I finally finished watching the first season of Dark Matter, just in time as season two is currently airing. I had been keeping this show on my watchlist ever since it premiered back in 2024. I remember its premise instantly caught my attention back then, mainly because I wanted to see how they would visually adapt the core scientific principles behind it: quantum superposition, Schrödinger’s cat experiment, and the underlying Many-Worlds interpretation.

Some people tend to shy away from sci-fi shows like this because of how complex they might seem. But if you give them a chance, you’ll find they can be deeply fascinating and thoroughly entertaining. A prime example of a hit show that used Schrödinger’s cat and quantum superposition to craft its narrative was Dark in its brilliant, meticulously crafted third season. Another surprising candidate is Rick and Morty, which, despite being an animated comedy, grounds many of its concepts in surprisingly solid science.

In Dark Matter, we follow physics professor Jason Dessen (Joel Edgerton), who is abducted and dragged into an alternate reality by a version of himself that chose professional success over starting a family. Driven by the desire to return to his wife Daniela (Jennifer Connelly) and son Charlie (Oakes Fegley), he manages to escape and embarks on a mind-bending multidimensional journey alongside psychiatrist Amanda Lucas (Alice Braga), navigating through a mysterious structure known simply as The Box.

Understanding how The Box actually works can be tricky, but as the show lays it out, it functions scientifically by completely isolating its interior from any external environmental interference to prevent quantum decoherence. A specialized drug then temporarily detaches the human brain from observing reality. Once inside under the influence of this drug, the travelers enter a state of quantum superposition—much like Schrödinger’s cat. This allows infinite coexisting realities to collapse into a corridor lined with doors, each opening into a world shaped by the traveler’s own subconscious mind.

Sounds complex, right? Yet unpacking concepts like these is precisely what draws me in, and seeing a show attempt to represent such high-concept theoretical physics is awesome. On the flip side, in streamlining these ideas, shows like this can occasionally fall into well-worn multiverse and alternate-reality tropes. Dark Matter definitely starts off as a slow burn—it takes several episodes to give you proper context and let you piece together what is happening.

However, as the narrative picks up momentum and the characters start hopping across alternate realities, the sheer desperation of Jason potentially never seeing his family again really cranks up the stakes. The final two episodes are hands down the best of the season; Joel Edgerton and Jennifer Connelly flex their full acting chops to sell the emotional complexity of the climax. That alone makes the watch worthwhile—they share fantastic screen chemistry and deliver a truly believable family dynamic.

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The first time I heard about hypopituitarism, it struck me as a very unique and, at the same time, fascinating condition—from a biological standpoint—since people age chronologically, but their faces and features continue to look youthful. The scientific explanation is that there is a deficiency related to growth hormone. Perhaps the best-known case is that of Lionel Messi; actor Max Casella also suffered from it. Both underwent hormone therapy and managed to reverse the condition.

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I was researching this topic, and my references led me to the movie The Orphan. From the very first moment, my attention was drawn to actress Isabelle Fuhrman, who instills fear—especially against that gloomy backdrop they captured. Kudos to the marketing team here, as they achieved their goal with the promotional poster. I knew I was in for a psychological horror film, so I grabbed my popcorn and got ready for the action.

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Suspense is the perfect ingredient that comes through on screen; from the very first shots, an unsettling atmosphere was created—the kind that makes your heart race. Seventeen years have passed since its release (2009), but the wonderful thing about cinema is that the emotions it conveys never fade. This film, directed by Jaume Collet-Serra and written by David Leslie Johnson-McGoldrick and Alex Mace, has over time become a cult classic in the horror genre.

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Certainly, watching a little girl murder someone in cold blood is deeply disturbing, but it turns out the screenwriters were inspired by the story of a 33-year-old Czech woman named Barbora Skrlová, who suffered from hypopituitarism and was also a psychopath; she posed as a little girl to be adopted and then destroyed her new family. This story is just as terrifying as the one depicted in the film.

