If one needed to illustrate how time inevitably affects everyone, even the biggest Hollywood stars, Jodie Foster might provide one of the best examples. There’s no need to delve too far into the past and recall her role in Taxi Driver, when, as a pre-teen nymphette, she incited violence both on screen and in real life. It’s enough, for instance, to remember how, just a decade ago in The Brave One, she portrayed a relatively young woman cleaning up New York’s streets in the style of Charles Bronson. The shock is all the greater, then, when viewers see her in Hotel Artemis—albeit with the aid of appropriate makeup—for the first time in a role whose age falls into what is euphemistically referred to as the ‘golden years’.

The film’s plot, meanwhile, is set in the relatively near future—a period that, at least for California, would be hard to describe as a ‘golden age’. By 2028, local authorities have implemented some of the most extreme neoliberal ideas, including the complete privatisation of water supply with monopolistic pricing determined exclusively by supply and demand. In Los Angeles, this means the majority of the population will be either poor, thirsty, or both, leading to mass riots that a privatised police force attempts to suppress with extreme brutality. Sherman (Sterling K. Brown), however, couldn’t care less, having long ago decided to earn his bread through crime, including bank heists. During one such robbery, he and his brother (Brian Tyree Henry) are wounded, prompting them to seek out a peculiar institution known as the Hotel Artemis—a facility that, in reality, operates as a hospital where nurse Jean Thomas (Jodie Foster) provides discreet yet top-tier medical services to pre-registered criminals, outcasts, and others on the wrong side of the law, utilising nanotechnology and other cutting-edge medical advancements. The Hotel Artemis also operates under strict behavioural rules that all guests must follow, including a ban on killing one another. Yet, on the night Los Angeles erupts in chaos, maintaining this rule proves difficult—especially given the presence of professional assassins among the guests and the fact that Sherman has robbed the head of Los Angeles’ underworld.

Hotel Artemis was produced by a relatively new and small studio with an exceptionally low budget, and for Drew Pearce—previously known as a screenwriter and producer—this marks his directorial debut. This raises the question of how the film managed to secure standard cinema distribution, with the best answer lying in its cast. This applies not only to Jodie Foster, who devours what could have been a thankless role as an ageing, occasionally eccentric nurse, but also to the imposing Sterling K. Brown, who delivers the closest thing to a hero among all the characters. The rest of the cast is, in some cases, strong—witness Jeff Goldblum, who appears only briefly towards the film’s end, or Sofie Boutella, who brilliantly utilises her dance skills in a fight sequence, and the ever-compelling Dave Bautista as Jean’s assistant—while in others, it falls short, particularly irritating Charlie Day as Zachary Quinto, who once again displays a tendency to lapse into unbearable hamming it up when portraying villains.

The biggest issue with Hotel Artemis, however, is Pearce’s rather uninspired script, which draws significant inspiration from John Wick—particularly its memorable similar hotel concept. Beyond poorly written characters and an overdose of melodrama towards the end, the most glaring flaw is the underutilisation of dystopian motifs; the apocalyptic riots outside are nothing more than a superfluous backdrop, failing to pose any real threat to the characters safely ensconced behind the hotel’s thick, fortified walls. The idea of neoliberal policies triggering a water shortage and societal collapse could have served as a compelling socio-economic commentary, but this opportunity is wasted. On the other hand, Hotel Artemis functions remarkably well as a stylistic exercise—a testament to Pearce’s directorial and production skills—where Jodie Foster’s talent and charisma blend seamlessly with the set design and atmosphere, evoking futuristic neo-noir classics like Blade Runner. When cinemas are starved of small yet solid films, Hotel Artemis’ strengths are more than enough.

RATING: 6/10 (++)

(Note: The text in the original Croatian version was posted here.)

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Ballad of a Small Player came out on Netflix October 29 and this thing wore me out way more than it entertained me, Im not the type of guy who commonly stops movies but I was about to. Edward Berger went from directing Conclave to basically trying his best Baz Luhrmann impression and it does not land at all, like what was he thinking with this one. Colin Farrell plays this sweaty disaster of a gambler named Brendan Reilly who goes by the fake name Lord Doyle while he is hiding in Macau and he cannot stop betting even tho he sucks at it, you watch him loose over and over again and it starts feeling like you are stuck in this endless loop with him, its exhausting as hell to sit through and there is no end to it, this guy just cant catch a break. The movie visually looks so good like they really invested in the production, all those neon lights and wild camera angles make it feel super flashy but thats its, thats why on the title I use All Looks No Substance because the story is a complete mess, like a beautiful wrapping paper around an empty box. Tilda Swinton shows up as this private investigate tracking Doyle down and there is another woman named Dao Ming who is a credit broker at the casino and might be his only chance at getting out but none of these relationships feel real or developed enough to actually give a damn about what happens. The whole thing tries so hard to be this deep look at addiction but it just comes off as repetitive and confusing, I could not tell you what was real and what was in his head half the time and not in a cool way just in an annoying way that had me with the finger on the fast forward button. Farrell is great as always but even he cant save this from feeling like style over substance, by the end I was just tired of a repetitive story that was getting no where, watching him going into this addictive cycle spiral down for nearly two hours without any reward, Berger clearly has talent but he forgot to give us characters worth caring about or a story that goes somewhere meaningful.

