episodes of learning about the character, three about self discovery, and one to wrap it all up really well. They spend some serious money on this show, it might not seem like it but it’s all in the finale. The finale has some pretty major consequences for a show. If this doesn’t get referenced in one of the movies soon I’ll be mad. This was a really good first step into the supernatural end of Marvel and I’m so excited that we’re getting more very soon. All of it leading into Blade of course. There is a really good post credit scene, easily the best for the Disney+ shows since the Loki finale. It does a great job setting up the season two that we all deserve to see. I’m very excited for Doctor Strange tomorrow and see how the supernatural Marvel continues to expand. 10/10. -Tyler. By @tylersnerdy_review Es una serie bien desarrollada ,bastante entretenida ,hay capítulos dónde no avanza mucho con la trama ,pero no son aburridos. Tiene muchas secuencias de acción bien coreografíadas y algunas con mucha violencia ,algo que hasta ahora no se había visto en una serie de Marvel sin que Disney las censure. Tiene un cgi bastante bien logrado para ser una serie ,hay escenas dónde falla un poco pero es aceptable 😂 Oscar Isaac hace un excelente papel dándole vida a personalidades diferentes ,jugando con los gestos y la voz ,los black out del personaje están muy bien logrados ,no es usado en exceso y la escena se entiende a la perfección dejando la duda de que pasó en ese momento. Hay capítulos dónde el desarrollo del personaje queda estancado y es un poco molesto ,ya que la serie se entiende perfectamente con sus idas y vueltas ,y no hace falta estar dos capítulos con la misma cosa 🙄 El final es un poco apurado ,son pocos capítulos dónde la historia se estanca en varios ,deberían haberla hecho más larga o desarrollar mejor la trama para no apresurar todo al final y que se produzcan algunas confusiones. El final tiene una escena post creditos bastante buena e interesante (MUCHO mejor que la de Hawkeye😑). En conclusión, es una buena serie ,entretenida y te saca del aburrimiento. Son solo 6 capítulos así que véanla. Calificación: 7 / 10 ⭐ By @nknews_ 2022 15 Director: Mohammed Diab. Starring: Oscar Isaac, Ethan Hawke, May Calamawy, F Murray Abraham, Antonia Salib, Saba Mubarak, etc. Steven Grant discovers he's been granted the powers of an Egyptian moon God. Nut he soon finds out that these newfound powers can be both a blessing and curse to his troubled life. This show is absolutely fantastic. The cinematography and set locations were very strong. There was a lot of interesting elements with the storyworld and Steven/Mark's condition that was well explored. This show had a very dark tone, with brutal use of gore and it was very intense throughout. The performances were incredible. Ethan Hawke and May Calamawy were both fantastic. But Oscar Isaac was truly amazing here, perhaps the strongest actor the MCU has gotten, he delivered a fun, brutal and emotional performance and was able to transition so smoothly into two different personalities. The mystery and the development to the mystery was well developed throughout. With great character conflict and development Mark/Steven and Layla. The character background and emotional weight that came with Mark's past was surprisingly hard hitting and very well done. The Egyptian and Jewish representation was great. The score was very strong, and the show felt very unique compared to the rest of the MCU. The characters were likeable with strong set ups for the key plot points of the series. The lighting and character designs of the Gods were very impressive. The humour from Steven was great. With some deep themes on grief and regret that were well handled and they managed to handle mental health and Mark's condition with a lot of care and sensitivity. Arthur Harrow was a strong villain with good character motivations. There was a lot of fun scenes and very strong action particularly within the second half of the series. With strong worldbuilding and character depth. I thought the 6 episode structure worked really well for this particular series. The stakes were increased throughout the show, with a fantastic finale and a great end credit scene that certainly teases another season. My only slight criticisms would be the patchy CGI in parts as a lack of consistent antagonism from the villain. Overall, Moon Knight for me is the MCU'S strongest TV show. Its unique visual and narrative touches and its brutal darkness make for a refreshing experience and Oscar Isaac does a fantastic job. Overall Score: 96/100. By @ryan_the_nixon

Reviews by: @augustkellerwrites Darkman uniquely twists familiar ingredients. The plot has revenge and monster origin tropes, but mixes in originality and humor to elevate those aspects. Specifically, Darkman's skills, motivations, and choices make him an unpredictable anti-hero. Plus, Neeson and McDormand both display believable arcs and embrace the script's absurdity. Thus, Darkman successfully commits, allowing viewers to respect its drama while laughing at its ridiculousness. Also, the story provides flavorful details that distinguish minor characters and deepen the atmosphere. It isn't serious, but Darkman delivers an unlikely journey of humanity with self-aware corniness. That alone makes it distinct. Still, typical of Raimi, Darkman's true strength is its filmmaking. The visuals are occasionally awkward, but heightened camerawork, lighting, and framing are powerful staples in Raimi's arsenal. Darkman often feels surreal because these techniques are dramatically utilized. Meanwhile, the editing propels the film with meaningful match cuts, psychological montages, and sharp timing. Furthermore, the sound is symbolic, the music elevates the campy mood, the production design is outrageous, and the effects are tangible. Plus, the casting of Neeson and McDormand aged surprisingly well. Ultimately, Darkman shows Raimi's consistent passion and exotic style as a filmmaker. Writing: 7/10 Direction: 8/10 Cinematography: 8/10 Acting: 7/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 8/10 Casting: 8/10 Effects: 8/10 Overall Score: 7.9/10 By @augustkellerwrites

Reviews by: @the_owlseyes "When the whole world is running towards a cliff, he who is running in the opposite direction appears to have lost his mind" C. S. Lewis Why are you running? Where are you running? When are you going to hit the ground? Do you expect to survive the fall? What's next? What's the point? PLOT "Four kids travel through a wardrobe to the land of Narnia and learn of their destiny to free it with the guidance of a mystical lion" or "A failed attempt at Lord of the Rings". SCRIPT The source material is top notch and the concept is awesome. Nonetheless this movie isn't able to adapt it well. Every character is two dimensional and a lot of themes aren't explored well. I understand the parallel with the Nazis and the White Witch but the movie doesn't build on it. An undying winter which seems like Hell or a neverending dictatorship is just used to introduce Narnia. A character which is the living embodiment of Jesus Christ is marginal and a lot is left out. There're also subplots which go nowhere like: why Edmund has to risk his life to save his father picture and it doesn't influence the movie? Why the professor knows about Narnia? Is he Aslan? Why 4 kids, 2 boys and 2 girls, should be the one to save the world? What is Narnia? A parallel universe, a contained and unresolved loop? Why the time freeze once you get in Narnia and when you get out you're the same? Where all the creatures come from? Who is the Witch, really? She is a human, where does she came from? Why animals of different habitats should be enemies? Too many questions. Script: 4/10 ACTING The kids are bad, especially the younger ones, to the point of boredom. If it wasn't for the good voice acting by Liam Neeson and Ray Winstone and the gorgeous representation of the Witch by Tilda Swinton, this movie would've been far worse. The minor player like James McAvoy aren't at the top of their game and it shows. There're scenes which are acted in a cringe and off putting way, that's not okay. This is a 180$ million movie and the main actors suck. Acting: 5/10 PHOTOGRAPHY This is a strength of this movie. It's plenty of gorgeous shots, light is used well and colours have some relevance. Thanks to that the first act is in sharp opposition with the last act, with the middle act representing a moment of transition. I like how blue, green, red and brown are used to show how Aslan is determinant. Life and Death are on display in every shot. I've also liked the choice to kill off the best character during the night and to let him resurge at dawn, because Red is used at first to represent death and then to represent fire. I'm pretty satisfied. Photography: 8/10 EDITING It isn't interesting, sometimes it's even tedious. Slow motion is used randomly, sometimes too much, and most of the movie has boring shots. It seems soulless sometimes. Pretty disappointed. Editing: 5/10 SPECIAL EFFECTS The cgi is a bit dated and sometimes could be off putting. What keeps this movie afloat are the SFX. There's a Minotaur which is a suit and doesn't seem cgied. Mr.Tumnus legs are well done and they're a blend of cgi and sfx, which makes them more believable. Overall I think that it's decent and the cgi is the only thing which hurts a bit the audience. Especially fantastic creatures and animals. It's strange to think that nowadays has been normalized. Special Effects: 6/10 SOUNDTRACK It's good but it isn't memorable. Only the battle scene has a remarkable score but for the most part this movie is pretty average. Not mediocre but it doesn't go beyond being a good soundtrack, just that. Soundtrack: 7/10 COSTUMES By far the best aspect of this movie. There's a lot of care in every costume, from the stunning Witch clothes, to the varied armors. Not only that but the costumes fit perfectly the time period and evolves as the movie explores Narnia. I like also that the ceremonial clothes worn by the kids to their incoronation have different colours to underline their differences. There's also the clever readaptation of the Witch's dress which evokes cold ice in the first act and hard rock in the end. I'm so impressed. Costumes: 9/10 CONCLUSION Script: 4/10 Acting: 5/10 Photography: 8/10 Editing: 5/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 9/10 AVERAGE: 6,28 A mediocre movie with good premises, good concepts and a great production ruined by the acting of inexperienced actors and a bad script. This could've been so much better if it has been divided into two or three movies. Watch it if you like nostalgia but it's easily skippable. Director: Andrew Adamson Screenplay: Ann Peacock, Andrew Adamson, Christopher Markus, Stephen McFeely Cast: William Moseley, Anna Popplewell, Skandar Keynes, Georgie Henley, Tilda Swinton, James McAvoy, Jim Broadbent, Liam Neeson Soundtrack: Harry Gregson-Williams Cinematography: Donald McAlpine Running Time: 143 minutes Budget: $180 million By @the_owlseyes

Reviews by: @augustkellerwrites Iron Man kickstarted a juggernaut franchise, but is fairly ordinary alone. The story is formulaic and its arc is contradictory. Specifically, Stark denounces weapons manufacturing after almost dying from a missile. However, he then builds Iron Man (a highly sophisticated weapon). The film paints him as an honorable peacekeeper. Yet in reality, he's a violent vigilante. It would've made more thematic sense for Stark to advance medical technology, but action was the predetermined goal here. Overall, Downey is a perfect fit, the dialogue has clever quips, and the plot is decently paced. It's just hard to digest Stark's illogical progression. Meanwhile, Iron Man's craft is passable. The only noticeable visuals are a few hero shots. The soundtrack has some classic rock songs yet isn't particularly impactful. The editing does a minor timeline manipulation, but lacks any stylish transitions or elevated sequences. The effects are significant but also have awkward combinations of CGI bodies with real faces. Plus, the direction is almost intentionally voiceless and neutral. Really, the only clear strengths are the complex sound (with symbolic touches) and the recognizable production design. Ultimately, Iron Man doesn't have many blatant flaws, but doesn't have powerful strengths either. Writing: 6/10 Direction: 6/10 Cinematography: 6/10 Acting: 8/10 Editing: 7/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 8/10 Casting: 10/10 Effects: 7/10 Overall Score: 7.3/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Armageddon is simultaneously enjoyable and obnoxious. First, the plot is basic and nonsensical. It's a fun premise but requires excessive suspensions of disbelief. Also, the characters and dialogue are lowbrow. Entire scenes exist solely for immature jokes. Most of the broad strokes work (especially the bittersweet ending), but the details are clumsy and contrived. For example, it's nice that Armageddon has an emotional core, but that conflicted romance is shallow. Furthermore, once the space adventure begins, the movie gets into a repetitive loop of exhausting crises. Ultimately, the writing got the big picture right, but was erratically executed. Conversely, the technicals save Armageddon. The imagery gets unpleasant in space, but is primarily cinematic. Its sweeping camerawork and stylized lighting energize the drama. The sound and editing are overdone, but they tackle complex montages and action sequences. The production design is disappointing on the asteroid, yet still elaborate. The significant effects include real explosions. The soundtrack has some good jukebox tunes and an iconic anthem. Plus, the cast is impressive, especially in hindsight. Overall, Armageddon has cheap emotions but sturdy craft, making it surprisingly fair entertainment. It isn't deep and it gets chaotic, but Armageddon is fun. Writing: 4/10 Direction: 7/10 Cinematography: 8/10 Acting: 6/10 Editing: 6/10 Sound: 7/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 9/10 Effects: 8/10 Overall Score: 7.0/10 By @augustkellerwrites

