Reviews

Civil War may be his most thought provoking movie until now, imagining a time in the country when it feels like a post-apocalyptic USA thanks to the war-driven divide in the country. Some spectators could see it as a political takedown but it's not about it. The audience finds itself soon face to face with the true horrors the job war entails. In the end it is a harrowing road movie that makes momentary stops in horror, drama, war films, and even comedy, but it is also a character film - the main quartet stands out, with honorable mention to Dunst and Moura. Special mention to the icy, inexpressive and predatory character played by Jesse Plemons , one of the most disturbing villains in movies and series in recent years, it is truly scary and terrifying.

Film noir been around for a long, where the story, setting and atmosphere are tied specifically to the sun culture of California. "Message from the King" is a fusion of several genres, calling back to movies like " "Hardcore," and "To Live and Die in L. A." in this plot of a mysterious and lethal South African man who touring the ugliest motels of LA in order to figure out why he hasn't heard from his sister lately. There are strong performances and there's also something just a little off about this picture, which keeps it from connecting with the viewer all the time. But overall it works, though bit being a masterpiece and that because of the good rendered atmosphere and the teal violence scenes.

The director employs the typical color gradient and camera with muted tones and wide shots. The writing is brilliant , as the Holocaust is obviously a subject that can be explored in a variety of ways, and to varying degrees. Glazer ha sdone here something original pusheing the story as to force viewers to truly think and feel, taking their brain and eyes off and exploring another dimension. The expectations were very high, the reviews excellent and the endorsements all over. The concept of the film is haunting and disturbing, and we could say that the film may argue that it has developped in a much more provocative way than the basic setting and plot of the film.

This series takes the viewer on a long trip and the detailed world-building makes sure the on-looker feels at home beyond a point. Familiarity is how all is created through repeat character encounters in the same locations, who become an intrinsic part of the story. Violence is expended but very carefully throughout the series also when the setting gives wide opportunities for violence. The story is layered with many situations coming together to bring a coherent plot. Adding to the detailed storyline, the several conflicts arising within the story, racism, migrant crisis, teenage stories, drug abuse and so on.

This is a truly deeply story, perfectly played and about loss and loneliness with a quartet of perfect actors blending together in a breathtaking way. It's very inspiring to see a filmmaker and an ensemble operating on the same emotional pace and level. It's crystal clear that the director created such a comfortable and suitable set for these performers, all greatly displaying the kind of vulnerability that we don't often see in these dramas. We see melodrama, and we see manipulation, but honest vulnerability is rare, peculiar and special. The people here are genuinely damaged, and it takes a form of a true suffering. Jamie Bell is also fantastic and the pair proves to be a perfect and greatly matched couple. The rendering of the eighties or late seventies is made very precisely. The ending is naturally terribly sad.

Even with distracting prosthetics and false teeth, Vergara looks nothing like Griselda Blanco. Still, even if the attempt at a makeover is an unfortunate distraction, everything goes in a "Scarface" mode/formula and delivers a robust and over-the-top performance in this blood-soaked series from the creators of "Narcos" that plays like an extended B-movie. Very violent also because it's based on real-life tough events and adhering to a number of major events in Blanco's life, "Griselda". The story is highly stylized and fictionalized, as is the case with virtually all of these based-on-a-true-story gangster movies and series but it works..

When Statham's tranquil life-in-retirement is shattered by the death-by-suicide, we start expectedly seeing the usual Jason's character. So he switches into vengeance mode. With beatings, explosions, gunplay and more. It's what happens in a Jason Statham movie. We're talking about genuine crowd-pleaser, action like in a live-action cartoon. No shades of gray here. There is obviously the risk of the whole thing getting and turning into a big cliché, leaving the sensation of a deja-vue. Bit going to much such a movie results in the risk of having to watch such a story, which is properly packed, on the whole.

Close stars Rapace as Sam, a bodyguard protecting young heiress. The straightforward task turns into a nightmare ans web of conspiracy. The remaining pieces are relatively easy and predictable to be put together: Zoe is a spoiled girl who needs to learn to care for other people; Sam is a emotionally closed-off tough guy who needs to learn to embrace her feelings. Whether or not they make it through their respective abd mutual emotional journeys alive, it is left to the viewers to find out, but suffice to say that the stakes feel unusually low for a story that's built on nothing but stakes. Great filming locations and good performances but nothing else special.

A TV series within the walls of a Spanish penitentiary with all the typical features such as sex, drugs, violence and a sort of showdown in the laundry room. Pretty similar to "Orange is the new black", with the same type of unlikely same-sex romance, corrupt prison officers, riots and an attempt to escape. It works on the whole, with the blonde, soft, middle-class lady learning to adapt to life behind bars after she was banged up for fraud but with too many clichés. There is certainly a good combination of solid performances, engaging story and intense action, which make Vis A Vis make it a must-watch and a good prison drama. It's probbly the first Spanish prison serties which was internationally successfull. Just maybe lascking a bit of realism..