• IMDB: https://www.imdb.com/title/tt32063098/
• Platform: NETFLIX

Rottentomatoes Rating

If you have seen the trailer its a very simple setup, Doyle is this disgraced Irish guy who embezzled millions and ran off to Macau where he pretends to be royalty, he walks around acting like some nobleman even tho everyone sees through his bullshit and its kinda pathetic to watch after a while. He gambles at baccarat tables and loses constantly but keeps going back because thats what addicts do, they never know how to stop, the movie wants you to think he is tortured and complex but really he just comes off as annoying after the first thirty minutes or so, witch makes the rest of the movie feel like a chore you have to sit through. When Dao Ming comes in during the Hungry Ghost Festival things get weird, shes this quiet mysterious credit broker who sees through his lies and tries to help him but the chemistry is very poor and their scenes fall completely flat on there face, you never understand why she cares about this loser or what she gets out of trying to save him witch becomes frustrating. Berger shoots everything with extreme closeups of sweat on Farrells face and long shots from behind peoples heads where everything else is blurry. The cinematography is technical impressive but that alone cant safe the movie, it looks very neat and clean but aint enough, there is no emotion just pretty visuals that dont serve the story at all and it becomes more obvious as things drag on. Every scene looks like it could be in some fancy art magazine but none of it connects to anything deeper, it is all surface beauty without heart underneath it, the gambling scenes should be tense but they drag on forever witch is the opposite of what you want, you watch Doyle bet and loose and bet again until it becomes this monotonous rhythm that puts you to sleep instead of keeping you interested in whats going to happen next. After taking money from Dao Mings shed Doyle goes on this stupidly and incredible winning streak before his final big bet but even that feels hollow and empty, its this hallelujah moment but just feels like the rest another fake moment, his character is very similar to Vince in the Black Rabbit who in fact had a similar gambling night and blow it up in a single final bet, when you watch that scene there was an adrenaline rush.

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Let's get this out of the way really quick, Predator: Badlands is flat out silly... but it is also so freaking entertaining!

When I first saw the previews for Predator:Badlands, I literally laughed out loud. I thought the special effects for this predator (a member of the Yautja species) were one of the worst things I had ever seen. It honestly looked like a really bad fan-made movie. Then I was reminded that the movie was made by the same team that made Prey (which I thoroughly enjoyed) and Predator: Killer of Killers (which I absolutely loved). In fact, I thought Killer of Killers was the best Predator content since the 1987 original starring Arnold Schwarzenegger. But even that couldn't get me to forget my first impression of that terrible trailer. Then over the past week I started to hear some really good buzz about the movie. So when my college aged son asked if I wanted to see it with him, I jumped at the chance. To be honest, even if I had heard it was terrible, I probably would have gone just to spend time with my son. But he had heard the same buzz I had so we were both pretty psyched.

From the opening scene, we knew we would not be disappointed. It starts with two predators fighting and the action only ramps up from there. Here's one of the first silly/awesome (let's just say silawesome to make this simpler) things that happens: they create a very quick backstory that makes you sympathize with and root for a Predator. Part of this is giving the predator an actual name: Dek. Dek is the runt of the litter and, much like the Spartans, his father does not want any runts around. So when the young predator Dek goes on his manhood ritual quest to prove himself to his father and his clan, you really want him to succeed.

In case the fact that they tried and succeeded to create an emotional connection with the most deadly predator in the universe didn't already clue you in on the secret... "Pssst. 20th Century Fox is owned by Disney... so Prey, Killer of Killers and Badlands were all made by Disney". That is not a bad thing, but it is something to remember when you are going into this movie. Another thing to keep in mind is that this movie is rated PG-13. It is not going to be the bloody action movie of 1987. They aren't just going to rely on cool action sequences and giant dudes flexing their muscles. They need a story and even some cute animals (yes I said cute animals).

Predator: Badlands is basically a buddy movie between a robot, a predator and a little animal pal named Buddy. (You did not misread that.) Like I said it is silawesome! Like all good buddy movies, they toss in some humor as the two buddies (well three) are getting to know each other. One is gruff and serious while the other is a chatterbox who can't "read the room". I know that might sound like you just want to roll your eyes and walk away, but if you go into this knowing what it is, it actually works incredibly well. I have already seen a ton of "Predators don't speak. They don't feel. They don't have personalities. They only kill". Seeing another one of those would be pretty boring. But having the predator be the hero? Now that I have never seen.