In The Orphan, Fuhrman delivered an extraordinary performance as Esther, the 9-year-old girl adopted by Kate (Vera Farmiga) and John Coleman (Peter Sarsgaard). In this case, the adoption is intended to help them cope with the loss of their third daughter—a way to channel all that unfulfilled love toward a new family member.

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On screen, Esther is terrifying simply by her presence, proving that she was a perfect casting choice. The first thing that came to mind when I saw her was a comparison to Merlina Addams; however, we’re dealing with a character who seems polite and charming at first, but whose dialogue later becomes chilling—enough to make your skin crawl. Manipulation is her most macabre game, and it works perfectly throughout the entire plot.

Special mention goes to Aryana Engineer, who played Max Coleman, the couple’s deaf daughter. Her performance is sensational, and her condition adds an extra layer of suspense to the story—another very well-thought-out element by the production team. The most interesting thing is that Engineer has this condition in real life, so on set, she learned her lines and instructions through sign language.

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As the film progressed, I was still wondering how hypopituitarism would be woven into the story, because suffering from this disorder should not be used to justify crimes. The conclusion provides an explanation, and it does so through a plot twist that manages to captivate the viewer. What stands out in this part is that it’s pointed out that hypopituitarism typically leads to psychosis and violent behavior, largely due to the frustration and trauma that arise from watching time pass without ever moving beyond childhood. It’s necessary to view each situation from various angles to become immersed in the plot and enjoy the film.

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I liked this movie; it successfully generated a sense of horror and suspense. It has all the elements needed to make it interesting, as it raises questions that are gradually resolved. I couldn’t take my eyes off each terrifying and bloody scene, which never failed to shock me. @wiseagent, we’re still in the “Halloween Party” spirit.

La primera vez que escuché hablar de hipopituitarismo me pareció una condición muy particular y a la vez fascinante, en sentido biológico, ya que las personas cronológicamente envejecen, pero sus rostros y su fisionomía continuan luciendo un aspecto juvenil. La explicación científica es que existe una deficiencia relacionada con la hormona del crecimiento. Quizás el caso más conocido sea el de Lionel Messi, también el actor Max Casella llegó la llegó a padecer, ambos fueron sometidos a terapias hormonales y lograron revertir la condición.

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Estaba investigando sobre este tema y las referencias me llevaron a la película La huérfana. Desde el primer momento llamó mi atención al observar a la actriz Isabelle Fuhrman, misma que infunde temor, sobre todo con ese escenario sombrío que capturaron como fondo. Acá hay que aplaudir al equipo de marketing, pues se logró el objetivo con el poster promocional. Sabía que estaba delante de un film de terror psicológico, así que tomé mis palomitas de maíz y me preparé para la acción.

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El suspenso es el aderezo perfecto que se deja sentir en pantalla, desde las primeras tomas se creó una atmósfera inquietante, de esas que aceleran el corazón. Han pasado diecisietes años desde su estreno (2009), pero lo maravilloso del cine es que las emociones que transmiten no caducan. Esta propuesta, dirigida por Jaume Collet-Serra y escrita por David Leslie Johnson-McGoldrick y Alex Mace, se ha convertido con el tiempo en una cinta de culto en lo que respecta al género de terror.

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Ciertamente, observar a una niña asesinando a sangre fría es muy perturbador, pero resulta que los guionistas se inspiraron en la historia de una mujer checa de 33 años, llamada Barbora Skrlová, que sufría de hipopituitarismo, además era psicópata, y se hizo pasar por niña para ser adoptada y luego destruir a su nueva familia. Esta historia es aterradora, tanto como la planteada en la ficción.

En La huérfana, Fuhrman realizó un trabajo extraordinario interpretando a Esther, la niña de 9 años que adopta el matrimonio de Kate (Vera Farmiga) y John Coleman (Peter Sarsgaard). En este caso, la adopción se lleva a cabo para superar la pérdida de su tercera hija, una forma de transmitir todo ese amor truncado a un nuevo miembro de la familia.

