Sometimes you get into watching a movie, the first two to three scenes appear boring, and you just push the movie aside. That's what happened to me when I decided to watch this movie. I saw an interesting clip by netflix on Facebook, rushed in to download and watch and just some scenes, I lost interest and decided to delete. After about a year, I saw an interesting clip by the same netflix on Facebook, I downloaded the movie again to watch because a lot of people gave it 10/10 in the comment section.

The movie plot is good, no doubt about that, but I feel they selected the wrong actors for the movie, and also, the water depth idea was overdone.

For the actors, I understand that there are some famous actors who, when used in movies, attract traffic, but I feel Jason Statham made the movie look too predictable, and his acting was too "bossy" in the action scenes.

Your opinion might be different, but the whole idea of going deep, fighting sharks single-handedly, and also combating enemies looks so predictable and "bossy". Yeah, those moments where he single-handedly agreed to handle some difficult situations with his "bossy and unkillable" display really put me off.
The other actor I feel did extremely badly is the fat dark guy who is always trying to add some comic effects to the movie. Yoh, those scenes were a turn-off for me. Maybe my brain is no longer in the right state to enjoy such movies. Maybe yes. Lol.

The next scenes that didn’t sit well with me are the ones where they traveled to the depths of the sea. Okay, the idea is actually good, to portray how life is in the depths of the sea, but the survival fights with the sharks didn’t fit well at all. It was as if the sharks were showing them mercy because they actually had opportunities to swallow everyone, but they let them escape. Let me stop there before people start calling me a weird guy.

Also, movies have grown past the idea of a little girl innocently walking into a den of danger and everyone trying to save her. Sophia was used in this part, and everyone went about trying to save her. It looks weak.

Apart from these, the movie is good, and I will give it a 5/10.

Thanks for reading

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Walk of Punishment (S03E03)

Airdate: 14 April 2013

Written by: David Benioff & D. B. Weiss Directed by: David Benioff

Running Time: 52 minutes

From its inception, a defining characteristic of Game of Thrones was its authors’ tendency to shock viewers with devastating final scenes in certain episodes. These narrative hammer-blows became a signature structural device. Sometimes these attempts were profoundly effective, searing images into cultural memory; at other times, particularly in the latter seasons, they could feel contrived or unearned. In Season 3, however, the series was still operating near its peak, and one of its more successful and brutally efficient exercises in this form is Walk of Punishment. While ostensibly one of the season’s slower, more deliberate instalments, it masterfully builds a pervasive sense of dread that culminates in one of the show’s most iconic and transformative acts of violence: the maiming of Jaime Lannister. This episode, written and directed by showrunners David Benioff and D. B. Weiss (though only Benioff received directorial credit due to Directors Guild of America rules), serves as a crucial pivot point, deepening characterisation across the board while delivering a finale that irrevocably alters the trajectory of one of the series’ most complex figures.

The episode’s title refers directly to a gruesome location in the slaver city of Astapor: a road lined with crucified slaves, a punishment for defiance or transgression. Here, Daenerys Targaryen’s idealistic crusade confronts the visceral horror of the world she seeks to change. Her instinctive offer of water to one of the suffering men is met with a plea for death, an early note of the episode’s pervasive bleakness. Her subsequent negotiation with Kraznys mo Nakloz is a landmark moment, showcasing her burgeoning political cunning. She secures all 8,000 Unsullied, plus the translator Missandei as a “gift,” but at the apparent cost of her largest dragon, Drogon. This transaction is framed not just as a military acquisition but as a moral quandary. Ser Jorah Mormont, ever the pragmatist, defends the use of slave soldiers—pointing out that eunuchs are unlikely to rape—while Ser Barristan Selmy expresses profound discomfort at the notion of reconquering Westeros with such a force. This debate subtly reinforces the episode’s recurring, uncomfortable theme of sexual violence as a tool of war and a constant threat.

Beyond the Wall, the supernatural threat continues to coalesce. Jon Snow, travelling with the Wildlings, discovers butchered Night’s Watch horses arranged in a sinister geometric pattern, a chilling calling card of the White Walkers. Mance Rayder’s decision to send a small group, including Jon and the climber Tormund, over the Wall sets a new plot in motion. Meanwhile, the horror is more intimate at Craster’s Keep. Samwell Tarly, arriving with Lord Commander Jeor Mormont, learns that Gilly has given birth to a son—an event that fills her not with joy but with terror, given the grim fate of Craster’s male children. This thread reinforces the show’s preoccupation with cyclical violence and the vulnerability of the innocent.

In Riverrun, the episode excels in character exposition, finally introducing the principal members of House Tully in earnest. We see a study in contrasting generations and competencies. Edmure Tully, played with perfectly judged pomposity by Tobias Menzies (an actor whose career has become synonymous with period drama, from Rome’s Brutus to Outlander’s Black Jack Randall), is immediately established as inept. He botches the ceremonial lighting of his father Hoster’s funeral boat, a task his uncle, the seasoned and sardonic Brynden “the Blackfish” Tully (a superb Clive Russell), completes with effortless dignity. This comical failure is more than mere humour; it foreshadows a greater military blunder. Robb Stark later chastises Edmure for his unauthorised attack on the Lannister-held Stone Mill. While tactically successful in capturing two of Tywin’s distant cousins, this action wrecked Robb’s strategic plan to lure Ser Gregor Clegane’s army deep into the Westerlands for a decisive annihilation. Edmure’s need for personal glory undermines his king’s wider war, a poignant metaphor for the failings of feudal pride.

The political manoeuvring in King’s Landing is more subtle but equally significant. With Lord Petyr Baelish dispatched to the Vale to marry Lysa Arryn and secure her alliance, Tyrion Lannister is appointed Master of Coin. His examination of the ledgers reveals a staggering truth: for all his reputed financial genius, Baelish has left the crown effectively bankrupt, running on unsustainable debt, including significant obligations to the fearsome Iron Bank of Braavos. Tyrion realises he has been handed a poison chalice, a problem of existential import for the regime.