Once you get passed the fact that this is a buddy movie with funny sidekicks, the action in this movie is sensational. And there is tons of it. Dek spends at least 75% of the movie fighting something. So even if you don't like the buddy aspect, just put some headphones in and wait two minutes and I assure you the action will start back up again.

Now onto the special effects. When I first saw the preview, there were two problems. First they clearly didn't use the best shots from the movie in the trailers. Second, the director purposely wanted to create a old school feel by relying on practical effects as much as possible. Instead of creating of a guy walking around in a motion capture suit while filming and then drawing over him with CGI later, they actually used a good old rubber suit and mask. Well maybe not "good old" considering they clearly used some modern teach to make Dek and the rest of the predators look really cool. I actually appreciate when directors use practical effects. In many cases, I think they look far better than CGI... I'm looking at you Baby Yoda puppet.

If you are expecting to relive your youth and just see an updated version of 1987 Predator, this movie is not for you. If you are willing to evolve and see a unique member of the Yautja species who actually has developed some emotional intelligence, enjoy some jokes, like buddy movies, and love action then Predator: Badlands is a can't miss. In other words, if you can handle silawesome, you should go in see this in the highest quality theater you can.

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La película nos habla de Elliott, un joven pescador danés, con un gran talento, tiene una voz maravillosa que cautiva mucho. Pero este personaje está solo, perdió a sus padres en un incidente en el mar, por lo que le entrega su vida a la pesca. Elliott como dije, tiene un gran potencial, pero es un personaje inseguro, no le gusta cantar el público, necesita la motivación que nunca tuvo. Allí es donde conoce a Suzie, una productora e hija de una estrella de la música, quien este también murió en un incidente. Ambos tienen un carácter fuerte, por lo que llegar a chocar en un principio, pero luego hay una gran conexión entre ellos, que sirve eje emocional que lo impulsa a sanar heridas y abrirse al amor. Nuestro protagonista es bastante inseguro, no quiere mostrarse, pero que mejor que la música para dar a conocer su historia y dejar el pasado atrás, por más doloroso que haya sido y que aún nos siga marcando.

La película tiene una duración de una hora y treinta y ocho minutos, donde se desarrolla una gran historia de amor y drama. Ambos personaje tiene algo en común, que perdieron a sus padres, aunque Suzie tiene a su padre Suzanne, una poderosa agente musical que reconoce el talento de Elliott, porque desea sustituir a su esposo, pues esta persona tuvo una vida difícil, por lo que alejó a su hija. Un filme que muestra las heridas que nos pueden causar por decisiones de otras personas o situaciones que suelen pasar. Las personas muchas veces nos quedamos con lo negativo y nunca avanzamos, solemos desperdiciar al talento y que mejor que reflejar ese dolor al momento de hacer un arte y transmitirlo al público. En fin, la película nos motiva a continuar adelante, a sanar las heridas. La película nos enseña que lo más importante es hacer las cosas desde el corazón, tener una motivación al menor de realizar las cosas.

A Wonderful Life seems to me to be a film with a great story of personal growth, authenticity about fame, healing through art, faith and perseverance, and the power of love. I think it's a good story with a beautiful ending. But something I would have liked is to know more about the parents of our protagonists, especially Suzie's. She is a hugely successful music star, but we don't learn much else about her. The film's screenplay was written by Stefan Jaworski, with simple dialogue that creates a strong connection with the viewer. Every word, every detail reveals more about the story and what the screenwriter and director wanted to convey. I must say that both did a magnificent job, with exceptional scenes, striking shots, and sequences of scenes that make us want to continue watching the story.

As for the cast, Christopher Lund Nissen brought Elliott to life, doing a great job with his character, a troubled young man who doesn't like to show much, is insecure, but at the same time shows great character. For her part, Inga Ibsdotter Lilleaas played Suzie, with what I consider to be a masterful performance. I connected with her character from beginning to end and didn't want to miss a single detail of the film, which is saying a lot. The cast in general lived up to the story. In terms of cinematography, Daniel Cotroneo delivered, showing us the emotional connection between the characters and the different places where the story unfolds, whether in the port or at sea. The production shows beautiful locations, highlighting the authenticity and emotional connection between the past and the present. The scenes I liked the most were the musical moments, with extraordinary shots. I have to say that everything lived up to my expectations, even exceeding them.

