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Franklin: Think of Three Things (2024)
Free, Sovereign, and Independence
In the season finale of Franklin, the protagonist, Benjamin Franklin, is portrayed as a great man from America, highlighting the series' mission and the pivotal historical event. The future of the United States is in the balance, with Benjamin Franklin leading the conversation as a new nation is formed. He faces opposition from John Adams, his antagonist, and Temple Franklin, who tries to make his way in France as the world begins to change. The production design is flawless, creating a historical atmosphere and providing a good idea of the characters. The filming location is beautiful and heightened by the masterful use of lighting, making it even more captivating. However, the season finale is too repetitive and similar to previous episodes. Franklin has a successful formula for storytelling, but it quickly became overused and predictable. Despite this, the episode finally tied all storylines together with a successful montage featuring most of the main characters at the end of episode 8. Overall, Franklin's season finale showcases the show's strengths, such as its flawless production design, historical atmosphere, and captivating visuals. Franklin's season finale highlights the missed opportunity for the show to address racism and gender inequality in the 18th century. The show's focus is on the titular character, but female and Black characters are underutilized and used as love interests rather than having their own storylines and depth. The historical context is also missed, as the show focuses on the post-American Revolution political situation in France. While episode 8 tells us about Franklin's future, it does not suggest what will happen in the country or how the upcoming French Revolution might have been influenced by the events. While Franklin's season finale is a good episode, it is not great. There is much that the show could have done, such as showing more action regarding the war and discussing women's roles at the time. The season finale proves that even beautiful cinematography and masterful use of mise-en-scene can't save its basic storytelling and plot issues, or at least not entirely.
Franklin: Begin by Creeping (2024)
America is fighting for her life
Episode 7 of the American series, Franklin, begins in Virginia with the historic battle of Yorktown, but then shifts to France as tensions rise between the United States and France. Benjamin Franklin (Michael Douglas) and John Adams (Eddie Marsan) plot to secure support for the American cause across the ocean. Meanwhile, Franklin's nephew Temple Franklin (Noah Jupe) gains a position at the French court. The opening scene of episode 7 shows a glimpse of what is happening on the other side of the ocean while Franklin is arranging a treaty in France. While there is not much of the American Revolution in the show, scenes set in the United States are some of the strongest, allowing the audience to see what Franklin is fighting for. Much of the main character's actions revolve around political discussions, which work better when supported by scenes that remind us of the stakes and importance of the debates. Franklin's health deteriorates in the second half of episode 7, and the introduction of a new element allows the plot to move on from the stagnant and repetitive storytelling of the past few episodes. The last scene leaves a cliffhanger open for the season finale to resolve, heightening the stakes with a fascinating family conflict in the future. With only one episode left in this season, it seems too late for the show to become more dynamic.
Episode 7 of the popular TV series Franklin is visually stunning, with beautiful palaces and gardens serving as the backdrops for the action. The production design and costumes are meticulously crafted to create an 18th-century France atmosphere and explore the individual stories and personalities of the characters. However, the episode has its issues, with the action often left behind and the pacing being off, especially in the second half. This is due to Franklin's focus on the love story plot, particularly in Temple's storyline, rather than the more interesting political questions. With one episode left this season, Franklin still needs improvement in its storytelling, which remains the least impressive element of the show so far. However, episode 7 introduced some changes to the formula, which was becoming too repetitive. This week's episode demonstrates that introducing new plot points can benefit the show, allowing it to deliver even higher stakes as the series prepares for its season finale next week.
Franklin: Beauty and Folly (2024)
Beautifully written
Franklin is in its second half of its season, with only two episodes remaining. The show's characters face increased stakes and danger, with Benjamin Franklin (Michael Douglas) becoming more fearful and suspecting traitors. In the opening scene, an attempt to take Franklin's life almost succeeds, and he struggles to find an agreement with John Adams (Eddie Marsan) on how to handle support for the American cause. Franklin's nephew Temple Franklin (Noah Jupe) continues to blend in with the French boys of his age and their hobbies. In this week's episode, the personal stakes for Franklin and the danger he is undertaking are highlighted. The show has always shown the general stakes in terms of the historical setting, but this episode puts Franklin's life on the line more than ever before, which works particularly well as viewers have grown attached to the main character. The best scenes are between Franklin and Adams, where two of the most famous historical figures of the time oppose one another. Franklin takes a page out of beginner screenwriting classes by telling the story through conflict. Episode 6 is a brilliant example of this, as the conflict between Franklin and Adams delivers key contextual information and showcases each character's unique point of view on the war and their personality. Episode 6 of Franklin delves deeper into the characters and their relationships, with Douglas as the crown jewel and Jupe as Temple. Douglas delivers a masterful portrayal of Franklin, while Jupe excels in both French and English, effortlessly switching between the two. However, the episode moves too slowly, making the audience feel its entire 60 minutes. The run time seems to be filled with filler scenes, making it difficult for the audience to care about the characters or their future in the series. The characters have been introduced, the historical context has been established, and the stakes are always the same, making it seem like the episodes keep repeating themselves. While the production design and acting make it an enjoyable product, it is not memorable. As the show approaches its season finale, the author wishes for more exciting and less predictable episodes in the remaining two episodes. Overall, while episode 6 is not bad, it is not memorable either.
Franklin: The Natural State of Man (2024)
People are not born to be evil
In episode 5 of Franklin, the characters discuss the concept of "no glory in the grave," a topic that is particularly relevant in the turbulent historical context of 18th-century France. The plot remains unchanged from the season premiere, but the tension between Benjamin Franklin (Michael Douglas) and John Adams (Eddie Marsan) escalates as they discuss the latest developments in the American Revolution and how to approach a coalition with France. Franklin also faces conflict in his family life as he and his nephew William Temple Franklin disagree on Temple's future, particularly regarding his involvement with Cunégonde Brillon (Lily Dupont), a French girl from a wealthy family. The 18th-century setting is crucial to the show's success, and every detail in this episode is immersed in the historical setting. The inclusion of theatre and the mention of Goldoni, a famous playwright of the time, reflects the culture of the time when theatre was a common engagement for the upper social classes. The confrontation between Franklin and his nephew demonstrates the importance of family relationships in Franklin's work. The show is at its best when the characters face each other, allowing us to explore the generational conflict between the young and older generation. None of them is particularly at fault in their conflict, which may be why the reasons between the two are compelling to watch. The conflict between Franklin and Adams, two notable characters in the American Revolution, is fascinating to watch as they fight for a common cause. The two characters are portrayed as polar opposites, setting them up as enemies and in conflict. However, there is a need for more of this conflict, which has only been suggested in episode 5. Episode 5 of Franklin is slower compared to the first half of the season, possibly due to the stakes of the conflict being increasingly forgotten. The focus is almost exclusively on France and the romantic plot, leaving the audience wondering what was happening across the ocean while the American Revolution was driving the conflict. The matter of women's condition at the time is touched upon in episode 5, but there is still much missing. Female characters feel like ornaments to decorate the plot, and the show could easily go on without their involvement. For example, Cunégonde's love for painting is not enough after five episodes, especially considering the thoroughly explored male characters. Episode 5 of Franklin is not bad but nothing new. After four successful episodes, the show feels comfortable with its plotlines and episode structure. There is no real new conflict introduced in this week's episode, and the tried and tested formula feels overused and predictable.