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Esther en pantalla luce terrorífica solo con su presencia, lo que demuestra que fue un casting acertado. Lo primero que se me vino a la mente cuando la observé fue el referente de Merlina Addams, sin embargo, estamos ante un personaje que parece educada y encantadora al principio, luego sus diálogos resultan escalofriantes, al punto de erizar la piel. La manipulación es su juego más macabro y funciona a la perfección durante toda la trama.

Mención aparte para Aryana Engineer, quien interpretó a Max Coleman, la hija sorda del matrimonio. Su puesta en escena es sensacional y su condición aporta un toque adicional de suspenso a la historia, otro elemento muy bien pensado por parte de la producción. Lo más curioso es que Engineer sufre de esta condición en la vida real, por tanto, en el set de grabación su aprendizaje de secuencias e instrucciones era a través de lenguaje de señas.

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Con la película avanzada aún me quedaba la duda de cómo se insertaría el hipopituitarismo en la historia, porque padecer este trastorno no debe servir para justificar los crímenes. El desenlace involucra la explicación y lo hace mediante un giro que logra atrapar al espectador. Lo que se resalta de esta parte es que se indica que por lo regular el hipopituitarismo trae consigo psicosis y conductas violentas debido en gran parte a la frustración y los traumas que emergen al ver el tiempo pasar y no superar la etapa de la niñez. Es necesario asimilar cada situación desde varios ángulos para involucrarse en la trama y disfrutar frente a la pantalla.

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Me gustó esta película, las sensaciones fueron positivas en cuanto a generar terror y suspenso. Cuenta con los elementos necesarios para hacerla interesante porque se generan dudas que paulatinamente se van resolviendo. Mis ojos se mantuvieron inmóviles ante cada escena aterradora y sangrienta que no dejaba de impactarme. @wiseagent seguimos en la onda de "Halloween Party".

The Hunted (2024): A High Price to Pay. Is it possible that human beings have shed their empathy simply to experience pleasures they’ve lost over time? Well, I’ll start with this question because, in the film we’re going to analyze, this is exactly what happens when people come to accept that being cruel can become normal. All of this is reflected in the 2024 film The Hunted—a work that calls into question the human condition when your supposed economic status allows you to do whatever you want; even more so when it suggests that hunting people is something that can heighten those pleasures you thought were lost. It’s true that stories about the human world have been portrayed in various films; but from my perspective, this film blends that theme with the issue of migration, which adds an extra layer of drama—simply because it could be a reflection of what people who wish to leave their home countries in search of a better life actually experience.

This film is a thriller packed with suspense, drama, action, and survival—and above all, it sends a strong and clear message to those who think they have power over people they consider inferior to themselves. Now, the film in question was directed by Louis Lagayette, a filmmaker who used his lens in a compelling and methodical way; this director possesses unique qualities, one of which is that he doesn’t seek to create spectacle by using elements that might deceive the viewer. On the contrary, through his lens, he tends to showcase the raw and cruel nature of the actions, turning his camera into a powerful witness to them.

Simply put, with this film, the director seeks to offer direct criticism of the double standards people can exhibit. People who put on a facade of mere cordiality in order to lure the supposedly weak, watch them suffer, and thereby satisfy their arrogant needs. Therefore, from my point of view, this film has no trouble making it clear that there’s no need to show monsters or use fake elements to scare people, since true fear can come from the beast disguised as a human being. This could be the harsh reality for thousands of people fleeing their countries, without realizing they’re heading straight into the hands of something worse than what they’re escaping.

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Among the diverse cast of the film, my favorites are Wael (Lily Banda) and Vlad (Alec Newman); I say this because there’s an impressive, destructive chemistry between them. She embodies toughness, strength, courage, and everything a warrior needs to survive; she’s also scarred and just wants a little peace—we don’t know if that will do her any good, but that’s what we’re going to find out. As for Vlad, he can be sadistic and bloodthirsty—a guy who feels he’s lost his joy in life and wants to do something more to feel it again, so he seeks other ways to feed his murderous ego; according to him, he has a sixth sense for it. Could there be a special prey for him in this group? That will be your mission. All the performances are strong, and together they create a very realistic atmosphere where cruelty is the norm; but these two characters steal the show, and in my opinion, each role fits them like a glove.