Una vida maravillosa me parece un filme con una gran historia de superación personal, autenticidad sobre fama, sanación a través del arte, Fe y perseverancia y el poder del amor. Me parece una buena historia, con un final hermoso. Pero algo que me fuese gustado es conocer más sobre los padres de nuestras protagonistas, sobre todo de Suzie, es una estrella de la música con un gran éxito, pero no se da a conocer mucho más. El guion del filme estuvo escrito por Stefan Jaworski, con diálogos sencillos, pero que da una gran conexión con el espectador. Cada palabra, cada detalle da a conocer más sobre la historia y lo que el guionista y el director quería trasmitir. Dedo decir que ambos realizaron un magnífico trabajo, con escenas excepcionales, con planos impactantes y unas secuencias de escenas que querrán que continuemos viendo la historia.

En cuanto al cast se refiere, Christopher Lund Nissen fue quien le dio vida a Elliott, haciendo un gran trabajo con su personaje, de un joven con problemas, que no le gusta mostrar mucho, es inseguro, pero a la vez muestra un gran carácter. Por su parte, Inga Ibsdotter Lilleaas hizo de Suzie, con una interpretación desde mi punto de vista magistral, logré conectar con su personaje de principio a fin, no me quería perder ningún detalle del filme y eso es bastante decir. El cast en general estuvo a la altura de la historia. En cuanto a la fotografía refiere, Daniel Cotroneo cumplió, pues nos nuestra la conexión emocional entre los personajes con los diferentes lugares donde se desarrolla la historia, ya sea en el puerto, como el mar. La producción muestra lugares hermosos, que muestra la autenticidad y la conexión emocional entre el pasado y el presente. Las escenas que más me gustaron fueron los momentos musicales, con planos extraordinarios. Dedo decir que todo estuvo a la altura de lo esperado, incluso sobrepasó mis expectativas.

Everything mentioned above in the review was very good, but of all the sections, I was most impressed by the soundtrack, the musical moments, with very good, sentimental compositions that make us connect more with the scenes and what we are seeing, the different emotional moments of our characters, insecurity, sadness, happiness, love, among many others. A Beautiful Life is an excellent film, one of the best I have seen in recent years, Romantic dramas are always more of the same, a cliché, and this one may not be the most original we've seen, but overall it exceeds my expectations, with a beautiful story, messages that help us realize that we should never dwell on the past, that life goes on and we must move forward, and cinematography, casting, and a soundtrack that are on par with the film I'm talking about today. For me, the film is a 10/10 and I recommend it.

Todo lo anteriormente expuesto en la reseña estuvo muy bien, pero de todos los apartados, me quedó con la banda sonora, los momentos musicales, con composiciones muy buenas, sentimentales, que hacen que conectemos más con las escenas y lo que estamos viendo, los diferentes momentos emocionales de nuestros personajes, inseguridad, tristeza, felicidad, amor, entre otras muchas más. Una vida maravillosa es una excelente película, de las mejores que he visto en los últimos años, pues los dramas románticos siempre es más de lo mismo, un cliché, que puede que esta no sea de la más original que hemos visto, pero en general sobrepasa lo que esperaba, con una historia hermosa, mensajes que ayudan a pensar que nunca debemos quedarnos en el pasado, la vida continua y se debe avanzar, una fotografía, reparto y banda sonora a la altura de la película que les hablo el día de hoy. Para mí el filme es un 10/10 y se los recomiendo.

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Late Editions (S05E09)

Airdate: March 2nd 2008

Written by: George Pelecanos Directed by: Joe Chapelle

Running Time: 60 minutes

The Wire, in its profound exploration of institutional decay, established a near-sacred narrative rhythm: the penultimate episode of each season, written by the formidable crime novelist George Pelecanos, served as the season’s devastating, no-holds-barred climax. Episodes like Middle Ground (Season 3) or Final Grades (Season 4) delivered uncompromisingly dark, consequential turning points that shattered characters and reshaped the narrative landscape, leaving the finale to grapple with the fallout. Late Editions, the ninth episode of the truncated fifth and final season, consciously steps into this tradition, bearing Pelecanos’s unmistakable signature of moral complexity and systemic critique. Yet, it operates under unique constraints – the season’s reduced episode count and the series’ impending conclusion – which temper its impact. While it possesses the structural hallmarks of a Pelecanos penultimate masterpiece, it functions more as a tense, intricate prelude, deliberately withholding the full, earth-shattering force for the true finale, –30–. It is a victory that tastes of ashes, a culmination that feels provisional, and a testament to the show’s enduring, unflinching gaze at a broken city.