Franklin: Small Revenge (2024)
Revenge is never small
In episode 4 of Franklin season 1, Dr. Franklin attends the king's council to remove the royal governor, but is defeated by the solicitor general's strong defense. Franklin loses his position as the agent of the colonies of Pennsylvania, New Jersey, and Georgia. In the present, everyone learns about the English's defeat at Saratoga, with Gilbert being hailed as its hero. Pierre distributes Franklin's pamphlets of joy, but is run over by an oncoming carriage, piercing his left arm. Vergennes visits Louis XVI to discuss America's victory at Saratoga and their future plans. Vergennes tries to convince Louis XVI to join the war, but Louis XVI does not give a clear answer. Vergennes sends Gerard to meet Franklin, who explains that France will not enter into a military alliance with America but can offer friendship and trade opportunities. Franklin remains unconvinced and asks France to declare war on the British. After meeting with William Wentworth, Franklin refuses to negotiate in London without French interference. Bancroft tries to convince Franklin, but he remains unmoved, sending a strong message that the English are slowly losing the war. Franklin meets Anne, who is working on a song to incite France's motivation to join America's war. Anne confesses to liking Franklin as a friend but yearns for more. Louis XVI demands an audience with Vergennes and aims to put the British in their place and teach them a lesson. He gives the green light to form a military alliance with America, recognizing that France could finance the war without raising taxes. Official papers are signed, confirming France's support for America in its pursuit of freedom. Franklin meets Louis XVI at the Palace of Versailles, where he expresses anticipation for a long and meaningful relationship between America and France. Bancroft obtains Temple's signature on a letter Wentworth wanted, but during the nightly celebration, John Adams of Massachusetts informs him that he has been sent to replace Franklin. Franklin achieves a major victory by convincing France to officially join the American War of Independence. Louis XVI was initially hesitant due to the financial costs and fear of public backlash, but seized the opportunity to demonstrate France's strength to England. Adams is likely to replace Franklin as the key intermediary between America and France, signaling a shift in dynamics.
Franklin: Pride and Gout (2024)
France is Americas ally
Episode 3 begins in Brandywine Creek, Pennsylvania, on September 11th, 1777. Gilbert, a soldier fighting against the British army, suffers a serious injury and is rushed off the battlefield to be treated by doctors. Despite their efforts, Gilbert becomes a martyr. Vergennes, furious at Benjamin for Gilbert's death, tells Monsieur Gerard to give Franklin a talking-to. Gerard recommends using Gilbert's death to promote the alliance between America and France. Franklin also asks Gerard about the destruction of his printing press. Gilbert's death sparks outrage among many, fueling their hatred against the British. They are eager to join the war against the redcoats but fear severe punishment without the king's orders. Temple, deeply affected by Gilbert's death, blames himself and lashes out at Franklin for not doing anything to free his son, who is imprisoned in America. Chaumont meets with Pierre, who informs him that the British navy has confiscated two of their three ships. Pierre suspects a spy is passing information to the British and suggests they inform Franklin about the confiscated ships but leave out the spy part until an investigation can be conducted. Gilbert, a respected general, is alive and well, having been promoted to the rank of general. He sends a letter to his wife about the battle and the Americans' bravery against the redcoats. Benjamin's printing press is destroyed, so he cannot publish Gilbert's story. Franklin leaves the letter with Temple, promising to find a solution.
At dinner, Franklin receives news that the redcoats have taken over Philadelphia and are advancing. He is crushed and his belief in America's victory is weakened. However, Bancroft manages to smuggle in the necessary equipment to build his printing machine. The next morning, news arrives that the Americans have defeated the redcoats at Saratoga, with 6000 English soldiers surrendering. Franklin prints another piece of propaganda with Gilbert as the hero of Saratoga. However, his trusted companion, Bancroft, has turned traitor and is plotting to bring Franklin down. Franklin's luck turns around when he learns that the Americans have won big at Saratoga, forcing 6000 British soldiers to surrender. This news promotes the alliance between the French and Americans, but Franklin is in a pickle as his closest friend and ally, Bancroft, is playing for the British.
Franklin: Welcome, Mischief (2024)
No one really knows what Franklin did for this country
In Episode 2 of Franklin, a spy discovers weapons hidden in a box bound for America and stabbing a dockworker to keep his identity secret. Franklin and Temple use a printing press to print flyers for propaganda, aiming to gain support from French citizens. Vergennes is surprised that Franklin managed to smuggle the printing machine into France. Benjamin and Temple attend a piano performance hosted by the Brillons, and Temple is charmed by Cunegonde Brillion. Benjamin compliments Anne Brillion's performance, reflecting on his thirties. Chaumont is worried about getting caught and pressures Pierre to be cautious, fearing he will lose money if they are discovered. Pierre reassures him, claiming he has kept their names out of the books. In the American Revolution, Chaumont's stress mounts when a dead dock worker's body is found. He informs Benjamin about this and asks who will foot the bill for ships and weapons if America fails. Benjamin assures him that he will be compensated. Gilbert and Temple encounter the king's brother, who believes the British army is unbeatable. Gilbert learns Temple is Benjamin Franklin's grandson and pleads with Temple to introduce him to Franklin. Benjamin provides Gilbert with a recommendation letter, and Lord Stormont, the current British Ambassador to France, informs Vergennes that Benjamin has sided with Chaumont and is preparing to ship weapons to America to aid in the war. A few days later, Franklin is informed that Lord North's secretary, Williams, is seeking a private meeting with him. Williams mocks the American army, stating it is weak and filled with common men who are not skilled in war. Williams offers Franklin a hefty sum of money to help make this agreement happen, but Franklin turns down, seeing this as a sign of the English fear of losing the war. Trouble escalates when Pierre informs him that the English crown knows about Chaumont's aid to Franklin and America in the war. Benjamin returns to the castle, and Franklin suspects Lenoir is behind the theft. He asks Franklin to stay in his chambers until an investigation is carried out. Michael Douglas delivers an awe-inspiring performance in the Apple TV period drama, "Franklin," playing Dr. Benjamin Franklin, a key figure in the American Revolution.