This scene of quiet horror is counterbalanced by one of the series’ most purely comedic moments. In gratitude for Podrick Payne saving his life, and learning his squire is a virgin, Tyrion treats him to an evening with three elite prostitutes. The subsequent revelation that the women, including the famously flexible contortionist Kayla (played by Pixie Le Knot), were so impressed by Podrick’s natural prowess that they refused payment is a delightful, bawdy interlude. It mixes HBO’s obligatory nudity with genuine humour, and the mention of Kayla’s speciality, the “Meereenese Knot,” serves as a witty meta-reference to George R. R. Martin’s own well-documented struggles with narrative complexity in A Feast for Crows and A Dance with Dragons.

Elsewhere, the narrative threads continue to tighten. Arya Stark, travelling with Gendry and Hot Pie, sees Brotherhood Without Banners capturing the Hound. Hot Pie chooses to stay at the crossroads inn as a cook, a small moment of normalcy amidst the chaos. For Theon Greyjoy, however, there is no respite. After being freed from his captivity, he is recaptured by his mysterious tormentors. A scene of brutal, impending rape is halted only by an arrows killing his assailants, fired by the very stable boy who had supposedly freed him—a cruel twist that deepens the mystery of his torture.

All these strands, however, are prelude to the episode’s devastating final act. The captured Jaime Lannister and Brienne of Tarth are at the mercy of Locke and his men. In a chilling conversation, Jaime warns Brienne of the inevitable rape to come, cynically advising non-resistance. When the attempt occurs, Jaime improvises a defence, convincing Locke that Brienne is a highborn daughter of Tarth worth a substantial ransom only if “unbesmirched.” Having saved her, Jaime attempts the same gambit for himself, invoking his father’s wealth. Locke initially seems receptive, only to reveal a deep, personal contempt for the “daddy’s boy” knight. His retaliation is swift, brutal, and permanent: he severs Jaime’s sword hand. This moment is a masterpiece of shocking television. Narratively, it delivers a form of karmic justice—the man who crippled Bran Stark is himself crippled. Yet, the manner of its delivery subverts any sense of heroic comeuppance. It is not the result of a noble duel or a grand battle, but a capricious, sadistic act by a minor villain, making the violence feel random and profoundly degrading. Noah Taylor, an Australian actor renowned for portraying villains like Adolf Hitler, brings a palpable, petty malice to Locke. However, the writing here arguably falters slightly; Locke’s motivation feels somewhat thin, a consequence of the character being a composite of several more psychologically complex figures from Martin’s A Storm of Swords. His actions serve the plot’s need to break Jaime more than they arise from a fully fleshed-out character.

The episode’s direction underscores this brutality. Benioff and Weiss choose to follow the amputation with a jarring, anachronistic cover of the folk song “The Bear and the Maiden Fair” by the punk band The Hold Steady. Unlike the later, perfectly integrated use of “The Rains of Castamere,” this choice feels somewhat artificial, a too-deliberate attempt to create dissonance that can pull the viewer out of the moment. It is a rare misstep in an otherwise superbly crafted sequence.

Walk of Punishment is, by design, a dark episode. Rape functions as a leitmotif, discussed in Essos, threatened in the Riverlands, and narrowly avoided by both Brienne and Theon. This unflinching focus on sexual violence is a stark reminder of the brutal world Martin conceived. The episode’s slower pace, with its emphasis on conversation and character, is compensated for by this rich exposition and the mounting tension that explodes in its final minutes. It successfully sows the seeds for Jaime’s redemption arc—his identity as a swordsman obliterated, he must begin to construct a new sense of self from the rubble. In its balance of political intrigue, black humour, character study, and visceral shock, Walk of Punishment stands as a quintessential Game of Thrones episode from the series’ golden age.

RATING: 6/10 (++)

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Saludos comunidad.

Recién estuve leyendo algunos artículos, sobre una dinámica de contar cuáles fueron los dibujos animados, que les habían agradado durante su etapa de infancia a un grupo de usuarios, me vino a la mente "El Gigante de Hierro" del año 1999, aunque por ese entonces ya yo andaba lejos de ser tan chico, decidí hacerle una reseña a esta película, cuando me puse a escribir esto, me di cuenta de que no la recordaba con el cariño que merecía, y fue así que la vi otra vez.

La película en cuestión fue dirigida por Brad Bird, tiene algo especial, no es solo un clásico de culto —aunque lo sea—, es una película atemporal que creo merece estar en las mismas conversaciones que Toy Story o El Rey León, y sin embargo mucha gente ni la conoce.

Greetings, community

I was just reading some articles about a trend where users shared which cartoons they enjoyed during their childhood. It got me thinking about The Iron Giant from 1999. Even though I was way past being a kid by then, I decided to write a review of this movie. As I started writing, I realized I hadn't been remembering it with the affection it deserved, so I watched it again.

The film in question was directed by Brad Bird. It has something special about it. It's not just a cult classic—though it is one—it's a timeless film that I believe deserves to be mentioned in the same conversations as Toy Story or The Lion King, and yet many people don't even know it.

Maine, década de 1950. Guerra Fría en pleno apogeo, un niño llamado Hogarth —curioso, aventurero, de esos que se meten donde no los llaman— vive con su madre soltera. Un día se encuentra con algo enorme, metálico y caído del cielo: un robot de unos quince metros y medio. Este pequeñín decide esconderlo y ayudarlo, mantener en secreto esta decisión se hace bastante difícil, al tratarse de un gigante que come metal, sobre todo cuando al pueblo llega un agente del gobierno llamado Kent, quien se encuentra casi que obsesionado con encontrar "actividad comunista" o lo que sea que amenace el sueño americano.

La estructura es clásica, un niño solitario que se hace amigo de una criatura inesperada, lo importante no es la trama sino quienes la habitan y dónde pasa, el contexto de la Guerra Fría no es solo un adorno, más bien es como eje central del conflicto, lanzando una pregunta: ¿qué ocurre cuando un arma descubre que es un arma y ya no quiere serlo? El gigante no entiende bien lo que es, solo sabe que Hogarth lo trata con cariño, mientras afuera, el mundo entero parece entrenado para pensar que todo lo desconocido es una amenaza.