Reviews by: @the_owlseyes “Heard joke once: Man goes to doctor. Says he's depressed. Says life seems harsh and cruel. Says he feels all alone in a threatening world where what lies ahead is vague and uncertain. Doctor says, "Treatment is simple. Great clown Pagliacci is in town tonight. Go and see him. That should pick you up." Man bursts into tears. Says, "But doctor...I am Pagliacci" Alan Moore, Watchmen Can superheroes thrive in this world? PLOT "In 1985 where former superheroes exist, the murder of a colleague sends active vigilante Rorschach into his own sprawling investigation, uncovering something that could completely change the course of history as we know it" or "One of the best and worst comic book's adaptations". SCRIPT This is where I'm a bit undecided because it respects the comic's style and structure but it goes against it's core theme. The comic condemns violence and the movie glamourize it. If we consider it only as a movie it would work, but as an adaptation it's a bit unrespectful of the source material. Fortunately the characters are left intact and their arch is interesting and satisfying. The movie has changed the climax, which makes Ozymandias a character more complex than in the books and Dr. Mahnattan more compelling. I like the themes touched by the movie: how superhero would thrive in our reality, existence, time, deity, humanity, good and evil, corporation which have oversight over the superheroes image, war life an death. I think that this is a movie ahead of its time, in terms of style and themes, because it would've worked better today, where every superhero tropes is being mocked and twisted. The fact that there's a lot of graphic and good looking gore, which makes the movie more faithful to the comics, is what makes it an original superhero movie and one which could have thrived well today. Overall it isn't mediocre but it's a bit hard to value it, because it depends on how you consider it, an adaptation or an original movie. Script: 8/10 ACTING All the actors do a fine job and I think that the best one are Billy Crudup, Jackie Earle Haley and Jeffrey Dean Morgan. Haley delivers a unforgettable performance as Rorschach and Morgan's Comedian is the one who steals the show. Crudup isn't the best one but his characterization of the Dr. Mahnattan is pretty remarkable. What I find out of place are Carla Gugino and Malin Akerman, who tends to over and underact and it harms the experience a little. It isn't the best acting overall but it's good. Acting: 7/10 PHOTOGRAPHY It's undeniable, this movie is good looking and it has the signature marks of Zack Snyder. Light isn't used in a boring way and the director is able to make shadows interesting. There isn't a grey color filter like his movies of the Snyderverse and it's because here colours are vibrant. I like how the bluish colour of Dr. Mahnattan is present in a lot of scenes, to underline the fact that his like a God in his world. The visuals of Mars are just awesome. I've nothing more to say about that because I like how this movie handles this section. Photography: 8/10 EDITING This is what makes one of the closest adaptation to a comic book. It's particularly striking in the opening credits and it remains consistent during all the runtime. Slow Motion is used in a meaningful way and a lot of shots are directly taken from the comic. There's a variety of shots and this makes the movie extrememely dynamic and enjoyable. Sometimes Snyder tends to exaggerate a bit with style and it's a bit cringy but it doesn't hurt the movie as much as you think. Editing: 8/10 SPECIAL EFFECTS Even though they aren't considered top class today, they old up easily. Sometimes these're a bit sloppy but they work. I think that this movie has very good visuals and the touch of Snyder's is present in every scene. It isn't a cgi overload like other Snyder's movie but there's a lot of that. We have to consider that it's hard to pull off this kind of movie without cgi. Overall is good and acceptable. It isn't the best I've ever seen but it helps improving the movie visuals. The animated section is the cherry on top and it elevates the movie to cult status. Special Effects: 9/10 SOUNDTRACK This movie has a fantastic soundtrack which blends pop music of historic relevance and a very good, eerie and perfectly fitted instrumental part. Music sets up the tone of the movie since the opening credits and stick to it. The instrumental tracks are used to make characters like Rorschach more fascinating and to be amazed by Dr. Manhattan, who gets the best tracks. Overall is one of the best soundtrack I've ever heard because it's varied and it's highly stylized to evoke the comic book's atmosphere. Soundtrack: 9/10 COSTUMES Ordinary clothes fit the time period and defines the characters but what is impressing is the care put in the costumes. Not only these're faithful to the source material but are good looking and iconic. They also function as a commentary about the evolution of a character costume during the year. Rorschach and Nite Owl's suits are awesome and I think that it's hard to adapt them in a better way. I can say that this section is one of my favourites because it offers a wide array of costumes and superhero's suits. Costumes: 8/10 CONCLUSION Script: 8/10 Acting: 7/10 Photography: 8/10 Editing: 8/10 Special Effects: 9/10 Soundtrack: 9/10 Costumes: 8/10 AVERAGE: 8,14 It's a pretty enjoyable movie, with good visuals, a good soundtrack and an interesting take of the superhero genre. It differs a bit from the comics and it goes against the main theme of the source material. A thing which makes it a polarizing movie. I think that this motion picture was born too early and it could have worked better today and it could be appreciate even more. Snyder is a specialist at making movies with impressive visuals and editing which are extremely polarrizing. Give it a shot because I consider it an undervalued masterpiece. Director: Zack Snyder Screenplay: David Hayter, Alex Tse Cast: Malin Åkerman, Billy Crudup, Matthew Goode, Carla Gugino, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson Soundtrack: Tyler Bates Cinematography: Larry Fong Running Time: 163 minutes Budget: $135 million By @the_owlseyes

Reviews by: @tylernerdy_review As the 2021-2022 Cable TV season starts winding down, I present the first show to wrap it’s season with CBS’s remake of a British show, Ghosts. This show falls into a rare category for sitcoms in that, in its first season it knows exactly what it wants to be and crafts one of the best opening seasons of a sitcom I’ve ever seen. Rose McIver and Utkarsh Ambudkar are such a delight together and I love seeing a happy and healthy couple that understand each other so well. Brandon Scott Jones, Danielle Pinnock, Richie Moriarty, and Asher Grodman are fantastic as the main stay ghosts. These four are just so much fun and have great running gags! Sheila Carrasco, Devan Chandler Long, Rebecca Wisocky, and Román Zaragoza round out the last of the main ghosts, they just don’t appear in every episode. Every one of the ghosts is so well cast and they all work so incredibly well together. This is truly one of the best ensembles I’ve seen, perfectly selling the idea that only one person in the room can see them all. For a first season there are so many running gags already and I love them all. The bonds these characters form with each other are so sweet and everyone gets an episode to shine and fun subplot arcs. It is such a diverse and fun cast that do a good job selling that they are from whatever era they died in. But seeing them grow from those eras and embrace the modern world is very entertaining. The writers did a great job explaining the rules of their ghosts without making it feel like a big dump of exposition. It makes me beyond happy that CBS appears to see the appeal of the show because it looks like it has already been picked up for a second season. Season one of Ghosts was just an absolutely heartwarming, lighthearted, hilarious, fun, and delightful start to the series and I am very excited to see where it goes next. This gets a rare score for a sitcom first season, Ghosts is getting a big 9/10 from me. Please give this a watch if you can, I can’t see anyone regretting it! -Tyler. By @tylernerdy_review

Reviews by: @augustkellerwrites Swiss Army Man is a treasure. Combining strangeness with relatability, whimsicalness with substance, and silliness with thoughtfulness, it unites everything into a visionary experience. Thus, Swiss Army Man challenges conventional formulas and is a whirlwind of fresh air. Its story follows a stranded, suicidal man, interrupted by a corpse washed ashore. Inspired, he takes the corpse and journeys home. Along the way, they build a friendship as the corpse begins talking and helping out. It's never explained if this is imagined, but each interpretation comes with themes of authenticity and courage. Plus, the performances from Dano and Radcliffe are touching and fascinating. Meanwhile, Swiss Army Man's technicals are skillfully unique, yet powerfully supportive. Visually, the lighting, colors, framing, and movement create a lighthearted atmosphere while conveying messages. The cartoonish sound is surprisingly rich, the production design turns trash into art, and the exaggerated effects contribute to the playful tone. Also, the acapella soundtrack elevates the mood and suggests a vulnerable connection between the characters. Furthermore, the editing is explosive, driving the film with smash cuts and symbolic inserts. Finally, the direction is a triumph, realizing its vision and transforming its mediums into a masterpiece. Undoubtedly, Swiss Army Man is special. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 10/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 9/10 Casting: 9/10 Effects: 9/10 Overall Score: 9.5/10 By @augustkellerwrites