Franklin: Sauce for Prayers (2024)
Masterpiece and phenomenal
Episode 1 of Franklin begins on December 3rd, 1776, in Brittany Coast, France, where Benjamin Franklin and his grandson row ashore from their ship. Despite the grim situation and distant hope of victory, Franklin and Temple focus on their mission to gain France's support in their fight against the British army. The Continental Army, led by George Washington, is struggling with dwindling supplies and troops, and without France's support, the American Revolution could end in a bloody defeat. Benjamin Franklin meets his friend Bancroft, who reveals that the Continental Army suffered a massive blow at Fort Washington, with sixty soldiers killed and over 3000 captured. Franklin reveals he's been sent by Congress to seek France's help, but Bancroft is skeptical due to the slim chance of American victory and Britain's dominance at sea. Franklin meets with Bancroft's friend Pierre Beaumarchais, a playwright with connections at Versailles. Franklin sends a letter to Vergennes, the French foreign minister, outlining the kind of help America needs from France. Vergennes learns the extent of America's trouble but is advised by Louis XIV to stay clear of Franklin and not lend any support. Pierre introduces Benjamin Franklin to Chaumont, the richest merchant in France, who is unsure of how to persuade him to raise gold coins for America's ships. Franklin is informed that Chaumont has invited him and Temple to stay as his guests, but the wallet of Chaumont remains a mystery. Benjamin knows that every day without help brings America closer to losing the revolution. He writes a letter to Vergennes, asking Temple to deliver it by sneaking into the castle and posing as a student. Vergennes accepts the letter and invites Temple to stay as a guest. During his stay, Temple strikes up a friendship with Gilbert. Vergennes then sends a letter to Franklin, requesting a secret meeting to discuss a treaty of alliance and a loan of two million livres. In return, America promises to remember France's support and open trade routes to France. Vergennes also discusses Franklin's son's imprisonment for supporting the English Crown and concerns about Franklin allying with the English. Franklin assures Vergennes that his loyalty lies solely with the American people. Franklin leaves the estate, and he cryptically says they have a battle on their hands, hinting that his mission was successful.
Inside Out 2 (2024)
Well written and any age group will love this film.
Pixar's summer sequel, Inside Out 2, explores normative social influence and introduces a Gallic character called Ennui, only to give him a nickname (Wee Wee) guaranteed to make under-10s giggle. The film follows the Andersen family, who possess brains controlled by five emotions. As Riley turns 13 and acquires whiffy armpits, a new feeling, Anxiety, takes control of headquarters. With the help of Envy, Embarrassment, and Ennui, Anxiety muzzles Amy Poehler's Joy, allowing Riley to pass as cool during an ice-hockey summer camp. The plot creates a sense of deja vu, with the indefatigable cheerleader Joy learning about painful memories and the subtle message that tribalism is toxic. The pressure to belong to a winning team leads to a panic-attack sequence as moving and visually inventive as anything in those impeccable Pixar spin-offs Toy Story 2 and 3. It's hard not to sob as Riley's anguished inner voice hammers home a newly forged belief (that she's a failure) and Anxiety, frozen with terror, inside a dense, fluorescent-orange forest of looping thoughts. Pixar's Inside Out 2 is a sequel that delivers a sincere narrative, combined with humor and stunning visuals, that still won over the audience. The sequel returns to Riley's mind and brings in more emotions as she hits puberty. Riley is now 13, and her headquarters continue to hold the OG emotions of Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale, replacing Bill Hader), and Disgust (Liza Lapira, replacing Mindy Kaling). On the way to hockey camp, Riley gets unexpected news that throws high school plans into uncertainty. Before Joy and her expressive posse know it, new emotions are in the mix, including Anxiety (voiced by Maya Hawke). Anxiety wriggles Riley out of a problem Joy only amplified, and she decides that more of her emotions are necessary. With Anxiety at the helm, teenage Riley shrinks herself to fit in with older hockey kids, especially top player Valentina.
The storyline mirrors the essence of the first film, with characters on a journey to return to headquarters to rescue Riley. The quest includes new stops, such as a prisonlike place that holds Riley's secrets and in the back of her mind, where Joy has been chucking scores of Riley's bad memories. Between Anxiety's and Joy's meddling, there's quite a bit impacting their sporty, blonde host. Early on, an interesting new addition to the setting is introduced: Riley's system of beliefs, which connects to her sense of self, a structure of glowing, overlapping hoops in headquarters. Inside Out 2 is a sequel to the beloved animated series, featuring new characters such as Envy, Embarrassment, and Ennui. The characters' behavior, such as Embarrassment tightening his hoodie and anxiety pounding energy drinks, adds humor to the story. Sadness, whose affinity to flopping down on hard surfaces never gets old, gets more action in the sequel, but could have used more of Ennui. Pouchy, a wacky new sidekicklike character, also appears a few times. The visuals are stunning, with detailed animation that makes it feel like the solid-colored cartoon characters could step off the screen at any moment. The conversations between Anxiety and Joy are the most compelling, as they debate what is best for Riley. The sequel may seem familiar to fans, but with effective humor, incredible animation, and a willingness to explore a relevant new message.
Inside Out (2015)
Pixar's animation, Inside Out, is a unique and imaginative experience that stands out from mainstream animation.
Pixar's animation, Inside Out, is a unique and imaginative experience that stands out from mainstream animation. Despite the studio's recent lack of inspiration since 2009's Up, Inside Out is a top Pixar production due to its combination of audacity, intelligence, wit, and emotional reward. Directed and co-written by Pete Docter and Ronnie del Carmen, the narrative revolves around Riley's psyche, with the film's characters being her feelings. The film begins with Riley's feelings, Joy, asking what is going on inside their heads. The film explores the concept of psychic events and how they can generate a story that can be sustained for 102 minutes. Inside Out meets these challenges with an inventiveness that is appropriately mind-boggling, making it a standout in the Pixar productions. Inside Out is a film that begins in a dark cavern, the Plato's cave of the unformed self. As baby Riley is born, Joy appears as a shimmering, big-eyed Tinkerbell-like pixie and observes Riley's view of the world on a cloud-like surveillance screen. Joy is joined by other emotions - Sadness, Fear, Disgust, and Anger - which monitor Riley's life and produce her responses by operating a console of levers and buttons. The film explores the premise of little people busy working in your head, but it is more sophisticated and distinctively female-skewed. The real heroine is Joy, a pathologically upbeat micro-manager convinced that only positive feelings count. Amy Poehler instils Joy with something of the obsessive girl guide eagerness of her Leslie Knope in the TV sitcom Parks and Recreation. The narrative is set in the far reaches of Riley's psychic landscape, where her trauma triggers the seismic collapse of the "personality islands" that define who she is, devoted to themes such as family, friendship, and hockey. A control-room malfunction leaves Joy and Sadness wandering in a vast allegorical geography, including landmarks like imagination (a theme park) and the place where dreams are made: a movie studio. In the wildest moment, the wanderers enter a zone of abstract thought, where they are zapped into a series of increasingly simplified geometric shapes, as they and the film itself dizzyingly self-deconstruct. Inside Out hits an elusive sweet spot in terms of appealing to children and adults alike. It makes extraordinary use of knowing cuteness, such as Bing Bong, Riley's long-lost imaginary friend from early childhood. The story depicts the fading of childhood's mental furniture and explores the mechanics of forgetting, achieving a universal significance. The visual style is dazzling, flouting CGI's tendency to photorealism in favor of overt cartoonishness in a 1950s retro vein, and the running gags are delicious. Inside Out expertly tugs the heartstrings and shows how the film's theme is done.