Maine, 1950s. The Cold War is in full swing. A boy named Hogarth—curious, adventurous, the kind who sticks his nose where it doesn't belong—lives with his single mother. One day he comes across something huge, metallic, and fallen from the sky: a robot about fifty feet tall. This little guy decides to hide it and help it, keeping it a secret, which proves pretty difficult since it's a giant that eats metal—especially when a government agent named Kent shows up in town, almost obsessed with finding "communist activity" or whatever might threaten the American Dream.

The structure is classic: a lonely boy befriends an unexpected creature. What matters isn't so much the plot but the characters who inhabit it and the setting. The Cold War backdrop isn't just decoration; it's the core of the conflict, raising a question: What happens when a weapon discovers it's a weapon and doesn't want to be one anymore? The giant doesn't really understand what he is. He only knows that Hogarth treats him with kindness, while outside, the whole world seems trained to think that anything unknown is a threat.

Si tuviera que buscarle una debilidad, diría que el personaje de Kent roza a ratos la caricatura, pero honestamente las partes cómicas funcionan, y su ridiculez hace contraste con lo que realmente importa, es tan patéticamente villano que se vuelve cómico, ver a un adulto compitiendo con un niño es ridículo, y ahí está la gracia, aunque la trama nunca se burla de él de forma cruel, lo retrata como lo que es: un tipo paranoico de su época.

Aunque es animación y hablamos de voces, aquí se nota que hay actuaciones de verdad. Jennifer Aniston interpreta a la mamá de Hogarth, aun estando muy agotada no pierde la ternura, su voz tiene esa calidez que te hace creer que, pese a todo esa familia sigue en pie. Y el gigante... ese habla poco, pero cuando lo hace, esa voz metálica y pausada, es como un niño enorme que no entiende el mundo; tiene pernos en la mandíbula que se ajustan para mostrar tristeza, alegría o confusión, sus ojos como compuertas que se abren o cierran cual párpados metálicos, se dice que fue animado 100% digital, algo que en 1999 debió ser una locura.

If I had to find a weakness, I'd say the character of Kent sometimes borders on caricature. But honestly, the comedic parts work, and his ridiculousness contrasts with what really matters. He's so pathetically villainous that he becomes funny. Watching an adult compete with a child is absurd, and that's the charm. Still, the film never mocks him cruelly; it portrays him as what he is: a paranoid guy of his era.

Even though it's animation and we're talking about voices, you can tell there's real acting here. Jennifer Aniston plays Hogarth's mom. Even when exhausted, she never loses her tenderness. Her voice has that warmth that makes you believe that, despite everything, this family is still standing. And the giant... he speaks little, but when he does, that slow, metallic voice sounds like a giant child who doesn't understand the world. Bolts in his jaw adjust to show sadness, joy, or confusion. His eyes open and close like metal eyelids. It's said he was animated 100% digitally, which in 1999 must have been mind-blowing.

La música no es invasiva, y cuando tiene que apretarte el corazón, lo hace sin excusas. Lo de la Guerra Fría es como un telón de fondo, que hoy pocas películas animadas se atreverían a tocar, pues el cine actual parece temer perder a su público infantil si los sitúa en contextos históricos reales, pero El Gigante de Hierro no le teme a nada. No es una crítica feroz a la paranoia nuclear —aunque algo de eso hay—, sino casi una celebración de esa época, cuando los niños se entretenían con cosas simples: salir a la calle, cazar ardillas, ver televisión en blanco y negro con antena en el techo, aunque bajo esa superficie apacible, siempre estaba la amenaza, la carrera espacial, la bomba. El gigante es el espejo de todo eso, puede ser un arma de destrucción masiva, pero decide no serlo, el acto de elección —"yo no soy un arma, yo soy quien elijo ser"— es un mensaje hermoso.

Si no la han visto, no quiero estropearles el momento, si tienes hijos véanla juntos, y si no los tienen véanla igual, esta se puede ver a cualquier edad y te va a pegar distinto, cuando eres más chico, conectas con Hogarth y su amistad imposible, de adulto entiendes a la madre y el contexto. La volví a ver con ojos críticos y sigue sosteniéndose. Quizá no es perfecta —el ritmo decae un poquito por momentos—, pero la grandeza de la obra hace que eso no importe. Ojalá esta reseña sirva para que al menos alguien más la vea, es de las historias que merecen vivir hasta el final de los tiempos.

The music isn't intrusive, and when it needs to tug at your heart, it does so without apology. The Cold War theme serves as a backdrop that few animated films today would dare to touch, since modern cinema seems afraid of losing its child audience by placing them in real historical contexts. But The Iron Giant isn't afraid of anything. It's not a fierce critique of nuclear paranoia—though there's a bit of that—it's almost a celebration of that era, when kids entertained themselves with simple things: going outside, hunting squirrels, watching black-and-white TV with an antenna on the roof. Yet beneath that calm surface, the threat was always there: the space race, the bomb. The giant is a mirror of all that. He could be a weapon of mass destruction, but he chooses not to be. The act of choice—"I am not a weapon. I am who I choose to be"—is a beautiful message.

If you haven't seen it, I don't want to spoil the moment. If you have kids, watch it together. And if you don't, watch it anyway. This one works at any age and will hit you differently. When you're younger, you connect with Hogarth and his impossible friendship. As an adult, you understand the mother and the context. I watched it again with a critical eye, and it still holds up. Maybe it's not perfect—the pace drags just a little at times—but the greatness of the work makes that not matter. I hope this review encourages at least one more person to watch it. It's one of those stories that deserves to live on until the end of time.

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Realm of Fear (S06E02)

Airdate: 28 September 1992

Written by: Brannon Braga Directed by: Cliff Bole

Running Time: 46 minutes

The enduring richness of Star Trek as a franchise often lies in its remarkable capacity to revisit established plot points, premises, and character types, reconfiguring them into fresh and compelling narratives. A prime, if understated, example of this alchemy can be found in Realm of Fear. This sixth-season episode, while neither particularly original nor ranked among the series’ most memorable outings, nonetheless functions as a solid and thoroughly entertaining piece of television. It succeeds by grafting a classic genre premise—the psychological horror of technology—onto one of the show’s most beloved and neurotic recurring characters, resulting in a story that is both a satisfying mystery and an effective character study.