The episode audaciously opens not with despair, but with what die-hard fans had craved for seasons: the meticulously orchestrated downfall of Marlo Stanfield’s seemingly impregnable empire. The cold open crackles with the cold efficiency of police work finally functioning as intended, a direct, albeit deeply ironic, consequence of Jimmy McNulty’s preposterous serial killer hoax. Lester Freamon’s genius in exploiting the coded communication system – intercepting the image alerting Stanfield’s crew to a major resupply in a derelict industrial warehouse – culminates in a raid executed with textbook precision. The Baltimore Police Department, for once, achieves exactly what it was designed to do: catch the apex predators red-handed. The scale is staggering – $16 million worth of narcotics seized, the core Stanfield hierarchy (Chris Partlow, Monk) arrested, and Marlo himself, for the first time visibly rattled, slammed into a cell. Bunk’s grim satisfaction at adding another murder charge to Partlow’s ledger and Carcetti’s immediate, cynical political capitalisation at a triumphant press conference underscore the moment’s surface-level significance. Yet, Marlo’s fury, fixated not on his incarceration but on Chris and Snoop’s failure to inform him of Omar’s final, fatal street challenge, instantly reframes this victory. It is a triumph built on sand, its foundations fatally compromised by the very fraud that enabled it, and Marlo’s immediate shift to damage control reveals the enduring, adaptive resilience of the streets.

McNulty, the architect of this apparent triumph, embodies its hollowness. Far from elation, he is consumed by a profound, almost existential depression. The charade has served its immediate purpose – bringing down Marlo – but the terrifying realisation dawns that the lie must be sustained, potentially indefinitely, even as it actively poisons genuine police work and risks catastrophic consequences. His descent into despair is starkly contrasted by Kima Greggs’s crystalline moral clarity. Utterly disgusted by McNulty’s reckless endangerment of the entire department and the integrity of their work, she takes decisive action. First, she confronts Carver, probing whether his newfound integrity (forged with Colicchio) extends to this crisis. Finding his resolve wanting, she escalates, informing Commissioner Daniels. The scene in the evidence room, where Daniels and Rhonda Pearlman discover the damning truth – the crucial phone evidence against Marlo is irrevocably tainted, originating from McNulty’s fictional serial killer – is a masterclass in understated horror. The sheer weight of the realisation, the potential collapse of the entire Marlo case, hangs thick in the air.

This legal fragility becomes the episode’s central, gnawing tension. Maurice Levy, Stanfield’s corrupt but brilliant lawyer, immediately grasps the vulnerability, discussing the matter with the bumbling Herc. Unbeknownst to Levy, his own role as the indispensable lubricant of Baltimore’s corrupt ecosystem is being dissected elsewhere. Lester Freamon’s conversation with State Senator Clay Davis lays bare the terrifying truth: lawyers like Levy are not mere defenders but the primary conduits between street violence, political power, and ostensibly legitimate business, facilitating money laundering and ensuring the system’s rotten core remains intact. Simultaneously, Marlo, operating on instinct, seeks traditional street solutions. Convinced an informant tipped off the police, he fixates on Michael Lee’s recent questioning of his methods. Snoop is dispatched to eliminate Michael under the guise of an assassination mission. However, Michael, hardened and perceptive, sees the trap. The reversal – Michael executing Snoop – is brutal, necessary, and utterly tragic. His subsequent, heart-wrenching farewell to his vulnerable younger brother Bug (left with his aunt) and the increasingly desperate Dukie (now living with the Arabers) is the episode’s emotional core. Dukie’s plaintive question about remembering happier times and Michael’s flat negative answer is a devastating epitaph for lost childhood and a future irrevocably poisoned by the streets.

Parallel to this central tragedy, the Baltimore Sun storyline reaches its own critical juncture. Gus Haynes, the weary city editor, persists in his lonely crusade against the mendacious Scott Templeton, the paper’s golden boy poised for Pulitzer glory. Haynes’s visit to Walter Reed Army Medical Center, where a disabled Iraq War veteran corroborates his comrade’s account and exposes Templeton’s embellished, fabricated story, is a vital, if structurally awkward, moment. It represents the last gasp of journalistic integrity against the encroaching forces of corporate mediocrity and careerist fabrication – David Simon’s deeply personal battle cry against the erosion of his former profession. While technically well-executed, directed with characteristic restraint by series veteran Joe Chappelle, Late Editions lacks the visceral, soul-crushing emotional impact of Pelecanos’s earlier penultimate episodes. The power resides less in sudden, shocking violence and more in the pervasive sense of inevitable, systemic failure closing in. The farewell between Michael and Dukie comes closest to that Pelecanos-esque devastation, a quiet moment of profound loss that resonates long after the credits.

Crucially, the episode consciously defers the ultimate gut-punch. Daniels’s statement to reporter Alma Gutierrez – "Today was a good day for the good guys" – hangs in the air, dripping with dramatic irony for any seasoned Wire viewer. We know such victories are fleeting, their foundations rotten. The episode meticulously sets the stage for the finale’s true darkness: the near-certainty that Levy will exploit the tainted evidence to cripple the Marlo case, potentially freeing the kingpin or, more damagingly, shielding the corrupt politicians and businessmen entangled with him. Simultaneously, the looming reckoning for McNulty and his accomplices promises severe professional and personal consequences. Yet, the most insidiously devastating moment arrives earlier: Carcetti’s advisor Steintorf suggesting Rawls and Daniels to "get creative" with crime statistics to meet political targets – the very statistical manipulation Carcetti railed against to win his election. The cycle of institutional corruption and self-preservation is complete, the reformer becoming indistinguishable from the machine he sought to replace. The "good day" is already over, replaced by the familiar, suffocating machinery of the game.