Reviews by: @the_owlseyes Is it weird that the best invention of our species(so far) is being used to its basic purpose. The Internet is an almost endless store of knowledge and possibilities. Consider that most of us use only what represents the tip of the iceberg. Sometimes we undervalue the extension of the grid and all its shapes. Sure, limiting ourself to using Social Media and doing simple researchs like places to eat, movies to watch, places to go and stuff like that could work because it's safe. Why don't we try to do something bigger out of it? Building something personal which could be remunerative and fun. Today a kid with a smartphone or a PC can do more damage or good than a boomer with the most powerful PC in the world. Or Generation could change things, could make things. We can create a revolution or change the market, only by using an hashtag. We're extremely powerful but weakened by the illusions created by the previous generations. We can change the world together. By using the little thing you have in your hands now. We can make wonders. WE CAN PLOT "To win back the love of his life, a high school student and his best friend launch Europe's largest online drug business from their teenage bedroom" or "Teenage Heisenberg of the Generation Z". SCRIPT This is like Breaking Bad with teens. The protagonist and his friend are the two sides of Walter White at first but after a while they become their own thing. Moritz, the protagonist, starts as a insecure, emotional and vulnerable kid and becomes a almost fearless, arrogant, greedy and selfish gangster. An evolution which affects everyone around him and sets in motion different character archs. I like, a lot, the fact that Moritz is used as the narrator, sometimes unreliable, who explains us how everything works in real life and concepts about programming, drugs, internet and more interesting stuff. It's almost a documentary sometimes but it isn't boring because it's helped by a good editing and animation. Lenny represents, as Lisa and Daniel, the conscience and good side of Moritz. They're who stick with him until the end and help him grow as a character. They have good archs too, especially Lenny, who is vulnerable and ill. The show doesn't try to glamourize drugs but it's like a character study of what powers and society can make to a teen with a mobile phone in its hand. But I think that the best of the series is the fact that our generation, Gen Z, has in its hand a lot of knowledge and it wastes it in social media and such, without trying to become something more, to use Internet to its peak potential. The series also deal with themes like love, friendship, obsession, sexuality and more. I think that this is a pretty impressive script which has been written by a sharp mind. It's noticeable because facts and concepts aren't shoved down our throats but they're handled with care, passion and attention to details. Overall I'm pretty impressed. Very impressed. Script: 9/10 ACTING Almost all the actors do a good job. I can say that the ones who play the protagonist and co-protagonists, are particularly good at representing their characters.The best one is, without a doubt, Maximilian Mundt, who delivers a good representation of an insecure and geeky kid with a great mind which has an astonishing evolution, which trnasforms him into something else. There're times when acting is bad, really bad and I don't know how some of them made the final cut. Overall is sligthly above the average and slightly below a good level. Acting: 7/10 PHOTOGRAPHY This show grows on you from the first to the last season and I think that photography has a role in it. The first season is pretty stale because it offers just a few good moments but the last one, the last one is a gem. Lights and shadows dance together, crafting a visual experience which is good, even though it isn't on the level of other movies or series. There're no particulare shots which I consider majestic but the use of colours and lighting is remarkable. Not amazing, but impressive, considering that it's a teen drama. Photography: 7/10 EDITING As the VFX, this is one of the series strengths. There're just a few of boring shots. The editing is of different kind and I like how things like Slow Motion, Tilted Camera, Zoom Ins, Tracking Cameras,.....are used, because it makes the series pretty varied and original. Overall I'm pretty satisfied. Editing: 8/10 SPECIAL EFFECTS Even though they are used sparely, they shine when they're front and center. There's a lot of animation and pop ups which make this series more appetible for young people . I would say that the animations and vfx are what grant this series a certain level of quality of entertainment. I like how flashy it is when the protagonist describes a concept or a situation. This series works because of them, in my opinion. Overall I've been impressed by it. Special Effects: 7/10 SOUNDTRACK Pop and instrumental music are blended together to create a dynamic and pleasant score. Sure, it isn't the best or the most memorable but it stucks with you for a while. I think that it sets the tone and style of the series clearly and I think that it works perfectly. Soundtrack: 6/10 COSTUMES Usual teen clothes. They works but nothing more than that. Sometimes costumes become relevant to the plot but just one time, maybe two. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 7/10 Photography: 7/10 Editing: 8/10 Special Effects: 7/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 7,14 A pretty impressive series which seems like Breaking Bad for Teens but it evolves into it's own thing. I'm astonished because I didn't expected to be entertained like that. A truly remarkable German work. I advise you to see it because it's just awesome and compelling. Director: Arne Feldhusen, Lars Montag Screenplay: Sebastian Colley, Philipp Käßbohrer Cast: Maximilian Mundt, Anna Lena Klenke, Danilo Kamperidis, Damian Hardung, Luna Baptiste Schaller, Leonie Wesselow, Bjarne Mädel Soundtrack: Konstantin Gropper, Markus Winter Cinematography: Armin Franzen, Borris Kehl Running Time: 27 minutes Budget: $ million By @the_owlseyes

Reviews by: @augustkellerwrites Windfall is bottled tension. The story of an unintentional hostage situation provides unique material for the interesting cast. Jason Segel breaks from his typecast, coating his usual charisma in disdain and balancing relatability with dark depth. Meanwhile, Plemons and Collins bring complexities of their own. Plemons is an arrogant tech billionaire, which could've been generic if not for Plemons' skillful conviction and emotional energy. Still, it's Collins who is the unexpected heart of the film, displaying consistent internal conflict and vulnerability. Certainly, each actor elevates this script addressing classism, control, and purpose, which fuels the experience. On a filmmaking level, Windfall is adequate. The music, editing, and cinematography emulate the techniques of a Hitchcock presentation. The soundtrack is ambient, dramatic, and anxious. The editing is gradual and somber. The imagery utilizes focus, lighting, and framing to build suspense and convey meaning. Plus, the setting is distinct, and the cast is qualified yet refreshingly unexpected. Overall, it isn't oozing with style but Windfall has a clearly crafted vision. Its successful tone of mounting stress further indicates that effective direction. Ultimately, it may not blow viewers away, but Windfall is a solid production driven by outstanding performances. Writing: 8/10 Direction: 7/10 Cinematography: 7/10 Acting: 9/10 Editing: 8/10 Sound: 6/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 8/10 Effects: 6/10 Overall Score: 7.4/10 By @augustkellerwrites

Reviews by: @tylersnerdy_review @michaels_movie_bay The other night I got out and saw Dreamworks’s newest animated movie The Bad Guys. I was really excited for this one, the trailers looked pretty great but I was honestly a little disappointed. Dreamworld dropped the ball on The Bad Guys, hopefully the next Dreamworks movie will be better. Most of the good jokes were in the trailers and even though I liked the message they seemed to miss the mark on it and made it seem like being a little bad is still good. But what’s most disappointing is how stupid it treats the audience. I know this is for kids but kids aren’t stupid, they don’t get enough credit for what they can understand. Every single twist can be seen very early on, I found myself very sarcastically saying “oh that happened, who would have guessed?” But on to the good. What jokes that weren’t in the trailer were decent and they had a few good surprises that made me laugh hard. The art style is so fun and anyone that hates the art of Turning Red but likes this, we now know what they really didn’t like about it. Sam Rockwell’s Wolf is a really fun character that a lot of people will be able to like. Marc Maron does a good job with his super predictable character and manages to make me keep liking him. Awkwafina is such a delight as always. Her character deserved some more time. Craig Robinson is easily the funniest character of the group and most of the highlights come from his Shark. Anthony Ramos is really good here and gets a great musical moment. Zazie Beetz is great as the Fox who did provide the only shock that I didn’t see until right before it happened. Alex Borstein has a good character that’s a little unutilized. I think the message of “it feels good to be good” is a good one for kids to hear but then they go and muddy the water on the message. I think The Bad Guys is a good family watch but not worth a theater trip. You’ll like it way more when it’s streaming and you can watch it comfortably at home. I’m giving it a 6/10, it hurts me to do but I was so disappointed. I think this had some great potential and could have been so much better. I’m really curious to hear what you think of it, was it disappointing as well, or did you enjoy it? -Tyler. By @tylersnerdy_review 2/5 A crew of larcenous supervillains is foiled during their biggest heist attempt yet. In an effort to avoid incarceration, Wolf (Rockwell) convinces the mayor to allow his crew to try and reform in exchange for their freedom. The Bad Guys takes a similar approach towards villainy as similar animated offerings Megamind and Despicable Me. It shows the baddies experiencing subtle shifts in ideology until they ultimately break for good. But The Bad Guys accomplishes this worn convention by trading entertaining subtleties with incessant preachiness. For every fun and inventive action scene there is a scene of characters pontificating about the nature of good and evil. And while I have no ideological gripes with the film’s messaging, it is presented in such a clunky and condescending way that I could not help but feel annoyance at its unending scolding. This overall lack of nuance bleeds into every other aspect of the film and the big twists are obvious from the start of the film. I was reminded of some of the big reveals in Megamind which, unlike The Bad Guys, really surprised and excited me. The humor also dipped too often into the puerile for my tastes with, as just one example, a character’s villainous skill of noxious flatulence. On the other hand, there are some genuinely funny moments, mostly courtesy of Craig Robinson’s Shark, that gave me a chuckle. The Bad Guys is not all bad and it is almost worth seeing for its absolutely stunning animation. The style is unique, vibrant, colorful, and textured. It clearly emulates the technological animated advancements featured in Spider-man: Into the Spider-verse and it does so with gorgeous flair. The character design is beautiful and the action scenes are beautifully choreographed and executed. The opening car chase scene is immensely enjoyable as are really any of the action scenes which entertain with kinetic exuberance. The voice work is also very good with Sam Rockwell, Zazie Beets, Craig Robinson, Mark Maron, Awkwafina, Richard Ayoade, and Alex Bornstein, breathing life into their animated avatars. But I did find it very odd that a world populated entirely by humans had seemingly no issues with the seven talking animals that manipulate them from scene to scene. The Bad Guys, apart from its beautiful visuals, is a bad film. It talks down to and generally scolds its audience, features an obvious story, and exchanges clever witticisms for scatalgocial inanities. I had hoped for more, but felt that these villains had stolen something valuable from me: my time. Hot take: All I kept thinking about was how much better Megamind is and how it’s a real shame that nobody seems to have seen that movie. By @michaels_movie_bay

Reviews by: @the_owlseyes "What I find compelling is the moment in which people realize, with suffering and pain, that in the past there was a time when they were happy, because back then the present and the future coincided - they were one and the same thing" Paolo Sorrentino PLOT "In 1980s Naples, young Fabietto pursues his love for football as family tragedy strikes, shaping his uncertain but promising future as a filmmaker" or "How Paolo Sorrentino became a filmmaker and honoured his parents legacy". SCRIPT This movie is character driven. It's an autobiopic of Sorrentino's youth and struggles. Fabietto's character is his proxy and is very well written and defined. I like how he's shaped by his family's legacy and traditions and how his city influences his development. This is a story about love, family and loss. The main characters are well fleshed out and interesting while the secondary ones are more like blurs than actual characters. The movie has an interesting which, just a few times, seems to drag a little. It's a quite peaceful experience. It's a simple tale which transcend time and helps us understand the importance of family and make us ask ourselves which is our spark. Even though the movie is about a sad event, the director is able to put it in a way which is hopeful rather than desperate, which is remarkable. Overall I think that this is a pretty competent and personal script which is pretty satisfying. Script: 7/10 ACTING Toni Servillo and Filippo Scotti are the core of this movie and the ones who deliver the best performance. Scotti shows his wide range and helps us get invested in his character. I think also that Teresa Saponangelo, Marlon Joubert and Luisa Ranieri did a good job too. Saponangelo crafted a sweet but strong character which has moments of frailty. Joubert's character, which is the most care-free, evolves into one of the most emotional and the actor excells into showing all his sides. Luisa Ranieri's delivers the most surprising performance. She starts as a sexy bombshell who is imvolved in different nude scenes and slowly shows her acting skills during the character's fall. There're moments when the acting seems a bit off but I'm moderately satisfied. The side characters are acted in an acceptable way. Acting: 6/10 PHOTOGRAPHY The best aspect of the whole movie. I think that this is one of the best looking scene I've ever seen and there're a lot of scenes which are just marvellous and unforgettable. Sorrentino will make you fall in love with his birthplace, its history and the sea, which is gorgeous. Photography: 9/10 EDITING It's good because it uses a lot of camera movement and close-ups are largely used to show character's expressions and emotions. Sometimes it's a bit stale and boring but there're moments when it's amazing, especially in the opening scene. Editing: 6/10 SPECIAL EFFECTS This movie should've been cgi-free but it disappoints. There's a scene where the cgi is so bad that it isn't hard to consider what's on the screen fake. You'll notice it and the movie doesn't try to hide it. I know that it's just a scene in a two hours movie but it's infuriating. Special Effects: 5/10 SOUNDTRACK The first half doesn't have any trace of soundtrack. The second one presents a classic and tender score which fits the narration and enhance the movie's quiet and peaceful tone. It isn't remarkable but it's good nonetheless. Sometimes classical italian pop songs are used in the background to make some characters more alive. I liked the closing song, which is an ode to Neaples. Soundtrack: 7/10 COSTUMES Not much to say about them. They fit the characters and the time period the story is set in. There're some nude scenes involving Luisa Ranieri's character which have a role in the plot and Fabietto's development. Just that. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 6/10 Photography: 9/10 Editing: 6/10 Special Effects: 5/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 6,57 An emotional movie which will make you fall in love with Neaples and get you an introspective view into the childhood of one of today's most acclaimed directors. Director: Paolo Sorrentino Screenplay: Paolo Sorrentino Cast: Filippo Scotti, Toni Servillo, Teresa Saponangelo, Marlon Joubert, Luisa Ranieri, Renato Carpentieri, Massimiliano Gallo, Betti Pedrazzi, Biagio Manna, Ciro Capano, Enzo Decaro, Sofya Gershevich, Roberto Oliveri, Lino Musella, Cristiana Dell'Anna, Monica Nappo Soundtrack: Lele Marchitelli Cinematography: Daria D'Antonio Running Time: 130 min By @the_owlseyes