The plot initiates with the USS Enterprise-D being dispatched to the Igo system to investigate the loss of contact with the USS Yosemite, a science vessel observing a plasma streamer. The Yosemite is located, but severe interference from the streamer renders transport hazardous. This technical difficulty catalyses the episode’s central drama: it acutely bothers Lieutenant Reginald Barclay, whose deep-seated transporter phobia surfaces, compelling him to refuse a beam-over. He is subsequently counselled by Deanna Troi, a scene which economically establishes the irrational yet visceral nature of his fear—a fear of dissolution and non-existence that many in the audience can intuitively understand, even in a 24th-century context.

Compelled by duty, Barclay finally overcomes his trepidation and transports to the derelict ship. The Yosemite is found empty save for the body of Lieutenant Joshua Kelly. It is during the return transport that the episode’s central weirdness unfolds: Barclay briefly glimpses a mysterious, worm-like creature that seems to reach for his arm. Thereafter, he is plagued by anxiety and the disturbing sight of his own left arm glowing with an ethereal light. Initially, he fears he is succumbing to the infamous and “incurable” transporter psychosis, a neat callback to franchise lore. His determination to prove his sanity, however, leads him to volunteer for another transport to the Yosemite, hoping to observe the phantom creatures again.

Upon his return, the mystery begins to unravel. Analysis reveals that Barclay’s arm is slightly out of phase, a phenomenon caused by microscopic organisms that bypassed the transporter’s biofilter. To purge them, Barclay is sent back into the transporter buffer to linger until the filters can work. In this liminal state, he again sees the creature and, in a moment of desperate courage, grabs it. This action has a miraculous consequence: when he is beamed back, a Yosemite crewman materialises with him. The Enterprise crew deduces the truth: the “wormlike creatures” are in fact the Yosemite crew, trapped in mid-transport by a disaster and rendered visible only to someone in a similar phased state. A rescue mission ensues. The episode concludes not with technobabble, but with a beautifully human moment between Barclay and Chief O’Brien, who has confessed his own fear of spiders and now produces his pet tarantula to help Barclay face his lingering anxiety—a moment of quiet solidarity and dark humour.

Realm of Fear was written by Brannon Braga, a legendary figure in Star Trek production. His premise cleverly repurposes a motif established in The Original Series era: the latent fear of the transporter, touching on deep anxieties about the nature of identity when a body is atomised and reconstituted. Braga has admitted to layering in his own real-life fear of flying, simply transposed onto this most iconic of Star Trek technologies. The narrative model is transparently the classic Twilight Zone episode “Nightmare at 20,000 Feet,” which famously starred William Shatner and was written by Richard Matheson, trading an aeroplane’s wing for a transporter pad.

Braga’s great move, however, was the deployment of Reginald Barclay. Already established as a popular, fascinating recurring character—the brilliant but deeply neurotic engineer—Barclay provides the perfect vessel for this story. Portrayed with immense skill and empathetic gusto by Dwight Schultz, Barclay delivers a performance that anchors the episode. He perfectly captures the torment of a man wrestling with a neurotic fear, painfully uncertain whether his visions are the product of a psychotic break or a terrifying reality. Schultz makes the audience feel every jolt of his anxiety.

Director Cliff Bole handles the material with great skill, maintaining a taut pace and leveraging the claustrophobic potential of the transporter room. Realm of Fear is historically notable as the first Star Trek episode to present a point-of-view shot from within the transporter beam itself, a subjective visual effect played to great unsettling effect.

Where the episode arguably falters is in its final exposition. The scientific resolution to the mystery of the worm-creatures feels somewhat rushed and buried under a heap of technobabble. The explanation—microbes causing a phase variance—serves more as a convenient plot mechanism to enable Barclay’s character arc than as a naturally unfolding puzzle. It is a functional, rather than elegant, piece of Star Trek problem-solving.

Nevertheless, the episode’s strengths significantly outweigh this flaw. It delivers an effective dose of mystery and body horror (the glowing arm is a particularly unsettling image) leavened with dark humour. It offers not only a superb performance from Dwight Schultz but also delightful interplay with Colm Meaney’s grounded and pragmatic Chief O’Brien. Their final scene transcends the technobabble, returning the story to its core: the universal struggle with fear, and the courage found in confronting it, even with a giant spider in the room. In this, Realm of Fear achieves what the best of Star Trek often does: using a speculative fiction premise to explore a profoundly human truth. .

RATING: 6/10 (++)

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Hello anime fans, so let’s talk about My Hero Academia Season 2 because honestly… this is where things started getting very real, I know I did a review of the season sometimes ago, but then the season 2 is where the real thing starts.

If you watched My Hero Academia Season 1 and you liked it My Hero Academia Season 2 just comes in and makes everything better, It does not even waste time at all, from the beginning you can already tell that My Hero Academia Season 2 is more serious more intense and more emotional, my Hero Academia Season 2 has 25 episodes and I actually like how they used all of them, nothing felt rushed nothing felt dragged everything just flowed well, we did not just focus on Deku this time other My Hero Academia characters actually got their moments too which made it more interesting.

Now let me talk about the U.A , Sports Festival arc because wow… that part alone was enough for me, at first, I thought it was just going to be normal competition stuff, you know, students trying to win and show off, but it quickly turned into something deeper, everybody had something to prove, It was not just about winning again, it was personal.

Todoroki’s story? Yeah… that one was deep, the whole issue with his dad, Endeavor, and how he refused to use his fire side, it was a lot, and when Deku was literally shouting at him during their fight, telling him to stop running from himself that scene was not just action, it felt emotional. I will not lie, I really felt that one.

And Deku himself… this boy is still breaking bones like it’s normal but at least now he is starting to think more, He is not just rushing into fights again, You can actually see his growth, even if it’s small small.