Nevertheless, Late Editions is not devoid of fragile hope, offering poignant, hard-won respites for a select few. Bubbles, celebrating his anniversary of sobriety at Narcotics Anonymous, finally confronts the horrific truth of Sherrod’s death, a moment of agonising accountability that signifies genuine, painful progress towards redemption. Namond Brice, transformed from corner boy to confident student at the elite private school, delivers a triumphant public speech in his immaculate uniform. This moment, a source of immense pride for his foster father Howard "Bunny" Colvin, is a rare, unambiguous victory – proof that escape is possible, albeit for the fortunate few who find the right intervention.

Ultimately, Late Editions is a very good, intricately plotted, superbly acted episode, yet it falls short of the transcendent perfection of its Pelecanos-penned predecessors. Its primary structural weakness lies in the Baltimore Sun storyline, which, despite its thematic relevance to Simon’s core concerns, often feels like a self-indulgent distraction for viewers outside journalistic circles. The intricate details of Templeton’s fabrications and the paper’s internal politics lack the visceral, universal resonance of the police, political, or street narratives. Furthermore, the episode leans heavily on viewers possessing specific contemporary knowledge – the real-life Walter Reed Army Medical Center scandal of 2007, or the cultural ubiquity of Dexter’s early seasons, which Dukie references with enthusiasm. These references, while authentic to the time, risk feeling dated or obscure to newer audiences, slightly marring the episode’s timeless quality.

Late Editions is a masterful exercise in controlled tension and thematic reinforcement. It delivers the structural beats of a Pelecanos penultimate episode – the major takedown, the revelation of catastrophic flaws, the quiet moments of profound loss – but consciously holds back the final, shattering blow. It is a victory that immediately curdles, a triumph built on lies destined to collapse, and a stark reminder that in Baltimore, as in The Wire’s universe, there are no permanent wins, only temporary respites before the next, inevitable turn of the corrupt wheel.

RATING: 7/10 (+++)

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This is one of those films that I just really love. I think it's because it comes from such a completely different era. One that really shows just how much culture has managed to shift throughout the past three decades. Encino Man wasn't even a film considered a success financially or with the critics. It's a film that had stars of its time featured but ones that never quite managed to stick around to maintain their popularity, only recently did Brendan Fraser resurface a bit and make a decent comeback with his performance within The Whale. Pauly Shore went from being a massive pop culture star and essentially the King of MTV (so much so that his acting career was basically him just playing his character over and over again) to inevitably sizzling out of relevancy and never quite making that comeback. Sean Astin? He's had his moments here and there, but again nothing that has led to him staying within the public eye. It's not just the people within the film that show how much the times have changed, though. It's the concept of simple narratives and the world of comedy which have both unfortunately died.

I mean, really, a film about a caveman that comes back to life after his block of ice melts, leading to him being trained to the modern world and its expectations by two teenagers? Even today this concept has great chances of generating a hit. With such a simple structure to its narrative: the setup, the fun, the problem, and the solving of that problem. Is there really much of a question as to why we return to such films when they hold such easy concepts that manage to grab our attention, feeling almost timeless up until so much time has passed since its release that the world we now live in seems almost unrecognisable to the one we watch on the screen? To add, such films (especially with these comedic concepts) hold a lot of depth regarding the sub cultures that were once more prevalent within society, something that has felt more and more lost as globalisation continues and everyone is sort of the same. Though, there are some strong signs as of late that the pendulum is swinging to the other side, and people are finding more interest in these various sub cultures. Searching for other forms of identity.

While I have mentioned the general plot already: a caveman ends up melting and coming back to life. The story surrounds itself more on the cultural side of the Californian lifestyle. It's less about the caveman that has returned to the world but more about the oddities of the younger generations and the world they've crafted for themselves. The silliness in the standards they have. The fragility of the high school environment and how everyone is trying to one-up the other. It's as much about the survival of the characters of that era, and how they attempt to get by, with our caveman as the audience member that has been thrown into their world and forced to adapt as they learn and figure things out. I've never really seen the film in this manner before, it's quite strange that only now I have decided to look at it under such a different tone. Now, this is far from a serious film, while it may have some intent on shining light at the chaotic youthful environment, it's not doing so with some major meaningful thoughts to throw out.