The Losers (2010)
Fun, Original and twists and turns
The Losers, a comic-based action film, follows a group of soldiers seeking revenge for a crime they didn't commit. The film's characters are portrayed as beefy quip machines, and its dated execution and style, such as skip-frames and cartoony captions, make it a film you could know all about without actually watching it. Despite this, The Losers has a breezy charm due to Jason Patric's badguy and Chris Evans's comic relief, and the plot is effective but mechanical. The strangely coy approach to violence leaves an odd aftertaste, but not enough to taint the fun. The Losers is a comic book adaptation of the popular action film, set in the Bolivian rainforest. The Losers are a group of specialized army badasses who play cards and use large sidearms instead of chips. They have a reputation for taking down whole armies, but their routine operation is a cold-hearted stab in the back, leaving their reputation in tatters. The film starts with a fairly ho-hum revenge thriller narrative, with explosive action and very little depth, resonance, or character development. However, the real trick of The Losers is that, for the most part, you don't particularly care. The film finds its sweet spot in the mixture of Oceans Eleven-style slick teamwork, gentle humour, and openly, charmingly silly mayhem. Chris Evans is pitch perfect as the squad's nerdy motormouth, jabbering through neurotic asides and comments that help undercut the narrative's moments of dull exposition.
Jeffrey Dean Morgan, looking cool in an ever-present suit, manages to carry a suave sort of emotional trauma behind his dark eyes, but there never really is any complexity that lets the characters become compelling beyond posture and punch. The opening sequence uses innocent civilian casualties as lazy shorthand to instill a sense of moral certainty to their revenge mission, but this removes any thorny subtext to the team's destructive journey. While the film's action setpieces showcase each character's part in a well-executed whole, Short, Jaenada, Elba, and Zoe Saldana just don't have that much space to develop their parts beyond testosterone-fuelled stereotyping. Zoe Saldana tries her best with the under-written, mysterious benefactor Aisha, a character who is viewed with suspicion and desire. The film is a flawed and unpretentious exploration of the themes of identity, betrayal, and the consequences of one's actions. It relies on the suspension of all intelligence to accept the twists and betrayals, the scene-chewing villain Max, and the predictable sequel. Director Sylvain White keeps the film moving, but it runs out of visual ideas before the finish line, often resorting to POV handheld shots, slow-mo, and comic book-like freeze frames. Despite its flaws, the film is enjoyable and unpretentious, with enough kick to overcome its glaring pitfalls.
Lift (2024)
Funny Amateur Movie
Netflix's latest collaboration with comedian Kevin Hart, Lift, is a streaming action flick that follows the formula of big-budget action movies and international spy thrillers. The film, written by Daniel Kunka, enlists the expertise of F Gary Gray, director of The Italian Job, Straight Outta Compton, and Fast & Furious 8. The plot is dumb, with an opening heist plotline in Venice centered around an NFT and subsequent half-jokes about how NFTs were dismissed as a passing fad. However, Gray knows how to direct a cacophonous action sequence, and the cat-and-mouse chase between Cyrus Whitaker and Interpol officer Abby Gladwell (Gugu Mbatha-Raw) in the canals of Venice is impressive and enjoyably stressful. The film does little to outrun its low common denominator expectations, with stock characters, music video flairs, wealth porn, and limp flashes of personality appealing to a low common denominator. The film does not outrun its low expectations, as it falls short of its potential as a successful streaming action film. In Lift, the character of Cyrus Cyrus is portrayed as a hyper-competent leader of a heist ring who steals from people who deserve it. This is an ill-fit for Hart's physical, loud brand of comedy, which pokes through his attempts at suave charisma. Hart delivers straight-faced lines, such as "the rules were already broken for someone like me," with an awkward edge. He charms Abby, who has a five-day fling with Cyrus, but her boss Huxley orders her to make peace with her art thief nemesis in the name of world peace. If Cyrus and his crew don't nick $50m worth of gold bars while in transit from London to Zurich, the arch-evil billionaire Lars Jorgenson (Jean Reno) will pay hackers to wreak havoc for profit. While the film may sound like a bastardized version of Ocean's 11 with a Fast and Furious flavor, Gray knows how to direct action sequences. The crew gets to improbable work on stealing both the gold and the commercial jet ferrying it, with the in-flight sequences raising the blood pressure. Despite the 1-hour, 44-minute runtime, Lift has a bare characterization for everyone and a lack of chemistry between Hart and Mbatha-Raw, making it not enough to elevate it above its many forgotten peers.
Boy Kills World (2023)
Boy Kills World is a film that aims to showcase Skarsgård's versatility and talent in the action genre.
"Boy Kills World" is a hyper-action movie that follows a media-addicted killer who seeks to avenge his family's deaths. The movie's protagonist, a deaf and mute orphan named Boy, is murdered on live TV by Frosty Puffs cereal mascots, who are sponsors of The Culling, an annual televised flex of power organized by the insecure fascist Melanie Van Der Koy and her family. Frosty Puffs also plays a crucial role in the over-exaggerated and under-developed backstory of the titular character. The movie dabbles in media criticism by focusing on the Van Der Koy family's manipulation of the media. The Van Der Koys are also evident in their vainness, her husband Glen, and their frustrated artist brother-in-law Gideon. Melanie projects her insecurities onto the Boy, who can't communicate verbally, despite speaking a language she's fluent in. The movie's gory and joyless action comedy imagines media consumers and political dissidents as unmemorable extras, making it a gory and joyless action comedy. The Stunts are so precise and the Violence is very Graphic but that's how the story is and the characters are. Boy Kills World is a film that combines elements of both Hunger Games and modern science fiction. The protagonist, Bill Skarsgård, is a man who lives to kill dystopian dictator Hilda Van Der Koy, who murdered his family in an annual "culling" ceremony. He is groomed for revenge by a mysterious shaman, who tells him that Hilda must die. Boy infiltrates another culling ceremony in the capital, a city with medieval and futuristic elements. Despite the fantastical framing, the storyline is repetitive and predictable, with a twist that derails the proceedings both tonally and narratively. The film is filled with action and not much thought, which would be better if there wasn't too much plot. Bill Skarsgård, one of eight Skarsgård siblings, has gained a reputation for his creepy-chic performances in films like Barbarian, Hemlock Grove, IT, and The Crow reboot. In Boy Kills World, he proves to be a bona fide action star as he plays Boy, a character shaped for revenge against Famke Janssen's Hilda van der Koy, the head of a wealthy ruling family in a totalitarian state. Boy's character is deaf and mute, and his performance resembles Buster Keaton. However, the film fails to match his level, with a blend of Deadpool-esque comic violence, Hunger Game-style worldbuilding, and character archetypes borrowed from various genres. The plot is overworked, with too many flashbacks and revelations, and the movie lacks fun characters, a snappy runtime, and lethal set pieces. A leaner edit could address some of these issues, but it would require someone prepared to be as brutal as Boy in taking out obstacles. Overall, Boy Kills World is a film that aims to showcase Skarsgård's versatility and talent in the action genre.