Meanwhile, there are several people from African and Asian countries; among them is Wael, a young woman from Sudan who is trying to escape a brutal war. With her is a boy—we don’t know if he’s her son or just another refugee. All these people pay to cross the Mediterranean Sea to Europe; however, during the crossing, the small boat’s engine stops, leaving them adrift, and several people die. Only six people and the boy remain; and after drifting for some time, they are miraculously rescued by three people on a yacht, among them the famous Vlad. The man says that Italy is too far away and it’s better for them to go with him to the island, where the coast guard would come looking for them; everything seems wonderful, the hospitality is magical, but from that point on, the tension is already palpable—Wael doesn’t feel safe amid such excessive and strange hospitality. Now, once on the island, they’re welcomed by the owner, who’s very happy—I wonder why? The guests are told to eat, get dressed, and get some sleep; they need to be strong—there must be a reason for that.

That night they have a welcome party; everyone chats and discusses their countries’ political problems a bit, all without giving anything serious a second thought—or so it seems—because everyone is so friendly; there are disagreements, and tempers flare a little. Suddenly, the boy faints; they tend to him. The night passes, and the next day, all the captives wake up in a van headed for the scene of the action; they’re in disbelief—they don’t know what’s going on—but Wael knew from the start that something was wrong. They all find themselves facing a group of sadistic Europeans, eager to kill and satisfy their desires. The owner gives her speech and tells them that their fate is in their own hands—they will be hunted, and if they survive, they’ll have the chance to go to Europe. Everyone starts running to try to save their lives, and while they all flee and the hunters give chase, the owner gives precise instructions from the comfort of her home. You really have to enjoy this electrifying movie that has it all; and as I said before, I’ve seen many films along these lines, but The Hunted is different—it’s realistic; there’s no room for comedy here, as there is in other films of this type.

As the plot unfolds, a game unfolds that’s far too dangerous for both sides—one from which there’s no escape—and best of all, nothing happens by chance; the actions don’t unfold in a frantic rush, but rather, step by step, the desperation grows very, very slowly. Another striking aspect is that every location—no matter how large—is a suffocating trap, even more so if the traumas of the past come back to haunt you. The scenes are bloody, cold, raw, and heart-wrenching—enough to awaken the beast within any of us; no one knows how to react until they find themselves in grave danger, and in true Battle Royale style, the safe zone gradually shrinks. It culminates in a crazy, utterly unexpected ending I never could have imagined.

The quality of the setting, cinematography, and music is exceptional; you might think you’re in paradise, but that paradise is actually a giant cage that keeps you trapped; there’s no escape, no one who can save you—just you on a beautiful island, at the mercy of those you thought were your saviors; whether it’s day or night, everything is dangerous. Here we have a clear example of how the person who helps you won’t always be your savior; you never know what dark intentions lie behind the hand extended to you; nor is the one who claims to be your friend actually your friend; saving themselves will be their first priority, and this film proves it all. This situation happens every day, even if you’re not on the run; because sometimes you find the predator right here in your own concrete world. In short, the film conveys a very profound message that should sink into everyone’s consciousness.

As we watch the movie and mull it over in our minds, it invites us to reflect on these people’s true motivations. Are they already used to doing this? Is it for mere satisfaction, for money, or for ego? Are they part of some kind of patrol on the high seas? Are they sent by someone in particular? You have to pay attention to the details, and little by little you’ll peel back the layers of this onion. The truth is that, beyond simply entertaining, it’s a wake-up call to a reality that lurks at every border; it’s no secret that thousands of migrants lose their lives trying to make their way across, and thousands more die after making it across. In short, escaping from something bad doesn’t always guarantee that you’ll save your life. Best regards, and see you soon.