Then after the festival, we enter the Hero Killer Stain arc, and this is where everything just gets darker, like the tone changed immediately, stain is not your regular villain at all, the scary part is that some of the things he was saying actually made sense, he believes most heroes are fake, just doing it for fame and not really to help people… and honestly, I was like hmm… he might not be completely wrong.

That arc had real tension, the fights felt more serious, like something could actually go wrong, and seeing Iida go through anger and revenge? that one surprised me, It showed a different side of him.

Another thing I really liked is the balance. It wasn’t just fight fight fight, there were emotional moments, some funny scenes here and there, and proper character development, It did not feel too heavy, but it still carried weight.

The animation? Very clean, the fight scenes? Solid. The soundtrack? Always hits when it needs to.

If I am being honest this is the season where My Hero Academia stopped feeling like a school anime and started feeling like something bigger, there is depth there is meaning and the My Hero Academia characters actually feel real.

Overall My Hero Academia Season 2 is a must watch, not even something you should think about, If you enjoyed My Hero Academia Season 1 My Hero Academia Season 2 will pull you in.. By the time you are done you will just want to keep going.

Because trust me My Hero Academia only gets more intense from here.

_Imdb

Aikay👾

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2025 Movies Marathon

I have grown a bit of a tradition in January to watch all the 'Youtuber Top 10 Films Of The Year' videos to catch up with everything that was potentially good in the previous year. We are now 4 months into 2026 and I'm pretty much done with 2025 Movies feeling that I watched the ones I really wanted to see. From here on out, I will watch the occasional 2026 movie but more importantly work trough the massive backlog I have of older movies that I still want to watch...

Going To The Movies

Project Hail Mary (7.5/10)

I went into this movie not knowing too much as I avoided any spoilers while looking at it now, I wouldn't have minded knowing a bit more. I did see the trailer once months before but aside from thinking 'I might go see this' I didn't remember much of it. All I knew was that it was a space movie of a guy who wakes up on a space ship mission alone not really remembering much, it's from the same writer as the martian and the movie involves an alien also. The movie gets a solid 8+ on imdb and is close tp 2 hours and 40 Minutes long.

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The Setup I actually liked the entire setup of the movie of what was going on with the 'end of the world' scenario as the Sun was dying along with all other suns in the universe aside from one where they travel to and where they meet the alien creature who is on the same mission. It's also interesting that there is a switch between events on the space ship and what happened before on earth.

However, I know that the movie is called Project Hail Mary which means...

People use “Hail Mary” more broadly to mean any desperate attempt with slim odds of success.

But the movie is just packed with one event after the other that in reality would have 0.0001% chances of actually working it feels like which you need to be able totally put aside in order to fully enjoy it.

The Alien Creature I had no idea what to expect from the Alien creature and it would have been best in advance that I would have known it was some kind of rock with legs. I was intrigued by the initial communication and the way they got to meet. It turns out that the human can't survive in the living conditions of the creature and the other way around. The way that this the language barrier was fixed felt kind of a bit too convenient and smooth. I also fell asleep for a couple moments just to see the Alien somehow was in a capsule so it was able to get on the ship and work together to find a possible solution.

The Story I would say the deeper story is about how the main character evolves from fearful, reluctant teacher into a selfless hero which did add to the main story of the end of the world and humanity trying to fix it.

The Acting, Visuals, & Sound Ryan Gosling really put up an excellent performance and the visuals of the movie along with the sould design were top notch. I liked Sandra Hüller especially the scene where the sign of the times songs. At the same time she contantly made me think of the Movie Anatomy Of A Fall where she is the main character which was somewhat distracting.

Conclusion Don't expect the next Interstellar or The Martian when going into Project Hail Mary as it's simply is not as good. The main thing that pulled me out a bit is the string of improbable events in this one. Aside from that, it was quite enjoyable from many angles and I get the high ratings. At the same time, I can't say I was fully blown away but I did enjoy it enough to still give it a good 7.5/10.

Previous Years -> List Watched Movies in 2025 -> List Watched Movies in 2024 -> List Watched Movies in 2023

The problem that we face with a lot of science fiction tv shows is that it is going to take an unusually high budget to be able to pull it off especially if the scenes that are filmed are meant to take place in outer space frequently. The simulation of zero G is going to be really tough no matter how you look at it, and when I watch a show like The Expanse I can appreciate what they are trying to do but I also realize that they are staying away from extremely difficult to replicate situations such as people's hair floating weightlessly around them by having everyone have shaved heads or tight braids for the ladies, and well, I can see what you are doing there.

[src](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWKZJ63LV0tE7_K8yGAj4_nNiscDJHq937FGqtJdjI37YpdvD_3s60_vmVdAYVhsdAny8CeuovLZOrXLxlpx8yYYHMLYfrXaQ-TpLlu604hZopYR01KI3HZavAYMJ-_gugI-MG/s1600/glow_shortys_header_expanse-1.png)

It can be kind of fun though, to watch and see where they are clearly trying to save money through some sorts of tricks and how at times the gravity defying boots that they are wearing force them to walk really slow and at other times they just kind of throw that rule out and people can run willy nilly. That in itself can be pretty entertaining but the thing that I don't like that they are doing in this very bold undertaking is that since they don't have the budget to do this properly, they instead are relying on a ton of boring dialogue in order to take up all the time in the episodes.

[src](https://www.indiewire.com/wp-content/uploads/2016/02/the-expanse-102.jpg?w=600&h=337&crop=1)

I am familiar enough with the source material here to know that this must have been a really tough one for some execs to green-light seeing as how the story dictates that a great deal of what goes on is going to involve certain situations that simply cannot be properly replicated while filming in a place that isn't outer space and does in fact have gravity.

I am sure that this was a big part of the reason why nearly everyone in the cast that ends up in an outer space sort of environment has a shaved head, some sort of really tight curly hair, or unnecessarily always has a hat on.