Day Shift (2022)
Funny and well written
The film "Day "Shift" is a two-hour action-comedy for Netflix, directed by veteran stunt coordinator JJ Perry. The film follows a vampire hunter named Bud (Jamie Foxx), who is tasked with killing an infestation of vampires in LA. Bud uses various weapons, including pump-action shotguns, psychotic hunting knives, rolls of decapitation wire, and special bullets with toughened wood. His only ally is Big John Elliott, a cameo by Snoop Dogg. Bud needs $10,000 to save his estranged wife Jocelyn (Meagan Good) from moving to Florida with their daughter Paige (Zion Broadnax). To get more vampire-killing work, Bud must apply for readmission to the vampire-hunting "union" that had expelled him. He accepts a partner, Seth (Dave Franco), who is not used to field work. The film's crude action sequences and video-game aesthetic are not interesting or glamorous, with only a small bit of comic potential when Seth is compromised. The ethos of being "turned" is fudged to allow the protagonist to become a vampire while staying a good guy. The film is pretty bloodless and lacks any interesting or glamorous aspects. "Day Shift" is a vampire thriller featuring Jamie Foxx in a badass mode, with the film being a mix of eccentric goofiness and arduousness. Directed by J. J. Perry, the movie aims to be a dessert drenched in blood, but this adds flavor but also weighs it down. The movie follows Bud Jablonski, a Los Angeles vampire hunter who aims to get $10,000 to pay for his daughter's braces and grade-school tuition. He plans to do so by selling vampire fangs, which can be valuable depending on the bloodsucker they come from. The movie is one of the more perversely twisty vampire flicks in recent memory, with five types of vampires organized by age: Southern, Eastern, Spider, Uber, and Juvenile. To kill the vamps, they are killed through blasting them through the heart with special African hard wood and cutting their heads off with a silver blade. A black-market sunblock allows the vamps to be out in the SoCal daylight for about 20 minutes. Once they are killed, they release a special gas that Bud needs to get off with a special orange-yellow powder. Decapitation is the closest the film comes to having an inviolable law, as a key vampire gets decapitated only to place his head back on himself. There are also vamps who are loyal to humans rather than other vampires. Overall, "Day Shift" is a mix of undead action, cop/crazy cop buddy comedy, and a tale of a tough but saintly divorced dad trying to save his family.
Hit Man (2023)
Hitman is a longtime popular crime character
In Richard Linklater's Hit Man, philosophy lecturer Gary Johnson (Glen Powell) ponders the question of how many people truly know themselves. The film tells the story of Johnson working for the New Orleans Police Department as a fake hit man for its sting operations. He is an amiable, Honda Civic-driving, bird-watching Everyman in shorts and glasses, who turns out to be the perfect fake assassin. Despite his unreadable face, Gary gets the gig at a moment's notice because the usual guy got caught beating up teens and got himself a 120-day suspension. However, Gary is a natural and convincingly transforms into a badass as soon as he meets his mark. This is similar to the scene in Collateral where Jamie Foxx's mousy cabbie has to pose as Tom Cruise's stone-cold assassin and suddenly becomes a new man. Glen Powell's performance in Hit Man might make him a movie-star because it is at heart a fantasy. Gary plays a figure out of our collective imagination, playing a figure out of our collective imagination. He researches his clients beforehand and tailors his look for their expectations of a hit man, making up the character as he sees fit. He meets Madison (Adria Arjona), a terrified wife being tormented by an unstable, domineering husband. She tries to hire Gary, but he slyly convinces her to give up on the idea because he doesn't want her going to prison. They fall in love, but she thinks he's still "Ron," the grizzled, open-collared killer who showed her some genuine compassion and impromptu life coaching. Gary also thinks he's Ron, or at least becomes Ron whenever he's with her, so much so that he's now a demon in bed. He has the instincts of a tougher guy when they're together, and when Madison's estranged husband spots them at a club and threatens them, Gary immediately pulls out a gun, Clint Eastwood-style, and backs him off. Hit Man is a film that deconstructs the concept of stardom by presenting a character we cannot be, and then making us believe we can be him. The film's amiable filmmaking and Powell's charming, self-aware swagger are infused with the idea that anything is possible, making the world seem open, malleable, and accepting. The auteur theory has been criticized for its lack of focus on the material, but Linklater's breeziness and generosity as a director work wonders in this film. It serves as a rebuke to other hit-man movies at Venice this year, such as David Fincher's The Killer and Harmony Korine's Aggro Dr1ft. Linklater's film feels genuinely fresh, with fun for the star and the audience. The film's overt philosophical digressions, such as Gary's lectures to his classes, are easygoing and lively. Linklater's gentle touch is his secret weapon, and Hit Man might be a masterpiece. The film's overt philosophical digressions, in the form of Gary's lectures to his classes, are equally easygoing and lively.
The Ballad of Buster Scruggs (2018)
The Coen Brothers are brilliant as ever
The Old West, as depicted in American movies for over a century, is a place where chaos reigns until it doesn't, opportunity is abundant until it isn't, and freedom and liberty are the name of the game until some force of God or government tramples them. The West is foundational to America's myths of self-starting, national community, and perseverance. However, this doesn't imply that you control your own fate; anything can happen, it's true, but so can the reverse. Twists of fate and reversals of fortune are the dialectics at the heart of many of our most enduring parables. The Coen brothers, whose films frequently traffic in the forces just beyond their characters' grasps, have sometimes accordingly gotten a reputation for cruelty. Buster Scruggs will reinforce this reputation while dutifully proving it wrong. The Ballad of Buster Scruggs is not a single narrative but a fleet-footed anthology of miniature ones, each with its own cast, themes, style, and tone. It's a collection of short stories, each with its own internal rhymes and ricocheting network of ideas, all of which are in conversation. The titular opener, an overture, serves as an overture, proving that impression hilariously wrong. The real intent of the six ensuing tales is to serve up every theme that the film's six ensuing tales will continue to explore, from the political utility of language to the value of reputation and the inevitability of death. Buster Scruggs is a film that explores the themes of possibility and inevitability in the Western genre. The Coens' vision is both bemusing and vicious, with the values put into motion by their characters being the heart of each study. The stories themselves are exciting, with characters such as James Franco, Tom Waits, Alice Longabaugh, Billy Knapp, and Bill Heck playing key roles. The Western genre has a built-in repertoire of vast horizons, gold, and promises of marriage, but it also offers an opportunity to explore the latent frustrations of chaos and order. The Coens take advantage of this by creating a hollowness throughout the film, where sounds from gunshots to the neighing of Buster Scruggs's steed seem to travel through empty space. The film has the earnest purity of folklore, but also finds pleasure in the tension between revival and ridicule. The choice of Native American representation in Buster Scruggs flirts with the problematic representation that's marred this genre from the start. The Native presence in Buster Scruggs is pointedly blank, appearing only in fits of violence, per usual in tales of this kind. On the other hand, those outbursts are indeed a force of nature, keeping white American optimism firmly, knowingly in check. Since first watching it at the New York Film Festival last month, Buster Scruggs has been described as a political film and also as a histrionic, reactionary nostalgia trip. The real pleasure here is in watching ideas unfold across and between these stories, as the West's mix of possibility and inevitability seems to attract the Coens. The Coens have been criticized for their cool and coy nature, but their images and attitudes are too sharp and bloodthirsty to be reduced to reactionary nonsense. Their meticulous forays into the past, such as The Man Who Wasn't There, Hail, Caesar!, and A Serious Man, do not strike me as period fetishism. In The Ballad of Buster Scruggs, the West is not a source of nostalgic pride or a place to reinhabit, but rather a place where great American myths die.