Reviews by: @augustkellerwrites Harry Potter and the Half-Blood Prince is peak Potterverse. It fully accepts its darker tone, bringing harmony to the experience. The technicals remain strong (possibly the strongest yet), the writing is consistent, and the acting is noticeably vulnerable. The theme is focused, the loss is genuinely painful, and the storylines converge neatly. Its ending feels slightly incomplete because the story isn't a standalone, but that's forgivable since everything else is effectively written. Plus, Rickman and Felton are layered, Gambon shows pain, and Radcliffe delivers a ranged performance. A welcome departure from its lighthearted beginnings, Half-Blood Prince embraces itself. Meanwhile, Half-Blood Prince is technically skilled. Overall, it's the filmmaking culmination of the series. The visuals use framing, motion, composition, color, angles, and focus to produce an artistic mood. The effects and production are powerfully immersive. The editing is efficient and occasionally stylish (though some transitions needed establishing shots). Also, the sound is atmospheric and abstract. Lastly, the music highlights the melancholy tone and mystical reality. In ways, this is the most impressive Harry Potter film because it's so cohesive. Merging art with entertainment, Harry Potter and the Half-Blood Prince should please all audiences. Writing: 7/10 Direction: 7/10 Cinematography: 9/10 Acting: 8/10 Editing: 7/10 Sound: 9/10 Score/Soundtrack: 8/10 Production Design: 9/10 Casting: 8/10 Effects: 8/10 Overall Score: 8.0/10 By @augustkellerwrites

2021 15 Director: Matthew Vaughn Starring: Ralph Fiennes, Gemma Arterton, Rhys Ifans, Harris Dickinson, Djimon Hounsou, Matthew Goode, Charles Dance etc. In the early years of the 20th century, the Kingsman agency is formed to stand against a cabal plotting a war to wipe out millions. Despite its flaws this film was a lot of fun and another strong addition to the franchise. The cinematography and scope of the film was great. With some good character background. With very effective use of gore and strong action that was well choreographed and kept me consistently entertained. The chemistry between the cast was fantastic. With some brilliant performances from Harris Dickinson, Gemma Arterton, and Djimon Hounsou. But the star performances were from Ralph Fiennes and Rhys Ifans who both delivered passionate, emotional and disturbing performances. The set up was strong and established a strong bond between the main characters, and I loved the setting of the war period. The film was very funny and never took itself too seriously, and keeping the style that the Kingsman franchise is known for. Rasputin was also fantastic as one of the villains, he was disturbing and hilarious. The development to the plot was strong. With a very intense tone in parts. It also had a surprising amount of character depth and emotional weight with its themes on the harsh realities of war and how it can mentally effect people. Plus the final act was a lot of fun and very entertaining. However, it did have a fair amount of flaws. The opening scene felt rushed and didn't make me as connected to the characters as I would have liked. The pacing was often fairly clunky and the movie could have been around 20 minutes shorter. I thought that there was some odd creative decisions, not having Rasputin as the main villain in particular was baffling to me as he was fantastic. There was a lot of underdeveloped plot points, particularly with the villains and the characters in general. Plus the plot twist in the final act was underwhelming which always happens when you don't reveal the villain until the final 15 minutes. Overall, The Kings Man is the weakest of the whole franchise due to its clunky pacing, baffling creative decisions and weak writing in parts. However, is still a worthy addition to the franchise. Keeping the style, fun and strong action that the Kingsman is known for. Also with a surprising amount of emotion with its themes. Overall score 77/100

Reviews by: @the_owlseyes "In the beginning, there was man. And for a time, it was good. But humanity's so-called civil societies soon fell victim to vanity and corruption. Then man made the machine in his own likeness. Thus did man become the architect of his own demise" The Instructor PLOT "A collection of nine short films featuring stories related to The Matrix (1999)" or "Like Love, Death and Robots and better than every Matrix sequel". SCRIPT This is an anthology and every episode has its own plot and characters. There's anyway a common thread which links all of them: The Matrix. In every chapter is analyzed an aspect of the Lore of this beautiful franchise and every episode is short but masterfully crafted. We're able to understand more about the story which preceded the movie, the backgrounds of some minor characters, the mechanisms behind The Matrix and what is the point of view of the machines. It's a great addition to a franchise which suffered a bit after two underwhelming, but still good, sequels. There's a lot of food for thoughts here and the franchise's themes are explored even deeper. This is an impressive anthology of short stories. Script: 8/10 ACTING The vice acting is good but it isn't always the best. Sometimes it feels off. I'm not saying that it lacks consistency but I think that some voice actors are out of place. Obviously we get some memorable cameos but there isn't more to say about it. Acting: 6/10 PHOTOGRAPHY Well, that's just gorgeous. And I'm not talking about one chapter of this movie but about the whole. Every episode has its distinctive chromatic style and in every episode there're a lot of beautiful scenes. I don't have anything left to say because I'm just amazed . Photography: 9/10 EDITING It's good but it isn't as good as the movies. There're scenes where it becomes better, like the one below but I don't find it particularly remarkable overall. It works but nothing more. Editing: 6/10 SPECIAL EFFECTS Like Love, Death and Robots, this movie employes different animation styles which are original and good looking. Through them, this flick is able to reach a visual quality which is higher than all the Trilogy. One episode is 100% cgi and it feels fake, like a 2000s videogame, but considering its peers, this is an unexpected work of art. Just look at all the pics scattered in the post and you'll understand why I consider the animation marvellous for its period. Special Effects: 9/10 SOUNDTRACK It's even better than The Matrix Trilogy. Sure, there're a lot of nods to the movies score but this is almost an entire different thing. Just ear to the bombastic rythm in the extract below. It's haunting and exciting at the same time. The techno electric style of it fits this antology to perfection. It's just...amazing. Soundtrack: 8/10 COSTUMES They're interesting and represent a slight variation from the live action movies, which is refreshing. I like the fact that they're punky and slick. This isn't the main strength of this movie but it's remarkable nonetheless. Costumes: 7/10 CONCLUSION Script: 8/10 Acting: 6/10 Photography: 9/10 Editing: 6/10 Special Effects: 9/10 Soundtrack: 8/10 Costumes: 7/10 AVERAGE: 7,57 If you like The Matrix and/or Animation and/or Love, Death and Robots, you should definitely watch it. Watch it otherwise, it can challenge your thoughts for good. Director: Kōji Morimoto, Shinichiro Watanabe Screenplay: The Wachowskis, Kōji Morimoto Cast: Hedy Burress, James Arnold Taylor, Clayton Watson, Julia Fletcher, Kevin Michael Richardson, Pamela Adlon, Keanu Reeves, Carrie-Anne Moss Soundtrack: Don Davis, Juno Reactor Running Time: 102 minutes By @the_owlseyes

Reviews by: @augustkellerwrites The Big Lebowski is a wolf in sheep's clothing. Seemingly pointless, it combines several methods into a sly blend. It's a comedy, but also exhibits western and noir attributes as The Dude navigates his entanglements. Meanwhile, the film sneaks in relevant social and political classism critiques. Plus, this is all unified by spiritual messages of surrender. These ingredients could've been messy, but the Coens find balance, subtly suggesting themes with potent details. Furthermore, the cast wholly embodies their eccentric characters. Thus, The Big Lebowski is a thoughtful journey that, fittingly, can be enjoyed without noticing its undertones. Technically, The Big Lebowski has cunning style. The precise direction captures an outlandish atmosphere and nonchalant tone. It rarely feels overtly artistic, yet there's a lurking sense of deeper meaning. The visuals provide hypnotic transitions, elaborate dreams, and dramatic montages. These moments are further supported by careful editing, which also keeps the runtime tight and punctuates comedy. The sound is symbolically abstract, the production is iconic, and the effects heighten the surrealism. Lastly, the music fuses humor with thematic weight. Overall, The Big Lebowski is a joyful and deceptively substantial experience, definitively earning its modern classic status. Writing: 10/10 Direction: 10/10 Cinematography: 8/10 Acting: 9/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 8/10 Casting: 10/10 Effects: 8/10 Overall Score: 9.1/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Speed honors its title. Despite lacking true depth or originality, Speed succeeds because it's efficient. The film unloads tons of action, but there's enough character development to maintain investment and prevent exhaustion. The story starts by introducing the protagonist, villain, and atmosphere through a smaller conflict. From there, viewers receive calmer character moments before jumping into the main course. Once Speed gets going, it's a steady series of obstacles with emotional breaks. Plus, Reeves has some dramatic outbursts, Bullock is charming, and Hopper is fascinatingly deranged. Overall, Speed pushes the limits, but never crosses the line. Meanwhile, Speed is technically charged. First, the effects are emphasized. Full of real stunts and explosions, Speed is refreshingly tangible. Also, miniatures help increase scope without sacrificing realism. Next, the editing is dynamic yet controlled. Speed is visually clear and properly constructed. The sound is complex because it's in a constant state of action, and the direction successfully blends a digestible tone. Speed could've easily felt insincere or overly cheesy, but it lands as endearingly ridiculous. Furthermore, the cast is quite impressive in hindsight. Ultimately, Speed stays in its lane and does its job. It's shallow entertainment done right. Writing: 5/10 Direction: 7/10 Cinematography: 6/10 Acting: 7/10 Editing: 7/10 Sound: 7/10 Score/Soundtrack: 6/10 Production Design: 6/10 Casting: 9/10 Effects: 8/10 Overall Score: 6.8/10 By @augustkellerwrites