[src](https://imageio.forbes.com/blogs-images/erikkain/files/2015/12/The-Expanse-Julie1.jpg?height=400&width=711&fit=bounds)

A lot of what is going on involves finding a central character named Julie Mao, who is the daughter of some really rich dude. There are a few really cool scenes with her in zero G where her hair and the rest of her body is floating around and that must have been very expensive for them to pull off. It would have been a relative CGI nightmare to film this and I will admit that I found it rather amusing that one of the first things they did with her when we encounter her in this massive ship that has lost gravity, is to have her tie her hair back so tight that they wouldn't have to do that anymore. I mean, if she had that hair tie the entire time why wait? It must have been super annoying to have your hair in your face up to that point.

[src](https://i.pinimg.com/736x/83/47/f6/8347f618a30a410992f5fa5215fd1fda.jpg)

I like to believe that they were filming and then a producer was like "guys this is costing way too much money, let's get that girl a hair band."

The outer space stuff including the little bit of combat, they do pretty well with it but you can't help but look at it and say that it looks fake and kind of cheap. For me this often takes away from the overall quality and yes, I know that this show is over 10 years old.

A lot of time is spent on the political side of things and this is just fine. The entire story here is about Earth, Mars, and the workers of the asteroid belt not really getting along and being on the brink of war but for many, this political side of things could seem to drag on a bit. Is it true to the source material? Well, you'd have to ask someone that read the books to get an answer on that.

For me the series has a decent plot but I just can't help but feel as though a lot of the scenery that we are subjected to has been intentionally altered so as to accommodate a Sy-Fy network sort of budget.

[src](https://www.looper.com/img/gallery/actor-steven-strait-dishes-on-the-expanse-exclusive-interview/intro-1611585573.jpg)

One other thing that I found a bit "sub-par" was the actor that portrays "James Holden." It is my impression from what little I know of the source material that this dude is supposed to be an imposing physical force and also of unerring mental willpower, yet he often looks quite small and comes across as a bit on the whiney side. I can't really put my finger on it but to me he just doesn't portray the role of feared and respected very well.

This show has a near 80% or 8/10 on the major review sites but much like anything that is science-fiction these reviews can be a bit unbalanced because if there is one thing the nerdy types (I am one of those nerdy types, so don't get offended) often do is to look out for their own. If they want something to carry on with the seasons, they do everything they can to make it appear as popular as possible. For me though, I think that this show is only going to appeal to a very small segment of overall society.

Should I watch it?

Well, I think if you are the type of person that this would truly appeal to you probably already heard about it a decade ago and already watched it. For modern audiences I can only really recommend this for people that truly enjoy science fiction, especially the kind of science fiction that exists in the realm of technology not that far ahead of what we currently already have in our real world. There is no "faster than light" there is no "force" there are no crazy laser weapons that never run out of ammo, it is pretty true-to-life and that I can applaud them for.

I think if the average viewer were to watch just the first episode though, that they would likely already be bored. Time has not been kind to the production value of this series, as is similar to almost any sci-fi production that has been made, ever with rare exceptions such as the Aliens films.

I would go as far as to say that if you aren't a science-fiction fan there is virtually no chance you are going to enjoy this.

Released in 1999 and directed by Paul Weitz, American Pie arrived right as teen comedies were starting to find their voice again. What made this film stand out was how it balanced outrageous humor with a surprisingly honest look at adolescence. It pushed boundaries, but it also understood the awkward reality of growing up.

The plot centers around a group of high school friends who make a pact to lose their virginity before graduation. It is a premise that could have easily become one dimensional, but the film expands it into a series of interconnected stories that explore insecurity, pressure, and friendship.

Jason Biggs leads the film as Jim, delivering a performance that is equal parts awkward and endearing. Jim’s misadventures drive some of the most memorable scenes in the movie, and Biggs commits fully to the character without holding anything back.

Chris Klein plays Oz, the athlete who begins to discover there is more to life than popularity. Thomas Ian Nicholas as Kevin struggles with expectations in his relationship, while Eddie Kaye Thomas as Finch adds a different kind of confidence and unpredictability to the group.

Then there is Seann William Scott as Stifler, who quickly became one of the most iconic characters in the film. Scott’s performance is loud, outrageous, and completely over the top, but it works perfectly within the tone of the movie. Stifler represents the reckless energy that pushes everything forward.

The supporting cast is just as strong. Alyson Hannigan as Michelle brings one of the film’s funniest and most unexpected arcs. Shannon Elizabeth, Tara Reid, Mena Suvari, and Natasha Lyonne all add personality and depth to their roles, helping round out the story.

Paul Weitz directs the film with a clear understanding of its audience. He leans into the humor but never loses sight of the characters. That balance is what keeps the film from becoming just a collection of shock jokes.

What makes American Pie work so well is its honesty beneath the comedy. The characters are not cool or confident most of the time. They are awkward, unsure, and trying to figure things out. That relatability is what connects with audiences.

Of course, the film is also known for its outrageous moments, many of which have become part of pop culture history. These scenes are bold and sometimes ridiculous, but they are delivered with a sense of timing that makes them land.

At its core, the movie is about friendship. The bond between the main group gives the story its heart. No matter how chaotic things get, that connection keeps everything grounded.

The film also captures a very specific moment in time. Late nineties culture, music, and attitudes are all woven into the background, giving it a strong sense of identity. It feels like a snapshot of that era.

Over the years, American Pie has remained a defining entry in the teen comedy genre. It influenced a wave of similar films, but few managed to replicate its balance of humor and sincerity.

Some critics focused on the film’s more outrageous elements, but that misses the bigger picture. The movie succeeds because it understands its characters and treats their experiences as more than just punchlines.

In the end, American Pie is an excellent film because it delivers exactly what it promises while also offering something more. It is funny, memorable, and surprisingly genuine.

More than two decades later, it still holds its place as one of the most recognizable and influential comedies of its time.