Hollywood Homicide (2003)
Harrison Ford at his prime
"Hollywood Homicide" is a movie starring Harrison Ford and Josh Hartnett as detectives Joe Gavilan and K. C. Calden, assigned to Hollywood. Galivan, preoccupied with his real estate business, attempts to sell a house to a club owner who has just been killed. Calden, who wants to be an actor, has Galivan run lines from "A Streetcar Named Desire." The movie was directed by Ron Shelton, who co-wrote with Robert Souza and specializes in funny dialogue for guy characters. The movie is more interested in the goofy cops than the murder plot, with their dialogue redeeming otherwise standard scenes. The movie features a double act between a man who has seen everything and a man who has seen too much. K. C., who moonlights as a yoga instructor, agrees that they are all going to die someday, but his philosophical observations are cut short by a crash. The movie "Hollywood Homicide" begins with a hit on a rap group in a music club, resulting in four deaths. Joe and K. C. investigate, but are under investigation by Benne Macko, the Internal Affairs guy who hates Joe. Joe is suspected of "mingling funds," confusing his personal debts with his real estate business debts. He has been seen with Ferre Salesclerk, a known hooker, and Ruby the psychic (Lena Olin), another member of the Los Angeles women who believe it is fun to make love on a blanket in an empty house. Hartnett makes an able partner for Ford, trading deadpan dialogue and telling everyone he's an actor. He has one of Shelton's nicest little scenes when he goes to the morgue and looks at the dead bodies of the murder victims. There is a chase and a half at the end of the movie, filled with cameos and walk-bys, including Frank Sinatra Jr. As a show-biz lawyer, Martin Landau as a fading producer, Lou Diamond Phillips as Wanda the cop in drag, Gladys Knight, Dwight Yoakam, Isaiah Washington, Master P, Kurupt, Eric Idle, Dr. Dre, and just plain Dre. Much of the closing excitement depends on the Fallacy of the Climbing Killer, a dependable chase cliche where the killer climbs to a high place from which he cannot escape unless he can fly. This film may be the most exciting film ever made about real estate, with the dialogue being the reason to see the movie. The movie is filled with cameos and walk-bys, and the dialogue is the reason to see the movie.
Keanu (2016)
Stupid but cute and Brilliant
Keanu is a comedy film about nerdy friends who disguise as gangsters to steal their kitten. The film stars Jordan Peele and Keegan-Michael Key, best known for their Comedy Central sketch series Key & Peele. They play Rell, the besotted owner of Keanu the kitten, and his uptight George Michael-loving cousin Clarence. The film has a geeky, film-literate flavor to some of the humor, which defuses the semi-ironic gangster posturing. A cameo from Anna Faris is unexpected and not entirely successful. The central joke, that even the most ruthless underworld drug wholesalers are putty in the paws of an adorably cute kitten, is a good one but not enough to sustain an entire movie. The film is intended for the duo's loyal fans, introducing them to a wider audience, and directing at children. However, the movie is a weirdly generic fish-out-of-water tale, where bungling cowards impersonate tough guys, familiar territory for male comedy duos past and present. Key and Peele play their familiar, nerdy suburban characters, with Clarence being a mild-mannered people-pleaser and his cousin Rell being a single, stoner artist and graphic designer. Keanu, played by a team of seven kittens, fills the hole in Clarence's heart and becomes his artistic muse. The film's chemistry is one of its main assets, and the central joke, that even the most ruthless underworld drug wholesalers are putty in the paws of an adorably cute kitten, is a good one but not enough to sustain an entire movie. Key & Peele, a group known for their roles in Hollywood comedy, can act outside of their signature characters. Their intense friendship and individual personalities draw viewers in, but their bromance is absent in this show. The characters play it straight, with little frisson between them, and their black nerdiness is neglected. Keanu has potential, but the code-switching shtick becomes tiresome and neglects their black nerdiness. However, the team works to translate representations of black masculine anger and impenetrability into comedy, revealing the adorable kittens underneath the swagger. The film also satisfied the guilty pleasure of rappers/actors, with Method (Acting) Man defying the adage of avoiding performances with children or animals. Overall, Key & Peele's performance is enjoyable and satisfying, despite the potential for more mature roles. Keanu is a film about a family of gang members who are chased by the 17th Street Blips, a savage gang of former Bloods and Crips. The cousins, led by Will Forte, pursue the kitten into the urban underworld of L. A., where they bond with the Blips and battle drug kingpins and a crime duo. The film has only a single comic narrative setup and extended joke, which is part of the problem with the film. While Key & Peele are appealing on the big screen, the film feels declawed and lacks anything we haven't seen before, except for the kitten. The production feels televisual, staged in enclosed spaces like cars, clubs, and rooftops. The cousins visit urban spaces explored in their program, such as the Club, strip joints, back alleys, and vacant lots. However, the hood and neighborhood are flat, missing the playful surrealism that animates these quotidian urban and suburban spaces and the eccentric characters that occupy them in the show.
The Great Lillian Hall (2024)
'The Great Lillian Hall' reviews: Jessica Lange's performance should 'send chills down the spines' of Emmy competition
"The Great Lillian Hall" premiered on HBO on May 31, 2024, with positive reviews from critics. The film stars Jessica Lange as Lillian Hall, a Broadway star battling dementia, and reunites her with Kathy Bates and Lily Rabe from "American Horror Story." Pierce Brosnan and Jesse Williams also star. The movie is loosely inspired by actress Marian Seldes, who was the aunt of the screenwriter. Directed by Michael Cristofer for HBO Films. Jessica Lange's performance in HBO's TV movie The Great Lillian Hall is a powerful and elegant Broadway-set drama. Lange's first film lead since 2006, she has been working in episodic formats, a sign of an industry's dire lack of meaty roles for older women. Her work with Ryan Murphy has mostly been for memes rather than awards, but it serves as a consistent reminder of her fantastic and fun acting abilities. Lange has also returned to the stage, most recently in the family drama Mother Play, which earned her a Tony nomination in 2016. Her role in The Great Lillian Hall might vault her into the Emmys race, as the film was released on the last day of eligibility after a surprise announcement just weeks ago. Despite the lateness of her nomination, Lange's performance is so breath-catchingly great that it could almost see her winning. She also performs on stage in her real life as a Tony-winning actor playing a woman with dementia, and her role in The Cherry Orchard is seen as one of Broadway's greats. The Great Lillian Hall is a small, focused character study centered around a knockout lead performance by Jennifer Streep. With just weeks to go until previews begin, Lillian is forgetting lines, growing unsteady on her feet, and seeing visions of her late husband. Her assistant, longtime friend Edith (Tony nominee Kathy Bates), her long-suffering daughter (Tony nominee Lily Rabe), and her new director David (Tony nominee Jesse Williams) are concerned, but Lillian remains adamant that things will go on. The film takes seriously the act of stage performance and the perils that come along with it, with theatre pros in front and behind the camera (director Michael Cristofer). Some screenwriter Elisabeth Seldes Annacone's strokes can be a little too broad, and some directorial choices are a little unnecessary. However, Lange takes full control of a miraculous showcase, avoiding every cliche of the over-emphasised theatricality of playing a performer and the oft-seen movie-of-the-week confusion of having dementia. The film gives us the fullness of a life that for an older woman we just don't often get to see in this way. The Great Lillian Hall premieres at 8pm on 31 May on HBO and will be available to stream on Max with a UK date to be announced.