I had watched Suburra, which is the hit 2015 movie but not the series. This review is so based on the eight episodes of this show and what the audience can take away from them as a standalone. All the prequels have had the Anecleti family at the center of things. The question is whether this show can be viewed as a standalone. The answer is yes, it can, although it takes time to understand the big picture, as none of these characters were known before if seen that way. It's not that the script is too bad, but it doesn't offer anything new. It is another power struggle, a clash of ideologies with no apparent reason, and just general gunslinging and firing At times, it felt like the story had too many details and politics that we were missing, and that was a mistake by the scriptwriters. The one genuine benefit of not having watched the prequels is that the audience will root equally for both sides at war. Briefly, this story is that Rome is 'in turmoil,' with the mafia, the church, and the government pushing their agendas at the expense of poor people. This is why it is apt to say that there are no good guys in this show, even if they look like they are doing the right thing. The fact is that we expected to feel something with Suburræterna. All in all is better to be watched with a global knowledge of other stories.

Fassbender is stylish in the role, giving us a quiet but strong performance leaning into the lone-wolf needs s of this perverse line of work. In some moments very quiet, in others with his brutality on full display. Tilda Swinton has a tiny part but it's nevertheless an important role.

Naturally, the film is full of killings, but when the killing ramps up like in Florida, the big fight scene is a joy. That might sound morbid, but the scene is impeccably choreographed, cut, and edited, to the point where it's impossible to check out from. The violence is captivating - which might say a lot about society, but Fincher capitalizes on our proclivities, even the bloody ones, in a similar fashion to the way he did in Fight Club. Overall a very good movie, where the talent of the leadactor plays a pivotal role.

The pair to compartmentalize their personal and work lives to some extent, but all hope of keeping work and love separate goes wrong when she receives a promotion he thought he was going to get. This is not the erotic thriller Netflix's algorithm so desperately would like it to be. There is sex, yes, and a psychological duel, but not so much perverse desire. It's ultimately an ugly film. Fair Play is about the sort of guy a lot of women are uncomfortably familiar with - the one who's perfect until he's not, who's an ally as long as he stays in power. It's about the sort of woman other women dread to become, the one who realises her own power is illusory only when it's far too late. Both the lead actors deliver good performances but in my opinion you don't know where the whole story is going..

There is maybe a problem for the whole film. It is billed as a crime thriller, but it did not thrill so much, except for its final part. The story is certainly watchable but not gripping. The people not extremely interesting (even the killer turned out to be just plain odd), and we didn't find out enough about what happened to the victims to feel anything much for them. There is a tension around the climax, but nothing had built up to that stage. Director Robin Pront made another movie a few years ago which was well received (as well as several shorts), so perhaps the problem was the writing. As well as the mood of the film, there are maybe some problems with the story: for example, there a number of - potentially interesting - plot strands which don't go perfectly well together, such as a traditional weapon, and Brooks' trauma. Some characters are basically standard models from crime dramas across the western world. The lead actor has yet delivered a good performance, which helps to save the review.

Like a number of these recent Neeson action spectacles, "Retribution" is a remake of a Spanish and a German film.

None of the characters appearing are particularly interesting or likable (the kids, in particular, seem to be a bit annoying at times. And the director (named Nimród Antal) handles the strong action scenes and beats in a well exciting; the big twist in the final scenes is a bit predictable obvious that virtually every audience member will have figured it out long before it's deployed. So, a continuity with most of the movies starring Neeson of the last 10 years but overall interesting for the filming location in Berlin and due to Neeson's good (as usually) performance.

Dangerous Lies tries (unsuccessfully) hard to create an air of strong suspense as it slowly builds to its conclusion. The failure in the plot's setup is that it feels a little too much like a textbook. The viewer quickly finds difficult the answer to theisquery: does it manage to create tension? Yes but only partly. But the plot pushes all so hard that the sympathy for her dwindles quickly. It is a solid idea to create tension between the two main characters but is repeated so much it's like it is the only move the story has sometimes. Other than that there is not so much to get noticed.. All in all nothing special.

Ultimately this series has never been as overly successful in setting a consistent narrative arc. The about whether Tom Cruise is a very good actor or simply a movie star can be solved with the first solution by showing his dedication to an ever-increasing range of extreme stunts. He's surely one of the talents giving how he's building his characters. At its core, the Mission Impossible franchise is an office drama about a guy trying to balance the weight of his life and the ones of the strangers having to do with him. Overall it works and the other charachters as well deliver good performances.

The director Peter Sohn (The Good Dinosaur) took so much inspiration for this storyline from his previous jobs, particularly with being the son of immigrants in NYC during the 70s. Having used that as a ground is all well and good, as is the notion of delivering a rom-com as the central narrative. However, between the layering of very different ideas, the lack of more memorable characters (in spite of good vocal performances), and a familiarity of it all, Elemental feels less special and more like a mixture of previous Pixar movies that executed their ideas more effectively. Thomas Newman's score in this film is terrific. Naturally, the visual effects are as impressive as ever, as well. Those aspects are enough to make the movie good enough, but combining all of these elements still left the final product a bit more to be desired.