Reviews by: @the_owlseyes “Yet, we must remember that even White privilege is not distributed evenly among Whites. Many White people never get a piece of the pie. This fact, sadly, instead of making them unite with other marginalized and oppressed American employees, it makes them unload their rage and disappointment on the already suffering low-income, refugee, or poor ethnicities, accusing them of ‘stealing our jobs’, or ‘destroying our country and values’. In doing so, they miss the chance of working together with a significant number of allies for real change. Furthermore, they vote for and side with their oppressors thinking that voting for racist and supremacist candidates will change this ugly reality. What they fail to realize is that politics is literally a nasty business that is fed by the masses’ hatred and, once in power, that business never thrives by changing the way the business is done. If all these supposed problems are solved, where will future politicians get their fodder to feed hatred to masses who will bring them to power?” Louis Yako PLOT "Set in a tropical resort, it follows the exploits of various guests and employees over the span of a week" or "Holidays aren't always good and fun". SCRIPT It's witty and almost every character get to shine. Each one of them is used to make some kind of social commentary. There's a minor character which is removed after the first episode and seems like an afterthought. I think that this series manages to be entertaining, fascinating and striking without becoming cheesy or corny. I like how they set up the series relevant moment and delivers it with a funny, dark and unexpected plot twist. This show is weirdly creepy and comedy is used to create satyrical moments, which are a bit off putting. Here the themes are particularly relevant, like White privilege, colonialism, imperialism, consumerism, grief, marriage, friendship, porn, wealth, social coservatism, inclusiveseness, ...there's a lot to unpack. Most of the time it's sharp and subtle but sometimes it's a bit on the nose. Another interesting fact about this show is that just some characters get an arch, which is used to underline the fact that our society doesn't change a lot, not even when bad things happen. It's a cynical way of seeing our society but this is how it is. I think that society is the villain here and this is why we're able to empatize for most of the characters. Script: 9/10 ACTING The cast is made of a lot of talents like Sydney Sweeney, Connie Britton, Steve Zahn, Jennifer Coolidge and Alexandra Daddario. I think that everyone does its best and every performance, even the ones by minor characters, are top notch. I think that the best players are Steve Zahn and Jennifer Coolidge, because they bring their natural comedy to the table and make every scene funnier. A shoutout to Alexandra Daddario who delivers the most heartfelt performance, indication that she can be a very good actor when she has the right material in her hand. Murray Bartlett is the most surprising aspect of this series and I want to see more of him in the future because he's a funny and entertaining actor. Acting: 8/10 PHOTOGRAPHY There're a lot of remarkable shots, light and shadows are used well and colours have some relevance, even though they aren't always used in a symbolic way. You will be able to appreciate the beautiful landscapes of Hawaii and admire the sea's undertow. There's even a scene, in the last episode, when you'll get to see what's under the ocean and it's just majestic. I'm more than satisfied by this show in terms of visuals. Photography: 8/10 EDITING Sometimes it's good, sometimes it's remarkable and sometimes it's forgettable, overall the series delivers a mixed quality of editing. In the end it doesn't damage the experience but it lowers the general quality of an interesting series. I've expected more from an HBO production. Editing: 6/10 SPECIAL EFFECTS There's so little of them that they're imperceptible, as it should be. Nothing more to say about them, because this is a show about characters. Special Effects: 6/10 SOUNDTRACK It's original and sometimes it's impressive. I like how the composer has been able to integrate aspect of the Hawaiian culture in it. It's interesting because it's a bit off putting and create a strong sense of uneasiness and tension. The process behind its creation is remarkable and I think that this one of the strength of this series, even though sometimes it drags a bit and it seems a bit repetitive. Soundtrack: 7/10 COSTUMES Nothing interesting about them. They fit the characters but there isn't anything interesting about them. They are enough. Costumes: 6/10 CONCLUSION Script: 9/10 Acting: 8/10 Photography: 8/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 7/10 Costumes: 6/10 AVERAGE: 7,14 This is an interesting series which adresses real issues in a clever and comedic way. I think that everyone should watch because everyone could learn something. Director: Mike White Screenplay: Mike White Cast: Murray Bartlett, Connie Britton, Jennifer Coolidge, Alexandra Daddario, Fred Hechinger, Jake Lacy, Brittany O'Grady, Natasha Rothwell, Sydney Sweeney, Steve Zahn, Molly Shannon Soundtrack: Cristobal Tapia de Veer Running Time: 60 minutes By @the_owlseyes

Reviews by: @miscellaneous_media_reviews Midnight Mass is a limited horror series written and directed by Mike Flannigan. This Netflix original series was released in 2021 and consists of 7, hour-long episodes. The show follows a small island town that welcomes an intriguing new priest. Upon his arrival, both miracles and mysterious events begin to occur. Midnight Mass was released very recently, and I was immediately interested when I saw it was being written and directed by Mike Flannigan. His Doctor Sleep is one of my favorite movies, and I’ve heard he’s made many other amazing horror projects. Midnight Mass completely lived up to the high expectations I had for it, and it’s easily one of the best shows I’ve seen in a long time. The show’s presentation is great with brilliant visuals and music to accompany the incredible story. The cinematography is great with engaging camera work and effective shots. The setting of this small fishing town is very well crafted and it fits the show perfectly. The practical sets and locations fully immerse you into this small isolated world. The lighting is also very well done. It works to great effect for the horror of the show. That and the framing of certain shots and scenes manage to obscure the horror that is just barely out of view. Overall the show is beautiful to look at and its visuals are very effective. The score and soundtrack are great as well. Midnight Mass focuses heavily on religion and one major aspect of the score is the Christian hymns that are sung by the characters, mostly in church. These hymns are also used non-diegetically as a part of the soundtrack. This reinforces the tone of the show and the hymns themselves help to illustrate some of the show's themes, and the plot itself. The part of the score that is more traditional is also very good. It isn’t incredibly noticeable most times and mainly serves as an accent to the story. I think it fits the show well this way; the story, characters, and writing work so well on their own that a more reserved score fits well. The story itself is really great. It combines some classic horror scenarios with new twists and changes that create a really engaging mystery, horror, thriller. The mysteries of the plot unfold naturally, and the reveals are very satisfying. This show wastes no time at all throughout its 7 episodes, and everything serves a purpose. The story requires you to think in order to make certain connections and put pieces together. The finer details of what exactly is going on are left up to the audience to sort out. While I did at times struggle to wrap my mind around some of the “rules” of certain elements in the story it was never too confusing to follow, and always remained engaging. The show does a great job deconstructing religion, the church, and the dark side of those subjects, as well as the good in them. It’s captivating throughout, and I was completely hooked throughout the entire series. The writing in this show is on another level entirely. The story and plot are written well as I previously stated, but where Midnight Mass truly shines is with its dialogue. The dialogue in this series is some of the best I have ever heard; on the same level as Tarantino’s. Each character is fully realized in a natural way, and fleshed out incredibly well. Their backstories, motivations, and beliefs are shown to the audience perfectly. On top of that, they each feel like their own unique individual. Despite the show having a decently large cast of characters, no one gets lost in the shuffle. The characters have interesting dynamics which conflict with one another. The resulting interactions of these conflicts are perfectly enthralling. The dialogue written for conversations and monologues is gripping. Whether the characters are engaging in small talk or discussing life and death itself it’s beyond compelling. A large portion of the series’ run time is devoted to conversations between 2 or more people, and I could have honestly listened to 20 more episodes of conversations like those. The way each character brings their own personality and beliefs into each discussion, and how that creates conflict and discourse with other characters is just unbelievably good. This is especially great when elements of the plot come forward in these discussions. It puts you on the edge of your seat, and personally, I was hanging onto every word. That brings me to the second best element of the show, the acting. The performances in this show are absolutely brilliant. There is not a single bad performance in this show, and there are several incredible ones. Zach Gilford, Rahul Kohli, Samantha Sloyan, and especially Hamish Linklater are all outstanding in their roles. Linklater has several lengthy monologues/sermons which he delivers incredibly well. His dialogue with others, and even quieter scenes with just himself are all outstanding. He perfectly balances a more reserved approach and one that is much more powerful. Samantha Sloyan is also really great, and is a perfect antagonist for the show. Overall she plays one of the best antagonists in film or tv that I’ve seen in a while. All of the characters in this show are great. You understand their motivations and beliefs, and oftentimes they’re either very likable, intriguing, or both. They carry most of the emotion behind the story and add so much more emotion to it. The conclusion to their stories is very emotional and satisfying. These characters do manage to feel real and relatable, but they also feel like characters ripped right out of a book. They feel just slightly stylized to better fit the fictional world they inhabit, and it made me enjoy them and the show as a whole, much more. I really only have one minor nitpick when it comes to Midnight Mass. That being some shaky CGI present at times. While this can be slightly jarring and immersion-breaking in certain scenes, it’s in very few. While I wish it was better, I’m sure it mostly came down to budget constraints, and again, it’s a very small nitpick and doesn’t really detract from the show at all. I absolutely loved Midnight Mass and everything about it. The story, characters, writing, acting, and everything else was incredible. It shattered all my expectations, and I nearly started watching it again right after I finished it. I did rewatch the first episode again before writing this review, and it was even better after a second watch. The show has great rewatchability and I think most people will enjoy this show. While the show can be very tense and at times graphic, I think those that are relatively new to horror can still enjoy this show. The show has little true action and is very dialogue and character-focused. There are few jump-scares, and this isn’t standard jump-scare infested horror. Midnight Mass is a slow, menacing, enthralling, mystery horror. Objective Score: 9/10 Personal Score: 10/10 By @miscellaneous_media_reviews

Reviews by: @augustkellerwrites The Unbearable Weight of Massive Talent is a standard action comedy elevated by meta aspects. Particularly, Nicolas Cage as himself is a great gimmick since he's embraced his meme status. Still, Massive Talent is a missed opportunity because it's otherwise generic. The self-awareness is fun, the self-deprecation works, the Cage/Pascal chemistry is endearing, and the ending is heartfelt. However, the plot is lacking. Massive Talent admits that talky comedy and shoehorned action are lowbrow, yet plays into those tropes. The climax especially devolves into forgettable modern formulas. Therefore, Massive Talent combines wit with mediocrity, making it a mixed bag. Meanwhile, Massive Talent's technicals are minor. There's fitting music, believable production, and blending sound transitions. The editing is noticeable because it serves punchlines and maintains a tight runtime. However, the cinematography isn't proactive, the effects are sparse (besides a young Nick alter ego), and the direction is basic. The tone takes itself just seriously enough, but the presentation of this material is bland. Ultimately, Nicolas Cage's commitment, Pascal's innocence, and the vulnerable family drama drive Massive Talent, but only so far. It's a fun movie that Cage fans should enjoy, but don't expect much else. Writing: 6/10 Direction: 5/10 Cinematography: 5/10 Acting: 7/10 Editing: 6/10 Sound: 6/10 Score/Soundtrack: 6/10 Production Design: 6/10 Casting: 8/10 Effects: 7/10 Overall Score: 6.2/10 By @augustkellerwrites