Alvin and the Chipmunks: The Road Chip (2015)
A tale For Kids and the Family.
"Alvin and the Chipmunks: The Road Chip" is a movie that combines mayhem and humor, with its opening scene featuring Alvin, Simon, and Theodore throwing a surprise birthday party for their dad/legal-guardian Dave. However, things get out of hand when hundreds of people show up, and a half-pipe is erected in the backyard, skateboarders careen through the air, and a DJ cranks the tunes. Dave throws everyone out and gives the chipmunks a good scolding. The movie's main point is that it is a series of random events where the chipmunks either incite a riot or calm one down with their music. It is reminiscent of The Muppets road trip in "The Muppet Movie," musicals of Judy Garland and Mickey Rooney, or old comedies where the forces of anarchy bust up snooty drawing room parties. Dave, disappointed in their behavior, is dating a new woman named Shira (Kimberly Williams-Paisley), and wants the chipmunks to be on their best behavior when they finally meet her. On a group outing to play miniature golf, the mischievous chipmunks meet Shira's teenage son Miles (Josh Green), who makes jokes about super-gluing them together. While the chipmunks like Shira, they are terrified that Dave is going to propose to her while on a trip to Miami. They find an unlikely ally in Miles, who doesn't want a new dad at all. The four set off on a crazy trip from California to Miami to track down their parents and bust up the proposal before it's too late. "Alvin and the Chipmunks: The Road Chip" is a movie about a group of naïve and naive children who embark on a dangerous journey to find their lost friend, Theodore. Theodore, a mentally unstable U. S. air marshal, is tasked with chasing the evil chipmunks who have ruined his flying record. The film takes them across the country, stopping in Texas, Texas, and New Orleans, where they perform on a wooden sidewalk, play in a dive bar, and transform a jazz parade into Mardi Gras. Director Walt Becker creates entertaining scenes for big energetic crowds, with some cameos, including John Waters' great cameo. Jennifer Coolidge, a genius, is under-used as Dave's bizarre neighbor. "Alvin" is not a movie for kids, with some issues with bathroom humor, product placement, and inappropriate clothing for the audience. However, it is generally funny and sometimes sweet, with Tony Hale as a great villain and the road trip sections being pure, uncynical mayhem. The movie also has a subtle message about families, highlighting that they don't have to look a certain way, but are people who love and take care of each other. Overall, "Alvin" is a fun and entertaining movie for kids, but may not be suitable for children.
The Wrong Missy (2020)
The Right or Wrong Missy
"The Wrong Missy" is a Netflix comedy directed by Tyler Spindel and starring David Spade as Tim Morris, who is still in love with his lost fiancée Sarah Chalke. He goes on a blind date with an eccentric woman named Melissa (Lauren Lapkus), who becomes an unexpected and unpredictable handful. Tim meets another Melissa (Molly Sims) at the airport and feels a deeper connection with her. Before a corporate retreat to Hawaii, he plans to invite her Melissa but accidentally texts Lapkus' Melissa. However, as Missy tries to tear her way through one unsettling interaction after another, Tim begins to like her. The movie has a familiar and familial feel, with Sandler's influence dominating the movie. Supporting roles include Rob Schneider, Nick Swardson, Jonathan Loughran, Jackie Sandler, Sadie and Sunny Sandler, and various other Sandler family members. Rapper Vanilla Ice and wrestler Joe "Roman Reigns" Anoai also make cameos. The sweet, timid Tim provides a change of pace for Spade from his typical dirtbag-like persona, but also leads to a saccharine flatness. Lauren Lapkus plays the character's outsized personality, pushing the physical comedy and inappropriateness to extremes. The film's funniest and most savage jokes are when Lapkus repeatedly makes fun of Spade's hair and age. "The Wrong Missy" is a lightweight throwaway, but if your algorithm lands on it, it provides a harmless diversion. Tyler Spindel's Happy Madison tells the story of Tim Morris, a sales executive, who goes on a blind date with Missy, played by Lauren Lapkus. The character is dismally unfunny and would be misogynistic if it wasn't absurd. Tim then meets Melissa at an airport, leading to a sexy interlude and raunchy texts exchanged later. Tim invites Melissa to a Hawaii work retreat, but it's revealed that he has been unwittingly communicating with Missy. Missy initially shocks and embarrasses Tim's friends and colleagues, but eventually wins them over with her in-your-face nonsense. Tim eventually falls for her, despite her horrific behavior leading to him nearly being eaten by an FX shark. The film features a motley mob of Tim's friends and colleagues, including Nate (Nick Swardson), Jack Winstone (Geoff Pierson), and Jess (Jackie Sandler), played by Jackie Sandler's wife Jackie Sandler. Rob Schneider is missing out on the fun, but Steve Buscemi is unavailable. The movie offers originality, wit, narrative sense, emotional resonance, and complex roles for women that reflect progressive contemporary feminist attitudes. It is a Happy Madison movie, strictly for punters who will laugh at anything.
Steel Magnolias (2012)
It will Tug at your Heartstrings
"Steel Magnolias" was a popular Southern film released in 1989, featuring only two black actors who spoke in a nearly two-hour film set in a Louisiana town. The new Lifetime remake of the film, which is now available on Sunday night, features white actors in the background and few of them speak. The film is surprisingly faithful to the original story, which revolves around six women who gather at Truvy's Beauty Spot to gossip, joke, and shed a tear. Director Kenny Leon and his all-star cast, including Alfre Woodard, Jill Scott, Queen Latifah, and Phylicia Rashad, have worked hard to tone down the material and smooth it out.
However, the remake misses the point of the original film. The film essentially consists of a wedding and a death, with everything else being banter and tears. Herbert Ross, a shamelessly effective director of big Hollywood entertainments, wisely pumped up the volume and action in the original film to distract from the script's thinness. He also benefited from the shrewd casting of Sally Field, Olympia Dukakis, and Shirley MacLaine, three expert purveyors of ersatz emotion and hollow laughs.