In 2018 the Marvel Cinematic Universe reached a point where it was no longer just breaking box-office records, but also where the critics, including the most hardened art-snobs who couldn't stand superhero films, were brought to their knees. That moment came thanks to the film Black Panther, which was unanimously and single‑mindedly hailed by critics as an epochal masterpiece on a par with Citizen Kane and The Godfather, and this attitude was reflected a few years ago in an ‘Oscar’ nomination that was unthinkable for such a genre. However, much like the box‑office records, this achievement had little to do with the quality of the film itself. Black Panther acquired its divine status even before its premiere, thanks to an extremely skilful propaganda campaign that made maximum use of the domestic political circumstances in the USA, namely the insistence on ‘political correctness’ and the righting of all the wrongs of American and world history. The titular protagonist of the film is black, and the director was Ryan Coogler, an African‑American filmmaker who had made a name for himself with the politically engaged film Fruitvale Station, dedicated to the suffering of African‑Americans at the hands of white police. Thus, Black Panther was not only pre‑subscribed to panegyrics, but also inoculated against all negative criticism, given that a bad word about this film would in many circles be interpreted as racism.

The titular protagonist, played by Chadwick Boseman, first appeared in the film Captain America: Civil War, where he was introduced as T’Challa, prince of the African nation of Wakanda, who is simultaneously endowed with superhuman powers. The film’s plot at the very beginning seeks to explain where those powers came from and what they have to do with the specificities of his homeland. To the rest of the world, Wakanda is a poor, remote and underdeveloped country surrounded by inaccessible jungles and mountains, which made it uninteresting to white colonisers and thus allowed it to preserve its independence. In reality, a meteorite containing vibranium had fallen on Wakanda millions of years earlier – a precious metal used to produce superior weapons, and on the basis of which the Wakandans created a superior technological civilisation. However, this civilisation is unknown to the outside world due to a policy of self‑isolation that T’Challa, after his father’s death and his ascension to the throne, seeks to maintain. The problem is that two decades earlier, supplies of vibranium were stolen by the South African mercenary Ulysses Klaue (Andy Serkis), with the help of people from within Wakanda itself. T’Challa, together with his associates, goes to South Korea to try to find Klaue, and there he encounters CIA agent Everett Ross (Michael Freeman), who reluctantly helps him. Klaue is captured, but then freed by his aide Killmonger (Michael B. Jordan), who it turns out has not only personal motives for his actions, but also plans to seize power in Wakanda and use its superior technology to take revenge on white nations and peoples for all the evil that black people have suffered throughout history.

At first glance, Black Panther could be understood as a kind of antithesis to Thor – i.e. Wakanda represents a kind of antithesis to Asgard – a fairy‑tale, wondrous paradise where, instead of blonde and blue‑eyed Nordic whites, only black people live. Many found the epochal nature of the film precisely in the banal fact that all the characters in the film are black, and that it attempts to address some serious global problems from the perspective of African‑Americans, or black people in general. The screenplay by Ryan Coogler and Joe Robert Cole thus seeks to confront the tragic past of colonial conquests, slavery, institutional racism, and its unresolved consequences in the form of poverty, drugs and crime. In doing so, it offers two opposing solutions to the problem – one embodied in racial solidarity, radicalism and violence directed against the oppressor, which more than half a century ago was symbolised by Malcolm X; the other is the path of compromise and non‑violence preached by Martin Luther King and Nelson Mandela. Black Panther is distinguished by the fact that these two attitudes are clearly expressed and elaborated through the two main characters, but also that the screenplay does not automatically take sides in this debate – that both positions have their arguments and that the villain will have the opportunity to justify them right up to the end, and the audience will retain at least some understanding for him.

The political engagement of the screenplay – the attempt to talk about serious problems in a truly serious manner – is a great achievement for a film of this genre, but it also carries the risk of doing so at the expense of what matters most to the majority of the audience: colourful escapist entertainment. Black Panther mostly manages to avoid this trap, and not only because of the hundreds of millions invested in special effects, but also because of the creative resources that were able to come to the fore. This applies to the successful attempt to present Wakanda simultaneously as a super‑technological utopia, but also as a place that developed naturally and preserved ancient African traditions. An important role is played here by the skilful use of costumes, set design, props, and also the largely effective music of Ludwig Göransson. The direction is also mostly good, and this can come in handy in the scenes of T’Challa’s visions of meeting his deceased ancestors, which will remind some older viewers of the famous 1982 film Cat People. Coogler, however, is far less adept at action scenes, so some of them, such as the car chase in the middle of the plot, induce yawns, and even the final battle is not particularly impressive.

The cast, on the other hand, is mostly up to the task. Chadwick Boseman is excellent in the role of a Marvel superhero who distinguishes himself from all others by far greater responsibility and foresight, but also by statesmanlike charisma. Michael B. Jordan, otherwise one of Coogler’s regular collaborators, is more than a worthy adversary. Among the supporting roles, the Guyanese actress Letitia Wright stands out most as T’Challa’s geeky sister Shuri. Some other actors, however, were not so lucky – Martin Freeman mostly functions as a white ‘token’, i.e. his character is the equivalent of the black characters who in earlier times served solely to fill a racial quota. Black Panther is far from the unquestionable masterpiece it was described as, but its quality testifies that even a franchise as calculated as Marvel’s can afford something more than mere fist‑fighting.

RATING: 7/10 (+++)

(Note: The text in the original Croatian version is available here.)

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Dark Wings, Dark Words (S03E02)

Airdate: 7 April 2013

Written by: Vanessa Taylor Directed by: Daniel Minahan

Running Time: 56 minutes

The sheer scope of Game of Thrones, even in its third season, remained a potent source of surprise for that portion of the audience which had not ventured into George R.R. Martin’s source novels. For those unacquainted with A Clash of Kings or A Storm of Swords, upon which this season is broadly based, the narrative continued to unfold with a density that could be both exhilarating and daunting. ‘Dark Wings, Dark Words’, the season’s second episode, stands as a prime example of this narrative abundance. Devoid of the large-scale battles or dragon-fueled spectacle that would come to define later episodes, it instead offers a treasure trove of introductions—new characters, clandestine organisations, and foundational concepts—that diligently expand the world of Westeros and tighten the psychological screws on its inhabitants.