Reviews by: @the_owlseyes “Therefore, to you, and to the fifty governors, I have a request. Please, do not send me politicians. We do not have the time to do the things that must be done through that process. I need people who do real things in the real world. I need people who do not want to live in Washington. I need people who will not try to work the system. I need people who will come here at great personal sacrifice to do an important job, and then return home to their normal lives. “I want engineers who know how things are built. I want physicians who know how to make sick people well. I want cops who know what it means when your civil rights are violated by a criminal. I want farmers who grow real food on real farms. I want people who know what it’s like to have dirty hands, and pay a mortgage bill, and raise kids, and worry about the future. I want people who know they’re working for you and not themselves. That’s what I want. That’s what I need. I think that’s what a lot of you want, too.” Tom Clancy, Executive Orders PLOT "Up-and-coming CIA analyst Jack Ryan is thrust into a dangerous field assignment as he uncovers a pattern in terrorist communication that launches him into the center of a dangerous gambit" or "American James Bond". SCRIPT This is what makes this series special. The script allows us to question our ideas about politics, race and terrorism. Not just for the Middle East, but also for South America. The Americans aren't always the hero and, most of the times, they feel likes the enemy. The characters on both sides get wonderful archs and the themes of justice, security and power are carefully explored. I would say that the first season is the best because is more impactful and daring while the second tends to drag a bit. The fact that that each season the protagonist faces a different threat is a good and a bad thing, because it doesn't grant a lot of continuity while giving us something new to munch and enjoy. Continuity is the most prominent issue I have with this show, because there's a character which has some relevance in the first season which disappear in the second season. The send off of one the characters is also a bit rushed and it feels unearned. Overall is a good script nonetheless. Flawed but remarkable. Script: 7/10 ACTING John Krasinski is perfectly casted and brings a lot of physicality and pathos to the character. I consider him pretty charismatic and an actor with a good range of emotions. Wendell Pierce, Ali Suliman and Dani Shihabi are the other highlights of this show. The first one does a good job in portraying the mentor of the protagonist and the others are quite impressive in bringing on the screen their characters who represents the point of view of the Middle Eastern people. The others are decent but I think that some are underutilized like Abbie Cornish, Noomi Rapace and Michael Kelly. Overall it's satisfying. Acting: 8/10 PHOTOGRAPHY It's good but it's hard to consider it remarkable. The colours aren't used in an interesting way and the light is usually flat. Sometimes shadows are used well. It was a let down, considering the production behind the show. Photography: 6/10 EDITING A bit repetitive and uninspired. It's stale and it doesn't offer much. The action scenes are well shoot but overall is a boring experience. Editing: 6/10 SPECIAL EFFECTS There're a few but they're not perceivable. Considering that this show is intended to be as grounded as possible, the fact that the CGI is limited is certainly a good thing. Special Effects: 6/10 SOUNDTRACK It's appreciable but I don't consider it among the best works of Ramin Djawadi. It sets the tone well and create thrilling moments but I don't consider it top notch. Soundtrack: 6/10 COSTUMES The usual stuff related to crime and espionage contents. A lot of tactical suits, guns and bullettproof vests. This is why I won't say more about it. Costumes: 6/10 CONCLUSION Script: 7/10 Acting: 8/10 Photography: 6/10 Editing: 6/10 Special Effects: 6/10 Soundtrack: 6/10 Costumes: 6/10 AVERAGE: 6,42 A good spy series which is carried by a wonderful cast and an above average script. Director: Morten Tyldum Screenplay: Carlton Cuse & Graham Roland Cast: John Krasinski, Wendell Pierce, Abbie Cornish, Ali Suliman, Dina Shihabi, John Hoogenakker, Noomi Rapace, Jordi Mollà, Francisco Denis, Cristina Umaña, Jovan Adepo, Michael Kelly Soundtrack: Ramin Djawadi Running Time: 50 min. By @the_owlseyes

Reviews by: @augustkellerwrites Transformers is a loud mess. It sparked a lucrative franchise, but the film is shallow and cluttered. First, the script is nonsense. Clearly, the writers had predetermined goals and forced a narrative around them. The vague MacGuffin, unreliable plot points, and muddled storylines only serve mindless action and cheap emotional manipulations. Besides the battles, there isn't anything here. Shia LaBeouf's charisma elevates his character, but even then, it's difficult for viewers to care. Ultimately, Transformers is a means to an end. Its sole purpose is to provide robots crashing into buildings, and that's about as empty as movies get. Meanwhile, Transformers is technically inconsistent. The significant (and occasionally practical) effects are a positive. The sound gets symbolic and the cinematography gets dramatic, but both are also chaotic and disorienting. Furthermore, during the finale, timing and spacing dissolve because the editing is incoherent. It's hard to know what's going on, where characters are, and how to feel. Plus, the soundtrack is forced, the production design is flooded with product placements, and the tone is erratic. Together, these aspects are distracting rather than immersive. Overall, some may like Transformers for its pointless excitement, but many will find it annoying. Writing: 2/10 Direction: 5/10 Cinematography: 6/10 Acting: 6/10 Editing: 4/10 Sound: 6/10 Score/Soundtrack: 4/10 Production Design: 4/10 Casting: 7/10 Effects: 8/10 Overall Score: 5.2/10 By @augustkellerwrites

Reviews by: @mr.cinemaaa Project Details Director: Lakshmi Sowjanya Story: Lakshmi Sowjanya Screenplay: Ganesh Kumar Ravuri & Sharat PR Dialogues: Ganesh Kumar Ravuri Produced By: Suryadevara Naga Vamsi Production House: Sithara Entertainments Cinematography: Vamsi Patchipulusu Music/Songs: Thaman & Vishal Chandrashekhar Background Score: Vishal Chandrashekhar Edited By: Navin Nooli Art Director: A.S. Prakash Action/Stunts: Venkat & Real Satish Costumes: Harsha C, Leelavathi G & Sandhya S Sound Effects: Raghunath Kemisetty Choreography: Brindam V.J. Sekhar, Vijay & Eshwar Run Time: 2 Hours & 13 Minutes CBFC Rating: "U/A" Direction & Story The film is a love story of Bhumi, an independent woman who is not interested in marriage and Akash, an architect who comes to her company on a project. The story is pretty decent when the love story unfolds in the first half, but it goes into a routine predictable mode in the second half. The way the heroine's role is been designed is appreciable and the love track looks a lot mature due to the lead pair's characterizations. The screenplay is engaging till the first half but is let down in the second half. Just to cover the runtime, the makers add a few forced comedy scenes which luckily work in favour of the film as they make us laugh. Dialogues by Ganesh deserve a special mention. They are simple, sensible, & bring a lot of depth to the film. Lady director Lakshmi Sowjanya makes an impressive debut. She handled the love track very neatly and gives a full-fledged family entertainer in a classy way. Lead Performances Naga Shaurya looks super handsome in the role of an Architect & impresses big time with his performance. He comes up with a more settled act this time and his screen presence is amazing which brings in a lot of depth to the film. Also, the way he showcases subtle emotions throughout the film is very good. Special mention to his styling in the film. He looks so stylish and classy in those skin-tight formals and this is by far one of the best looks in his entire career. He also looks macho in a couple of action scenes in the film. Ritu Varma gets an author-backed character and she is fabulous throughout the film. She gets ample scope to perform as the boss lady with attitude & Ritu does so well. Special mention to her costumes and styling as well as they are neatly designed. Also, she badly needs to improve a lot on her body language in her dances as she never matches to the energy of the songs. Other Performances Nadhiya gets a very good role as a possessive mother of the heroine who is worried about her daughter's marriage and she shines well in the given role. Murali Sharma as usual provides good support as the heroine's father. A couple of scenes where he talks to Ritu about her marriage are effective and written well. Vennela Kishore and Himaja entertain us nicely as the office staff of Ritu in the first half while Arjun Kalyan and Vaishnavi Chaitanya too are good as the other office staff who fall in love with each other. Jayaprakash and Praveen are pretty decent as the heroine's boss and as Shaurya's sidekick respectively. Saptagiri is hilarious in his Lag track in the second half. Harsha Vardhan is neat in a negative character. Alekhya Harika surprises in a limited special cameo. The rest of the cast including Rajita, Mahesh, Kireeti, and others are fine in their respective supporting roles. Detailed Analysis The best part of the film is Ritu's characterization. The way her role is written as a tough woman is impactful and even Shaurya's character is written in a classy way. The scenes between them, their chemistry, and a few funny scenes make the first half a decent watch. The second half is a bit boring as the college episodes look routine and the marriage episode is unengaging which follows the regular family entertainer template narration that takes us to a very predictable ending. The biggest minus of the film is not having a proper conflict point in the love story. The heroine never listens to what the hero tries to tell & the hero actually never tells it strongly when it's needed. These scenes should have been handled in a more convincing way. The undercurrent emotional connect is largely missing in the film as the scenes where the lead pair realize their feelings for each other looks a bit artificial. Technical Team Direction: 4/5 Story: 3.5/5 Screenplay: 3/5 Dialogues: 4/5 Music/Songs: 4.5/5 Background Score: 4/5 Production Values: 5/5 Cinematography: 5/5 Editing: 4/5 Art Work: 5/5 Costumes: 5/5 Choreography: 4/5 Fights/Stunts: 4/5 VFX/Graphics: 4/5 Things to Look Out for The camerawork by Vamsi Patchipulusu is splendid as he captures the mood of the film nicely and colorfully. Songs by Thaman & Vishal Chandrashekhar are good to hear. 'Kola Kalle Ilaa' & 'Digu Digu Digu Naaga' are the best songs. The background score is neat too. Production values of the film are top-notch as the film looks contemporary and colorful. The artwork, fights, fights & dances are superb and add well to the film. Plus Points Naga Shaurya's Looks & Performance Ritu Varma's Characterization Well Written Dialogues Matured Love Story & Lead Pair Chemistry Cinematography & Production Values Songs & Background Score First Half & Few Comedy Episodes Minus Points Weak Conflict Point Slow Narration & Routine College Portions Half Backed Sub Plots Dull Second Half Predictable Climax Final Verdict A very mature love story that can be watched with the whole family. P.S.: A lady director’s intention of adding a woman’s touch to a familiar story. Recommended: Yes Mr. Cinema Rating: 3.5/5 0.5 - Unbearable 1.0 - Avoid 1.5 - Flop 2.0 - Below Average 2.5 - Average 3.0 - Watchable 3.5 - Hit 4.0- Super Hit 4.5 - Blockbuster 5.0 - Mega Hit By @mr.cinemaaa

Reviews by: @vreviews_ 10/10 ★ A very interesting premise is proposed by the sci-fi film, where aliens and time true nature is beyond our perception of them. Plot: Dr. Louise Banks is a linguistic experts and a university professor who's cunrrently struggling with the loss of her only daughter. Suddenly, various extraterrestrial ships land on different points of the planet. Then, she's hired by USA's army in a mission to try to establish communication with the new visitors. Overall Opinion: I'm aware of the fact that many people have mixed feelings regarding this film, mainly because it's not easy to understand. We don't really know what's going on unless we pay attention to some important details and also through some reflection. Having said that, I personally think this is one the best sci-fi films I've ever seen. "Interestellar" (2014) raised quite similar feelings in me, since they both mix very interesting elements. I think this films has three fundamental elements: an emotional factor, a fantastic factor, and a linguistic factor. On the first place, we have the death of Louise's daughter and the pain that comes along with this. Then, we have the aliens, which are represented in an interesting form by the way. And finally and most importantly, we have a linguistic element since language is the key to solve the story's main conflict. As some who loves the study of language and its impact on the structure of different societies, I think this movie is so damn amazing. In fact, there's a scene where the two main characters discuss what's most important for a society: language or mathematics? Louise certainly stands for language and so do I. If you think about language as a means of any kind of communication, without you can't practically have anything. Humans need language or any system of communication in order to build everything. We need to communicate in order to create a society, and this movie supports such an idea. Apart from this, I really connected with movie due to the important emotional element included in it. Time, death and mourn are present in its premise in a such a beautiful way. Characters and Performances: I've said this plenty of times and I'll always say it: get Amy Adams a f***** Oscar! I think she's one the most underrated actresses in the Industry and it upsets me. I think she's very versatile and capable of playing very different roles. In this case, I was amazed by the way in which her character dealed with death. In some way, we all know the future; we all know that the our loved ones one day will die and that we will have to decide if we can continue without them or not. We all know that some loss will destroy us. Then, why do we choose to love? Why do we decide to get so attached to relations that will eventually end and make us suffer? For me the answer is simple: because it's worthy. By the end of the day, the only thing that really makes us feel alive is love, in some way or another. I think the message of this film is encouraging us to embrace decisions and loving people, even though we know the future results. I believe that death is a reminder for us to love the present time; being aware that our loved ones one day will die should encourage us to set aside differences and love as much as we can. Because if you can't love, then what's the point of life? Year: 2016 Director: Dennis Villeneuve Genre: Sci-Fi, Drama Music: Jóhann Jóhannsson Cast: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Tzi Ma, Mark O'Brien, Julia Scarlett Runtime: 1h 56 min Qualification: 10/10 By @vreviews_