The talented cast in the remake doesn't specialize in that kind of hucksterism or exaggerated vividness that Julia Roberts and Dolly Parton brought to the original. The actresses in the remake, even the normally fierce Ms. Woodard, give quiet, skillful performances in roles that barely exist, except as vehicles for wisecracks and outrageousness. They come across as prosperous New Jersey suburbanites rather than stereotypes of Southern eccentricity, which may sound like an improvement but just makes the whole project feel insubstantial. Condola Rashad plays Shelby in the remake of Phylicia Rashad's original film, while Adepero Oduye plays Annelle. Male roles are less significant in the remake, with basketball superstar Julius Erving appearing as a minister. Details have been altered to reflect the new racial makeup and period, such as referencing Michelle Obama and a more organized wedding scene. However, the original quote "Life goes on" remains intact, recited by both white and black actresses, highlighting the resilience of life.
The First Omen (2024)
Terrifying, Creepy and Plot Twists.
In the past two weeks, two horror movies have been released in America, focusing on young American nuns arriving in Italy to discover a sinister plan by a demonic faction of the Catholic Church to impregnate women. The first movie, The First Omen, is a prequel to Richard Donner's 1976 classic, The Omen, about an American couple who secretly adopt their son as the child of Satan. Wes Craven, a renowned filmmaker, emphasized that the horror genre began providing images of torture around the time the real world became filled with such images. The First Omen, directed by Arkasha Stevenson, incorporates what's happening in society at large into its genre tale of creepy occurrences behind cloistered walls. In 1971, Rome is seized by protests, and young novitiate Margaret Daino (Nell Tiger Free) asks her mentor, Cardinal Lawrence (Bill Nighy), about the turmoil. He explains that the Church is among those institutions where these young people have lost trust and faith.
The film cuts between the chaos in the streets and the chaos in Margaret's mind. She becomes intrigued by Carlita Skianna (Nicole Sorace), one of the girls at the orphanage where she serves. Carlita is quiet, odd, and unable to play with others, and the nuns often send her to "the Bad Room," a sort of solitary confinement for unruly girls. Margaret sees something of herself in the girl and tries to forge a bond with her. When a rogue priest (Ralph Ineson) warns her that Carlita might be marked with the sign of the Beast, and that she might have been bred by the Church specifically to give birth to the Anti-Christ, Margaret is in denial. The First Omen is a horror film that explores the concept of loss of control and helplessness. The priest, who receives information about the Omen, is revealed in a gruesome opening scene featuring Charles Dance. The film is a mix of horror and science fiction, with images that are both textured and shocking, tapping into visceral fears. The film features black veils, monstrous figures, and grimy claws pawing at delicate female flesh. The film also features drawings on walls whispering dark nothings and black habits hanging on hooks that come to life with a burst of wind and a queasy glance. The film is a true horror film that leaves the audience with more questions than answers, highlighting the need for an active horror franchise.
He Went That Way (2023)
Vertical Entertainment Films are very well done.
In 1964, professional ice skater and animal trainer Dave Pitts encountered a young hitchhiker who was on a killing spree. The story was fictionalized in Conrad Hilberry's book "Luke Karamazov," which is the source of "He Went That Way," the feature directing debut of cinematographer Jeff Darling. Jacob Elordi plays Bobby, the nasty, brash killer, while Zachary Quinto plays Jim, the diffident trainer. Jim has troubles, including a wobbly marriage, debt, and bad work prospects for the chimp. Bobby is apt to add to his woes, but the two bond anyway. Elordi's performance in "He Went That Way" lacks the discipline he applied to his work in "Priscilla" and "Saltburn." The film is laboriously quirky, with an indifferent script that feeds Elordi almost as much profanity as Al Pacino uses in "Scarface." The best entertainment is archival footage of the actual Spanky ice-skating, but the rest of the movie is not worth watching. "He Went That Way" is a mid-century indie film that tells the true story of Dave Pitts, an ice-skating chimpanzee who was a star in the Ice Capades. The film stars Australian cinematographer Jeffrey Darling and adapts the book "Luke Karamazov" by Conrad Hillberry. However, the film fails to find a steady tone, veers off into bizarre subplots, and features two underwhelming performances from the talented lead duo. Set in 1964, the story begins with an in medias res development involving a dead body and flashes back a few weeks earlier. Zachary Quinto's Jim Goodwin is driving his rickety old van through Death Valley when he picks up Jacob Elordi's Bobby, a lanky and movie star-handsome stranger. Bobby claims to be an Air Force veteran who has been roaming America and is now trying to reunite with his girlfriend in Milwaukee. Jim is driving to Chicago, and the movie is heavy with symbolism about the uncertainty of America in the aftermath of the JFK assassination, the Vietnam War, and social protests. The chimp, played by an actor in motion capture (with some puppetry as well), never really seems like an actual chimp. There's something sad about the idea of a chimp taken from West Africa, forced to train for hundreds of hours, and turned into a costumed performer who is now spending most of its life in a small cage in the back of a van. Zachary Quinto delivers icy and distant work as Jim, while Jacob Elordi goes way over the top, as if he had watched "Rebel Without a Cause" a dozen times and decided to turn up the James Dean impersonation to an 11. "He Went That Way" ends as it began with a series of self-conscious and eccentric developments that feel inauthentic and forced.
Loot: We Shouldn't Exist (2024)
They Shouldn't Exist
LOOT, a comedy show, explores the theme of billionaires and their relationships, showcasing sarcasm and irony. The show leaves viewers with cliffhangers and a focus on friendship, love, and life-changing decisions. The show's surprises and honesty make it difficult to predict what Molly and her cohorts will do next. Jazz is a highlight, lasting at least three hours. Despite not always being taken seriously, LOOT provides valuable insights into how to solve some of the country's problems. Fans appreciate the brave, thought-provoking moments while still making them laugh out loud. Kudos to LOOT for its humorous and entertaining content. In Loot Season 2 Episode 10, Molly and Grace appear on a magazine cover with the title "We Shouldn't Exist: A New Type of Billionaire." Norman Lofton wants to tour a "Space for Everyone location" and funds it, but Arthur calls their almost-kiss a mistake. Ainsley tells Sofia how inspiring she is for always putting others before herself, which shakes her. Molly talks with her about Isaac and encourages her to take the leap if she truly loves him. Nickie gets a call from a Korean woman, possibly his birth mother, who is interested in him for a role that would take him to Korea for six months. When she meets him, she encounters a group of men in robes and masks who threaten her activities and demand she cease them. The leader of the group is Norman, who tells her she's crazy for upsetting the natural order of things. Molly doesn't want to join them, but she and Grace decide to start their own group, finding people who care about humanity. However, the group swayed Grace over to their side, as she realized she loves money too much. Sofia shows up at one of Isaac's shows and stops her from talking more with a kiss. When Sofia texts Molly about her successful "leap" with Isaac, Molly is convicted to share her feelings with Arthur. The expansion of Space for Everyone isn't looking promising after the reveal of the cult of billionaires, but Loot pulls off the absurd characterization of billionaires. The finale may not be an impressive finale, but the charismatic cast makes the most of it, making the characters lovable and flawed.