At the same time for a comedy film it is funny that one of the most strangest events to happen to mankind happens to some of the dumbest groups, leading to them dealing with it in their own way. Finding a way to introduce that natural oddity into the modern world through culture and kindness. It's a funny film for sure, and removing that whole concept of time and the shifting of culture, there's no surprise that it did become quite a cult classic. Especially with the performance from peak Fraser at the time. And with Pauly Shore's unique characteristics that screams of the 1980s and early 90s as identity and expression really started to rise alongside media. Especially with how the concept of the blockbuster film was still somewhat new, with Steven Spielberg and James Cameron having dropped some of the most influential titles in cinema history a few years prior.

With it being a cult classic, I think it really is down to the time and the cast. While I said that the film could easily be something that is made today, the cast definitely is the icing on the cake. The people that really sell the film. I saw that Ben Stiller was originally considered for the caveman, and there's a video up on Pauly Shore's YouTube channel which shows a few casting tests featuring him and the others. And here I thought I'd be jumping into the film for yet another rewatch just to enjoy the silliness!

• IMDB: https://www.imdb.com/title/tt3322940/
• Platform: PRIME VIDEO

Rottentomatoes Rating

#skiptvads, #inleo, #hive, #annabelle, #horror, #conjuring, #spinoff, #demon, #doll, #possessed, #cult, #scary, #movie, #review, #2014, #boring, #cashgrab, #supernatural, #haunted, #warren, #prequel, #jumpscares, #thriller, #cinema, #entertainment, #film, #disappointing, #warnerbros

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Peak Performance (S02E21)

Airdate: July 10th 1989

Written by: David Kemper Directed by: Richard Scheerer

Running Time: 45 minutes

It is a near-universal truism amongst Star Trek aficionados that The Next Generation's second season marked a substantial and welcome maturation over its often-awkward inaugural outing. Characters solidified, production values climbed, and the writing generally found a more confident footing, moving beyond the tentative explorations of Season 1. Yet, this widely accepted narrative of progressive improvement crumbles somewhat when subjected to the specific scrutiny of the respective season finales. While Season 1 concluded with the reasonably competent, if unremarkable, The Neutral Zone, Season 2 was catastrophically let down by the universally derided Shades of Gray, a cynical clip-show concocted to save money. So profoundly embarrassing is this episode – a nadir not just for the season but arguably the entire series – that most dedicated "trekkies" actively engage in collective amnesia, wilfully pretending it never aired. Consequently, the de facto Season 2 finale for the fandom, the episode that truly provides a sense of closure and thematic resonance befitting the season's growth, is universally acknowledged to be the penultimate offering: Peak Performance.

The episode commences with the USS Enterprise-D rendezvousing to collect Sirna Kolrami, a representative of the Zakdorn species. Played with impeccable, smarmy condescension by character actor Roy Brocksmith (best remembered as Dr. Edgemar in Total Recall), Kolrami embodies his race's famed strategic mastery, a trait Starfleet has specifically leveraged by dispatching him to observe a high-stakes tactical simulation. This exercise, set within the Braslota system, pits the mighty Enterprise against the USS Hathaway, a decrepit eighty-year-old Constellation-class vessel. Ostensibly designed to test Starfleet personnel's tactical acumen – a timely endeavour given the looming spectre of the Borg – the simulation initially strikes both Captain Picard and Commander Riker as a somewhat frivolous diversion. Nevertheless, Riker, seizing an opportunity to challenge himself and his crew, volunteers to command the derelict Hathaway. He assembles a skeleton crew comprising Worf, Geordi La Forge, and the often-maligned Wesley Crusher. The young ensign, predictably dismissed as insignificant by the haughty Kolrami, proves his mettle through cunning rather than raw power, successfully smuggling vital components like a portable fusion generator off the Enterprise to bolster the Hathaway's meagre capabilities. During the simulation itself, Riker's crew demonstrates remarkable ingenuity, utilising holographic emitters to project the illusion of a Romulan warbird, successfully bluffing the Enterprise into holding its fire and allowing the antiquated vessel to hold its own against overwhelming odds.

Riker’s tactical brilliance in commanding the Hathaway initially seems set to provide the episode’s climax. However, the meticulously constructed simulation is abruptly, and somewhat jarringly, shattered by the unanticipated arrival of the Kreechta, a Ferengi D’Kora-class marauder commanded by the ever-slippery Bractor (a welcome return for Armin Shimmerman, playing another Ferengi after The Last Outpost). Picard’s initial assumption that this is merely another layer of the simulation proves disastrously wrong; the Ferengi are all too real, and their attack cripples the Enterprise, whose weapons remain safely secured, believing the engagement to be non-lethal. Similarly, the Hathaway is woefully under-armed for a genuine confrontation. Faced with Bractor’s demand for the surrender of the Hathaway, Picard and Riker are forced into a desperate improvisation. They execute a ruse where the Enterprise fires photon torpedoes at the Hathaway, timed to detonate milliseconds after the smaller ship executes a warp jump. The Ferengi, witnessing the apparent destruction of the Federation vessel, are left bewildered, and Bractor simply withdraws.