Reviews by: @augustkellerwrites @picturesinflow @michaels_movie_bay The Northman is passion. Eggers is known for pairing detailed research with imposing atmospheres, and this is no exception. Its revenge narrative isn't unique, but the dedicated dialogue and cultural accuracies are illuminating. Plus, there are themes about the cycle of violence and burden of destiny. All together, the writing injects a familiar trope with comprehensive meaning, transforming it into an exhilarating journey. Furthermore, the acting meets this rigid material. Skarsgard breaks his anger with wounded and tender undertones. Meanwhile, Taylor-Joy is defiant, Kidman is layered and Bang is complex. Overall, The Northman provides emotional intricacies that will enthrall audiences. Technically, The Northman is masterful. First, the direction creates a brutal tone, meticulous environment and artistic vision. Next, the cinematography uses immersive extended takes, emphatic symmetry and impactful surrealism. The editing is restrained, yet explosive during key points. The sound is dense, abstract and atmospheric. The music is authentic, ambient and powerful. Additionally, the production thoroughly establishes the foreign world and its savage realities. Lastly, the effects are elaborate and multifaceted, yet always supportive. They offer visceral punctuations but never distract. Thus, The Northman is a symphony of craft and commitment. Undoubtedly, this is a must-see. Writing: 10/10 Direction: 10/10 Cinematography: 9/10 Acting: 10/10 Editing: 9/10 Sound: 9/10 Score/Soundtrack: 10/10 Production Design: 10/10 Casting: 9/10 Effects: 10/10 Overall Score: 9.6/10 By @augustkellerwrites The Northman offers a look into the dreary, mystical, savage and absolutely brutal time of Viking times. Based around revenge, which is found in about every 2-3 movies, but adds so much over the initial concept that it becomes something different and something really good. Alexander Skarsgard towers over almost everyone, shows no remorse and screams throughout the whole runtime, which is just marvelous. Anya Taylor-Joy brings innocence combined with cunning to an overall great performance, while on the other spectrum we have Nicole Kidman showing no attachment and just finding a way to survive. Everyone did splendidly here. Robert Eggers is growing steadily with every entry, coming to his own style and perfecting it with each one, his movies are definitely not for everyone, but for those who like his last 2, this one offers the same style but on a grander scale. At the end of the day, The Northman is his first foray into the big budget movie scene and from what was shown, he used about every single penny into this one. We should not kid ourselves, The Northman will not make much money, given the concept, given the misleading trailer and that Doctor Strange comes out in a few days (mostly the last one). Marketing should be done by everyone and if you are smaller, it should be even one of the most mandatory things. For an example, those who have franchises like Marvel, DC, Lord of the Rings, Star Wars and way too many to say, dump ludicrous money into their marketing campaign, they know people would go watch them either way, but they still invest heavily into that specific aspect. The trailer hyped it up being a massive action flick with blood and gore, and while the blood and gore is definitely there, it is more of a surreal look into those times and not something suited for the average movie goer. The Northman is something to watch on the biggest screen possible with big speakers, so you can be transported to land of gory savagery, heart thumping drums, constant screaming and just plain old fun. By @picturesinflow 4/5 After witnessing his father’s (Hawke) murder, young Amleth (Skarsgård) vows to avenge his father, save his mother, and kill his uncle, the mastermind behind the assassination. This singular focus keeps him alive through a treacherous adolescence until the day he can exact his vengeance. The Northman is an unrelentingly brutal descent into one man’s unquenchable thirst for revenge. An unapologetic and unflinching orgy of violence and rage that is visceral, emotional, and often disquieting. Robert Eggers is no stranger to making his audiences uncomfortable with his unconventional methods of storytelling and The Northman is no exception. And while the film tells a traditional story, it does so in a gritty and unique way that challenges convention in a way that may alienate some viewers. From a technical and visual standpoint, the film is a marvel. The Northman is consistent with Eggers’ previous works and showcases his singular vision and style while presenting a narrative that is more easily accessible than both The Witch (which I liked) and The Lighthouse (which I did not like). Long tracking shots showcase both the director’s eye for symmetry and the talent of the actors populating its world. There is no denying Eggers’ craftsmanship and his ability to broaden his horizons and work with a much larger budget foretell greatness in his future. Alexander Skarsgård anchors this film and is absolutely incredible in the role of Amleth. He has been very good consistently in his television roles, but his performance in The Northman could easily catapult him to film stardom (something his role as Tarzan failed to do). Anya Taylor Joy, Willem Dafoe, Ethan Hawke, Nicole Kidman, Claes Bang, and Bjork credibly portray characters in this harsh early Icelandic world and their performances feature a unique intensity that matches the bleak tone of the film. The Northman is an aesthetic and visual achievement, a brutal morality tale, and an impressive execution of a director’s clear vision. It is a spectacle that deserves to be seen on the big screen. Its depictions of violence and its sometimes non-traditional approach to storytelling may render it unapproachable to some, but this is an incredible piece of cinema that hearkens back to the classic period epics of the past. I fully expected to hate this movie, mock Eggers apologists, and declare The Northman self-important and pretentious drivel. I was gladly proven wrong and now I cannot wait to see it again. Hot take: I can’t help but wonder what this movie would have looked like in the hands of one of my favorite directors, like Ridley Scott. Certainly it would have been different and less gritty, but likely much worse. By @michaels_movie_bay

Reviews by: @cignomovie • A movie that I learned about when actor Choi Woo-sik talked about it in episode 133 of You Quiz. ⠀ • It was a work that I met at a time when I thought, 'If an actor isn't my way, I'll have to do something else' because I didn't have a lot of work and felt like I was the only one who was in my place compared to other friends. I thought this was the last time I filmed it, but it became an opportunity to solidify my position as an actor by winning six newcomer awards at various film festivals including the Blue Dragon Film Festival. ⠀ • Oh I love this story. ⠀ • It's a fate-like movie that made a person who tried to quit saying 'I guess I'm not' able to film [Parasite], so shouldn't we watch it? ⠀ • Actually, personally, I don't like this type of movie. It's hard to live, but it's because I don't want to watch stuffy movies. ⠀ • Even just looking at the fragmentary information before watching this movie properly, I felt like I ate sweet potato and snow white rice together. ⠀ • As expected, the feast of characters who want to blow bamboo shoots - ⠀ • Check the director's mouth ⠀ • Sir, shut up • A guy named Abby, you should talk to him too! ⠀ • Even her mother who smashed clichés. ⠀ • There is no place in the world where one can rest one's heart ⠀ • Youngjae is not a pretty character to have a heart of compassion, but there are moments when you feel desperate. ⠀ • Even though it feels like a terrible family, I am afraid that even that family will disappear and I will have no place to return to. ⠀ • Or, the mindset that the position will be disadvantageous because of the younger brother and will be kicked out. ⠀ • Maybe both. ⠀ • Endless irresponsibility and precarious reality drive the mind of a young teenage boy to the edge of a cliff. ⠀ • But the question I've been hearing all along - Youngjae, were your words and actions different from those of your father, whom you hate so much? ⠀ • A series of irresponsible words spouted without effort and escape from reality, which may be innate rather than a survival instinct created by the situation. ⠀ • As the uncomfortable question reaches its climax, the tutor, who is almost the only adult caring for Youngjae, speaks. ⠀ • "I hope you don't get fooled by what you say. I hope you live like what Youngjae really says." ⠀ • I hope the day will come when you realize that trying to make your words a reality is the way to achieve your future and happiness rather than avoiding the moment and remaining in a shelter. ⠀ • And I hope that those who turned a child's heart into a battlefield will not make it difficult for Youngjae anymore. ⠀ • Physical violence is not the only violence. By @cignomovie

Reviews by: @augustkellerwrites Face/Off is shameless entertainment. The story of rivals switching faces is a ridiculous yet captivating premise. Shrewdly, Face/Off pushes past the science to the thrills. Once audiences do the same, they'll enjoy the ride. Like most cheesy action movies, the story is less about practicality and more about opening fun doors. Face/Off exemplifies this because its role reversals are compelling and novel. Plus, seeing Nicolas Cage and John Travolta switch personas halfway through the film is interesting. Neither character is deep, but they're different enough for an engaging gimmick. Furthermore, there's plenty of gratuitous action to make the film worthwhile. Technically, Face/Off is good. The cinematography is superficial, yet active and clear. The editing has awkwardness and pacing issues, but maintains energetic and coherent action. The sound is complex and emotional. The soundtrack is dated, but has a reoccurring melody that shifts tones. Also, the effects deserve credit for extreme 90s explosions and stunts. That tangible action is sorely missed today. Lastly, the casting of Cage and Travolta makes the movie. Face/Off probably wouldn't have its enduring following if not for such notable leads. Therefore, while Face/Off is clearly a cheesy flick, it accomplishes its job very well. Writing: 5/10 Direction: 7/10 Cinematography: 7/10 Acting: 8/10 Editing: 6/10 Sound: 8/10 Score/Soundtrack: 7/10 Production Design: 6/10 Casting: 9/10 Effects: 8/10 Overall Score: 7.1/10 By @augustkellerwrites