The Mother" is ostensibly a strong action movie, although Lopez (who is also a producer on this film) and director Niki Caro include plenty of quieter scenes of maternal bonding amid all the chases and shootouts in Misha Green's script (co-written with Andrea Berloff and Peter Craig). To keep Zoe safe, the Mother takes her deep into the snowy wilderness to teach her survival skills. The pair warm to each other as they work on tracking and shooting. In the end they get very close and they crate a wonderful relationship, which was previously difficult to build. A but banal in this regard but also pleasant.

Alhough it gets to hold the promise, this international political thriller doesn't have finally so many cards up its sleeve. Liaison features Syrian hackers who've accessed state secrets, other hackers who also are messing with infrastructure in the U. K., and a mercenary who's chasing down the Syrian hackers, but might be in love with a British officer. Pretty familiar fare for the fans (for example) of Jason Bourne or Jack Ryan. So the first episode began with a certain promise, but the show fizzled. They could have made something generic but still good, but this affair was not that remarkable and bogged down by a weak and despicable lead character.

If you havent yet binged ,this is for sure one that shouldn't be misses. It's creators have scripted a well versed world of intensity that keeps you bolted to the edge of your seat wanting more while maintaining all the general aspects of broken families. This is one of those series you pause to make a break because you don't want to miss anything. The characters are well played, it's believable, and has all the intrinsic features the general populous expects from a show like this. The acting is great for all the characters, the location is suitable and the violence, though strong to see, is believable overall.

The script is basic, there are way too many plot conveniences and character protections, furthermore the actions characters are forced to carry out venture into the unbelievable. However, despite the series suffers from a lack of originality and limits itself to recycling genre clichés, the story is agile and intense, which makes it an attractive option for lovers of espionage. It's about a conspiracy movie/series throwback involving two lethal killers, a bombing in a subway, a mole within the White House and a newbie FBI agent who's in over his head. Well acted though lacking in originality. Not that bad.

Creed III is less about physical act of boxing and action and more about teaching the audience about what the good boxing is and what it isn't. It's about a sport which requires a certain level of training and skill that takes years to master; it isn't just a brawl in the middle of the ring. For Adonis to really understand this, he must tap into his past and begin to heal before he can move on to being the husband and father he wants to be. Years of plunging himself into his work has distracted him from addressing real issues. This film definitely sees Adonis mature as a character. The film is about brotherhood - both Creed and Damian are hurt and forced to process their trauma in different, but also similar ways. The decision to not make the two fighters sworn enemies at the end of the story proves that the creators are aware of the bigger issues that men who are strangled by toxic masculinity have to handle in society, which proves to be more powerful.

Here's the new M. Night Shyamalan horror film, a pleasant little effort named Knock at the Cabin. It's another one of his low-budget, self-financed films that he's been making since 2015. Shyamalan says he makes low-budget films now since that way he can keep total creative control. Knock at the Cabin is a good production but it's a bit unconvincing in a way that proves, if it really needed proving, that not everyone can be an auteur just because they consider themselves auteurs. Of course, all is designed and thought in order to exploit our terror of End Times that we live out every day, but in this case, it just appears to be a little irritating.

With an excessive three hour runtime, this is an ambitious epic aiming at capturing the essence of the roaring twenties on screen. And, overall, it succeeds. With enormous set-pieces, from a vast historical film shoot to an underground prohibition-era, a society soiree for the rich and refined to a wild a, this is a movie with massive aspirations and an even bigger budget. And with long scenes really investing in capturing the crazed, unregulated pizzazz of the time, it really gets to reach its goal. Where it succeeds less is in narrative clarity, preferring an episodic structure and a script that leaves a bit to be desired. It does also stray into the realms of hysteria but this was never going to be a subtle film.

There are a lot of pieces to set in place before Operation Fortune: Ruse de Guerre can really get effective, leaving the first act to drown in a lot of heavy exposition requiring a sharp focus from an audience. It's not so complicated to hurt your brain, but if you prefer your action movies to be vapidly simple, this one might not be for you. Regardless, it's admirable that Guy Ritchie wants to give some depth to his characters and plot before shifting the focus on the deliciously silly chaos we all know is coming.

Once the director has all his players in line, the fun really begins. It's really just a filmmaker on auto-pilot doing what he does at his best. Well-crafted action set pieces and very good choreographed fight sequences in a series of extravagant international locations, seeming to be where the most of the budget has gone. The action isn't quite on the same scale as something you'd found in the other chapters of the James Bond, Mission: Impossible, and Fast & Furious franchises, so don't head into this one expecting a true blockbuster. Ritchie prefers to focus on the zippy comedy of his screenplay.