Writer by David Kemper, an author with notable credits on Farscape and SeaQuest DSV, Peak Performance is fundamentally a solid, well-constructed piece of Star Trek. Its central premise – pitting Picard against his most trusted officer in a battle of wits – is inherently compelling and serves as an excellent vehicle to explore command styles and strategic philosophy. This main plot is effectively complemented by a crucial subplot involving Kolrami and Data. The Zakdorn strategist, eager to prove his species' intellectual superiority, challenges Data to the game of Strategema. Data, usually the epitome of calm logic, experiences a rare and profound crisis of confidence after an initial loss, fearing his inability to win reflects a fundamental flaw. Data ultimately defeats Kolrami not through superior play, but by forcing an interminable, psychologically exhausting stalemate, compelling the arrogant Zakdorn to quit in frustration – a subtle but potent victory for adaptability over rigid superiority.

Directed by Robert Scheerer, who helmed the seminal Season 2 episode The Measure of a Man, Peak Performance inevitably suffers from comparisons to that earlier classic. While lacking the profound ethical depth of Measure, it possesses numerous merits. The core premise remains consistently engaging, the regular ensemble cast operates with well-honed chemistry, and Brocksmith delivers a thoroughly convincing, if one-dimensionally unpleasant, performance beneath heavy prosthetics. His character’s predictable arrogance is the point, and Brocksmith embodies it with delicious precision.

However, the episode’s most significant and enduring flaw lies precisely where its supposed climax occurs: the utterly convenient, plot-derailing intervention of the Ferengi. While the appearance of Shimmerman’s Bractor is undeniably fun fan service, and the Ferengi threat provides a necessary external catalyst, its execution feels profoundly unearned and narratively disruptive. The sudden, unexplained arrival of the Kreechta purely to exploit the simulation’s vulnerability strains credulity. More critically, it robs the audience of the very resolution the episode meticulously built towards: a definitive outcome to the Picard-Riker tactical duel. The ingenuity displayed by Riker’s crew against the Enterprise is rendered moot, replaced by an external conflict resolved through a clever but ultimately circumstantial trick against a third party. This contrivance sacrifices the satisfying, character-driven conclusion the main plot deserved for an injection of external action and unearned tension. The simulation could have been resolved internally – perhaps through Riker’s resourcefulness pushing Picard to an unexpected concession, or a genuine stalemate forcing mutual respect – in a manner far more realistic and thematically resonant with the episode’s exploration of strategy, confidence, and command. Instead, the Ferengi deus ex machina feels like a narrative shortcut, undermining the episode’s core strength and leaving the central question tantalisingly, frustratingly, unanswered. For all its genuine strengths in character interplay and thematic underpinning, Peak Performance remains ultimately a near-miss.

RATING: 6/10 (++)

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Yesterday, i decided to watch the whole season 2 of Gen V. To tell you the truth, even though i like "The Boys" series a lot, when i watched season 1 of Gen V i was like meh. I decided to give it a go as the events follow the boys series and we also get to see some of the boys' characters. At the same time some of the characters of Gen V will also play an important role in the main series.

Plot

The plot continues after the events of the first season and revolves around the supes vs humans conflict and what else, Godolkin University with the students and their lives.

Due to some events, pretty much all the main casts and students return to the University in order to "protect" themselves and discover more about a project called Odessa. There is also a new Dean in the house who also seems to have a dark secret.

I won't make any spoilers but i will tell you that things escalate quickly and that most likely won't be a third season, as there is no point anymore. Most of the main characters will be seen in the final season of the main series in 2026.

Good & Bad

Now regarding the good things, the fight scenes are good, some of the powers and events are hilarious or hilariously disgusting as it is expected from the series and most people are great actors, making the series pretty good.

To add to that, in my opinion, the plot of this season was better and more cryptic as you didn't know much about the "villain" and what his actual powers were. They did a pretty good job in terms of hype in this one.

Now let's start with the bad. The fight scenes were fewer than in the first season. I don't know what the reason, was because budget-wise wise they are pretty good. We only had a few good fights that were more than 2-3 minutes or so.

Also, i don't like the acting of the protagonist, Marie Moreau. It feels boring and like her expression is always kind of the same. Pretty much most of her "team" and "classmates" are good and besides that, Dean Cipher and Polarity also did a freaking amazing job in terms of acting.

All in all it's worth watching especially if you like that kind of movies and ofc The Boys!

My Rating is 7.5/10 for the 2nd Season.

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