One of the most significant concepts formalised here is that of the ‘warg’. The term is first heard north of the Wall, where Jon Snow, now embedded with the wildlings, encounters the scout Orell (Mackenzie Crook). Orell is described as a man who can inhabit the minds of animals, using a bird’s eyes to scout the haunted forest. This ability has immediate, grim utility, as Orell’s avian proxy discovers the grisly remains of the Night’s Watch at the Fist of the First Men. The scene efficiently establishes the wildlings’ tactical advantage while reinforcing the desperate plight of the surviving brothers, with Samwell Tarly’s struggle to keep pace underscoring the physical cost of their retreat.

The concept, however, resonates far beyond the Frostfangs. South of the Wall, in the wolfswood, Bran Stark’s party encounters Jojen and Meera Reed (Thomas Brodie-Sangster and Ellie Kendrick). Jojen, the frail but preternaturally calm boy from Bran’s dreams, explicates the nature of Bran’s own abilities. He identifies Bran not just as a ‘warg’—a skinchanger who can enter the mind of his direwolf, Summer—and hints at the greater ‘greensight’ he must learn to hone. This parallel introduction cleverly binds the supernatural threads of the narrative, suggesting a latent power in the Stark bloodline that may become central to the war against the encroaching cold.

While the Starks grapple with mystical destinies, the more visceral horrors of war continue unabated. Theon Greyjoy’s storyline takes a sharp, brutal turn into torture porn, as he is subjected to excruciating pain by mysterious captors. The episode deliberately obfuscates the identity of his tormentors, offering only the sly, unsettling presence of a servant boy (Iwan Rheon) who claims to be sent by Theon’s sister, Yara. This narrative choice, while generating mystery, also marks the episode’s most notable structural flaw—a rather convenient and over-elaborate enigma that feels somewhat contrived amidst the otherwise grounded political machinations.

Meanwhile, King Robb Stark, the Young Wolf, finds his campaign stalling. The news of his grandfather Hoster Tully’s death is a sombre blow, but the devastating raven from Winterfell, informing him of the castle’s sack and the apparent loss of his brothers, strikes at the very heart of his cause. His demoralisation is palpable, a stark contrast to his earlier invincibility, and signals the beginning of his tragic unravelling.

The episode’s most delightfully cynical developments occur in and around King’s Landing. Here, the political theatre is masterfully stage-managed by the women of House Tyrell. Margaery Tyrell, played with exquisite duplicity by Natalie Dormer, continues her campaign to secure the Iron Throne through marriage. Her manipulation operates on multiple levels: with Sansa Stark, she orchestrates a meeting with her grandmother, the formidable Olenna Tyrell (Diana Rigg). In the serene gardens of the Red Keep—filmed in the beautiful Trsteno Arboretum near Dubrovnik—Olenna, the ‘Queen of Thorns’, deploys a disarming blend of warmth and shrewdness to win Sansa’s trust and extract the unvarnished truth about Joffrey: he is a ‘monster’. This intelligence is then weaponised by Margaery in a breathtakingly audacious private audience with the king. Feigning shared trauma from her unconsummated marriage to homosexual Renly, she subtly aligns herself with Joffrey’s cruel appetites, admiring his crossbow with a thrill that suggests a disturbing compatibility. Dormer’s performance is a brilliant example of layered deception, portraying a character who is herself playing a role in a deadly game.

The casting of Diana Rigg as Olenna is a symbolic masterstroke. Rigg, who earned fame as the iconic, assertive Emma Peel in The Avengers half a century earlier, embodies a lineage of televised female strength. Her presence immediately establishes Olenna as a matriarch of immense political savvy and wit, a woman who has navigated the patriarchy of Westeros for decades and emerged as its most sharp-tongued operator. While one could read a feminist statement into this casting, the character transcends mere ideology; she is simply superb television, and her first scene instantly becomes one of the series’ most memorable.

Away from the capital, the war’s chaos breeds strange new allegiances. Arya Stark, fleeing Harrenhal with Gendry and Hot Pie, stumbles upon the Brotherhood Without Banners, led by the jovial yet dangerous Thoros of Myr (Paul Kaye). This introduction is fascinating precisely because of its historical resonance. The Brotherhood is not a noble house’s army but an ad-hoc militia of peasants, deserters, and outlaws, formed to protect the smallfolk from the depredations of all warring factions. Such groups have existed throughout history during periods of state collapse, and their presence in Westeros lends the conflict a gritty, authentic texture. The scene at the Inn at the Crossroads is rich with tension and revelation, particularly when Sandor ‘the Hound’ Clegane arrives. The history between Clegane and Thoros adds depth, but the real spark ignites when the Hound recognises Arya, setting a new chain of events in motion.

The episode’s most physically compelling sequence belongs to Brienne of Tarth and her captive, Ser Jaime Lannister. Their uneasy journey towards King’s Landing is a battle of wills and weary bodies. Brienne’s rigid honour clashes with Jaime’s pragmatic survivalism, culminating in a daylight duel on a bridge. It is a pathetic, powerful fight: Jaime, malnourished and shackled, is a shadow of the swordsman he once was, and Brienne subdues him with relative ease. Their struggle is brutally interrupted by the arrival of Locke (Noah Taylor) and his men, soldiers of House Bolton. Their capture introduces a new threat and severs the fragile dynamic that had begun to develop between captor and prisoner, propelling both towards fresh horrors.

Dark Wings, Dark Words is an episode that prioritises rich, character-driven exposition over action. It successfully integrates a daunting array of new elements—from the mystical (wargs, greensight) to the political (the Tyrell matriarchy) to the anarchic (the Brotherhood)—without feeling overstuffed. Its strength lies in its commitment to the series’ foundational principle: that words, alliances, and betrayals are the true weapons of Westeros. If it stumbles slightly with the overly cryptic handling of Theon’s torture, this is a minor flaw in an otherwise meticulously crafted piece of television. The episode confirms that even in its third season, Game of Thrones could still surprise, not with shock, but with the slow, deliberate, and utterly compelling expansion of its world.

RATING: 8/10 (+++)

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