Reviews by: @the_owlseyes “Those who dream by day are cognizant of many things which escape those who dream only by night. In their gray visions they obtain glimpses of eternity, and thrill, in waking, to find that they have been upon the verge of the great secret. In snatches, they learn something of the wisdom which is of good, and more of the mere knowledge which is of evil” Edgar Allan Poe, Complete Tales and Poems PLOT "David Haller is a troubled young man diagnosed as schizophrenic, but after a strange encounter, he discovers special powers that will change his life forever" or "Charles Xavier has a weird powerful son with a story more compelling than all the X-Men movies put together". SCRIPT This is a huge character study of Legion, a mutant which isn't well known but has important origins. I like how the series explores different themes about mental health, freedom, time travel, choice, insanity, parenthood, friendship, love, power,...I like how the series flips on its head the concept of villain and hero and make sure to have a resolution which is different from most superheroes movies and shows. Every single character as an arch which is strongly linked with the plot. Each episode impress with edgy storytelling and over the top quirkiness. I likealso the fact that this series knows when and how to end in a satisfying way, without overdoing itself. I found interesting the fact that the concepts of mutants, professor x and generally the X-Men Universe is only hinted at. I didn't think that this show would've been that impactful. Wow. Script: 8/10 ACTING Dan Stevens is the one who carries this show on his shoulder with magnificent quality. He's able to showcase a wide variety of emotions and different variations of his character. He's able to be menacing and inert with such a remarkable ease. But he isn't the only one who shines in this series. Aubrey Plaza portrays the quirky Lenny perfectly, Hamish Linklater is pretty good in his role too, as well as Jean Smart and Rachel Keller. A shoutout to Jemaine Clement who stole the show in the second season and I wish to see more of him because he's a delight with his charm, weirdness and smooth accent. The only one who truly stands on the same level of Stevens is Navid Negahban, who plays the Shadow King to perfection. He's suave, charming, threatning, fascinating and creepy at the same time. He's the best choice to embody the villain of this show. He is present from the second season but he's able to leave a unforgettable impact on the viewers. Acting: 8/10 PHOTOGRAPHY Probably one of the best aspects of this show, if not the best. It plays with lights and colours and everything has a meaning. There're a lot, a lot, of imaginative and out of this world shots which show the sublime quality of the production behind all of it. This series is breathtaking. If you liked Loki, you are going to like this one even more. Photography: 9/10 EDITING This series keeps your mind active throughout all the runtime, without losing its originality and edge. It's among the best edited show in my opinion because it plays with our brains and it seems like a huge trip. It's hard to write about it because there's too much to write about and I think that you should see it by yourself to understand this show's greatness. Editing: 8/10 SPECIAL EFFECTS Even though they're a bit clumsy sometimes due to budgetary constraints, this series feature a cgi which is marvellous to look at. It isn't just CGI because sometimes this show transforms into an animated party. If it wasn't for these special effects, the show's visuals wouldn't be so great and flamboyant. Special Effects: 8/10 SOUNDTRACK I think that this show wouldn't be what it is without the soundtrack, which is amazing. It's a blend of instrumental and pop songs, which are sometimes singed by the actors. The instrumental aspect of the soundtrack is wonderful. Jeff Russo has been able to craft an eerie, dynamic, original and psychedelic score which will stay with you for ages. Soundtrack: 9/10 COSTUMES They're interesting but I find them the weakest aspect of this series. Surely, every costume fits its character but it's not enough to say that it's remarkable. Nonetheless the third season has better costumes than the previous ones. Costumes: 6/10 CONCLUSION Script: 8/10 Acting: 8/10 Photography: 9/10 Editing: 8/10 Special Effects: 8/10 Soundtrack: 9/10 Costumes: 6/10 AVERAGE: 8 You need to watch this series because it's amazing in almost every way. You won't regret it. Director: Keith Gordon, Dana Gonzales Screenplay: Noah Hawley, Nathaniel Halpern Cast: Dan Stevens, Rachel Keller, Aubrey Plaza, Bill Irwin, Jeremie Harris, Amber Midthunder, Katie Aselton, Jean Smart, Navid Negahban, Jemaine Clement, Hamish Linklater, Lauren Tsai Soundtrack: Jeff Russo Running Time: 50 minutes By @the_owlseyes

Reviews by: @augustkellerwrites In the franchise era, The Outfit is refreshing for its contained story. Also, its bottled nature amplifies details and thrills, building tension through shifting characters. Everyone has a secret and every conversation has ulterior motives. Each scene is unpredictable and it's unclear who viewers can trust, making The Outfit thoroughly captivating. The narrative gets improbable and the ending is convenient, but overall, the writing deserves credit for weaving efficient conflicts. Furthermore, the acting (especially Deutch and Rylance) is deceptively layered, igniting the script's strengths and softening its flaws. Therefore, despite The Outfit's plot holes, it's highly riveting. Meanwhile, The Outfit's craft maintains excitement. Bottle movies depend on filmmaking for entertainment weight, and The Outfit delivers. Particularly, the editing keeps tensions high and the runtime concise. Plus, the timeline manipulations are flavorful and symbolic. Next, the music accents the era, the sound is dramatic, and the direction provides a consistent tone. Lastly, the cinematography utilizes lighting and composition, the production is immersive, and the effects meet the material. These aspects aren't elaborate, but they're meaningful. Ultimately, The Outfit is balanced, with key performances and a tight script. It's not a blockbuster, but it's firmly enjoyable. Writing: 8/10 Direction: 8/10 Cinematography: 7/10 Acting: 9/10 Editing: 9/10 Sound: 8/10 Score/Soundtrack: 8/10 Production Design: 7/10 Casting: 7/10 Effects: 7/10 Overall Score: 7.8/10 By @augustkellerwrites

Reviews by: @augustkellerwrites Father Stu presents a loaded topic with mixed execution. It has uniqueness, but Father Stu undercuts that with generic mistakes. Specifically, Stuart Long's rebellious expression of Catholicism is accessible to non-believers. Unfortunately, that’s supported by slim philosophy and insincere resolutions. Father Stu takes viewer buy-in for granted and focuses on unearned inspiration to simulate progression. This contrived writing squanders the refreshing protagonist. Therefore, instead of reaching skeptics (like Long was known for), Father Stu preaches to the choir. Plus, Wahlberg's casting is overpowering. He's good, but the faint material is overshadowed by his persona. Technically, Father Stu is decent, yet bland. Its positives are the energetic music, involved aging make-up, and symbolic sound. Conversely, the visuals are completely uninteresting. There's one meaningful upside-down shot, but that's it. Furthermore, the editing is equally basic, never heightening drama or thematic energy. Thus, the film blurs into a vague series of events, feeling less impactful than they should. Also, the third act drags because the film isn’t paced or structured. Overall, the filmmaking has virtues, but fails to create a clear tone or emotional arc for audiences. Consequently, Father Stu misses its opportunity to produce converts. Writing: 4/10 Direction: 4/10 Cinematography: 5/10 Acting: 7/10 Editing: 4/10 Sound: 6/10 Score/Soundtrack: 6/10 Production Design: 5/10 Casting: 5/10 Effects: 6/10 Overall Score: 5.2/10 By @augustkellerwrites

Reviews by: @wackyfrikeando Buenas Wackys!!! ✅Hoy os comento una peliculilla catalogada (por mí) como "peli de siesta", que nunca viene mal. #Kate , que podéis ver en #netflix. ↪Cinta de acción, cortita y sin demasiadas pretensiones sobre una asesina profesional que busca venganza a contrarreloj. ⬆️Propuesta a medio camino entre #crank y #johnwick resultona y entretenida. Es cortita y no se anda con muchos rodeos, ideal para desconectar y dejarse llevar. Sin duda, su fuerte son las escenas de acción y el ritmo trepidante de gran parte de su metraje. Y sobretodo, la aparición de #woodyharrelson , que nunca está de más. También da gusto encontrar una heroína que es capaz de hacer todo lo que haría el típico machito hipermusculado👏🏼. ⬇️Lo malo; es predecible desde el minuto uno. Superado esto, y si aceptáis que ya sabéis el final casi antes de que empiece, el resto no está mal. Un poco lenta tal vez en algunos tramos y al compararla con las otras dos películas que os he comentado, se queda un poco descafeinada. La habéis visto? Os gustan este tipo de películas? Os leo, pero muy rápido👇🏼👇🏼👇🏼 Saludos y hasta pronto!!!🖖🏼 By @wackyfrikeando

Reviews by: @movie_pill 인생에 있어 경험보다 값진 것은 없다고 했고, 식견을 넓히기 위해 많은 것들을 경험하고 많은 곳들을 가보아야 한다고 했다 현재에 안주하지 않고, 많은 것들을 보고 배우며 나아갈 때 더욱 성공적인 삶을 살 수 있다고 했다. 그러나 그 경험이, 많은 식견이 꼭 좋기만 할것일까? 너무 많은것을 알아버려 혼란이 생기거나 너무 큰 목표로 인해 자칫 나 스스로가 보잘것없는 존재라 여겨지며 불행하다고 생각하게되진 않을까? 살아가다보면 한 번씩 다시 보고싶어지는 이 작품은 벌써 수십번을 봤지만서도 볼때마다 느낌이 색다르다 배에서 나고 자라 한 번도 배 밖으로 나간 적 없는 남자의 이야기. 너무 많은 것을 경험한 우리에겐 배 안에서만 살아가는 그를 보면 누구보다 갑갑해보이겠지만 배에서만 나고자란 그는 항상 수많은 선택과 끝없는 왜에 대해 생각하며 골머리를 앓아야하는 '육지 사람'들을 보며 사이즈가 맞지 않는 옷을 억지로 입고 나간듯 불편하게 생각한다 어떤 면에선 영화 속에서의 그는 꿈을 찾아 미국으로 떠나는 수많은 이들보다 더욱 즐겁게 많은 사람들을 마주하며 보내는것처럼 보이기도한다. 정해진 정답도 없고, 영화 속에서 전달하고자 하는 이정표가 있는 것은 아니지만 삶의 방향에 대해 다시 한 번 고민하게 해주는 소중한 영화다 삶의 목표와 좋은 친구, 사랑하는 연인, 진정 행복해지기 위한 길에 대해 다시 한 번 찬찬히 생각해보아야겠다. 많은 것을 배우고 식견을 넓히고 좋은 사람들을 만나 다양한 것들을 접하는것도 도움되겠지만 너무 많은 것을 알고, 수많은 선택을 하고 행복해지고 더 나아지기 위함이란 말을 포장하여 내가 불행해지는 선택을 하지 않도록 나라는 사람이 잘 살아오고 있었는지.. 돌아보는 시간을 갖도록 하자 정말정말 소중하고 사랑하는 영화. 이작품만큼은 온세상 모든 사람이 봤으면 좋겠다 By @movie_pill

Reviews by: @tylersnerdy_review I just finished this documentary for my Ideas and the Visual Arts Class (AKA a form of Art History with elements of Art Critique). Werner Herzog writes, directs, and narrates 2010’s Cave of Forgotten Dreams, poetically linking the audience to our ancestors from 30,000+ years ago. Usually when we talk about Cave Art in school there are two or three caves that teachers show images of. But for me it has never been this cave, I had never heard of this one despite the fact that the drawings inside are almost perfectly preserved because of a landslide that blocked the original entrance. The cave is gorgeous, surrounded by amazing scenery, and hearing Herzog’s euphoric voice speak poetically of the past is very calming. I took an Anthropology class my freshman year of college and we spent a lot of time about the first people, so I knew a great deal of what they were discussing. But this still managed to catch my interest and teach me something new. The real standout here though is the score. I haven’t seen very many documentaries but they have never had such an amazing score. Like, this felt like the music that goes into a really good drama film. Ernst Reijseger adds so much of the beauty to this documentary, making the scenes that show off the art very deep and beautiful. The depths of human history are so fascinating, to think of how long our history is and then to realize that it’s nothing compared to the history of the planet and how that is nothing compared to the history of the universe. But with these paintings, our oldest ancestors seem to almost speak to us from the past and leave their own mark that has lasted all those years. I’d say this is one of the best documentaries I have seen and I would suggest anyone that’s interested in human prehistory give it a watch. I rented it for $4 on YouTube so it’s super cheap and only about an hour and a half. Most definitely a 10/10 from me. -Tyler. By @tylersnerdy_review