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The Hunted (2024): Un Alto Precio que Pagar. ¿Será posible que el ser humano se haya despojado de su empatía, solo por sentir placeres que ha perdido con el tiempo?; bueno, inicio con esta pregunta, porque en el filme que vamos a analizar, es lo que realmente ocurre cuando el ser humano internaliza que ser cruel, puede llegar a ser normal. Todo esto se refleja en la película The Hunted del año 2024; una obra que deja entredicha la condición humana, cuando tu supuesta posición económica te permite hacer lo que te da la gana; más aun, cuando te dice que el cazar personas es algo que puede elevar esos placeres que creías perdidos. Es cierto, que las historias referidas a la casa de humanos se ha plasmado en diferentes películas; pero desde mi punto de vista, aquí se mezcla este punto con el tema de las migraciones y eso le imprime más drama, solo por el hecho de que pudiera ser un reflejo de lo que llegan a vivir las personas que desean salir de sus fronteras en la búsqueda de algo mejor.

Este filme es un thriller cargado de suspenso, drama, acción, supervivencia y sobre todo; emite un mensaje fuerte y claro, hacia aquellos que piensan que tienen en sus manos, a personas que supuestamente son inferiores a ellos. Ahora; la película en cuestión fue dirigida por Louis Lagayette un tipo que usó su lente de manera magnética y organizada; este director tiene cualidades únicas y una de ellas, es que no busca que algo sea espectacular mediante el uso de elementos que puedan engañar al espectador. Al contrario; bajo su lente, acostumbra demostrar lo crudo y cruel de las acciones, convirtiendo su cámara en un testigo poderoso de las mismas.

Sencillamente; con esta película, el director busca emitir críticas directas sobre la doble moral que pueden tener las personas. Personas que pueden crear máscaras de mera cordialidad, con el fin de atraer a supuestos débiles, verlos sufrir y así satisfacer sus arrogantes necesidades. Por ello, desde mi punto de vista; esta película no tiene ningún problema en dar a entender, que no hay necesidad de mostrar monstruos, ni elementos falsos para asustar; ya que el verdadero miedo, puede provenir de la bestia que tiene traje de ser humano. Esta pudiera ser la cruda realidad de miles de personas que huyen de sus países; sin pensar que van directo a las manos de algo peor a lo que escapan.

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Dentro de la variada gama actoral que integra la película; me quedo con Wael (Lily Banda) y Vlad (Alec Newman); digo esto, porque entre ellos se genera una química destructiva impresionante. Ella representa la dureza, la fuerza, el coraje y todo lo que una guerrera puede poseer para sobrevivir, además está marcada y solo desea un poco de paz; no sabemos si eso le servirá de algo, pero eso es lo que vamos a descifrar. Por su parte Vlad, puede ser sádico, sangriento; un tipo que siente haber perdido el placer por las cosas y desea hacer algo más para sentirlo, por ello busca otras alternativas para elevar su ego asesino; según él, tiene un sexto sentido para ello ¿Será posible que en este lote haya una presa especial para él?; esa será tu misión. Todas las actuaciones son buenas y en conjunto, crean un ambiente muy real donde ser cruel es normal; pero estos dos individuos se llevan la mayor parte y desde mi punto de vista, cada papel le ha quedado como anillo al dedo.

Por su parte, tenemos a varias personas provenientes de países africanos y asiáticos; entre ellos esta Wael una chica de Sudan que intenta escapar de una guerra demasiado cruel, junto a ella está un niño, que no sabemos si es su hijo o también un refugiado. Toda esta gente paga por salir a través del Mar Mediterráneo hacia Europa; sin embargo, durante la travesía el motor de la pequeña lancha se detiene, quedan a la deriva y mueren varias personas. Solo quedan 6 y el niño; y luego de estar a la deriva, milagrosamente son rescatados por tres personas que vienen en un yate, entre ellos el famoso Vlad. El tipo dice que Itala está muy lejos y es mejor que se vayan con él a la isla, luego la guardia los buscaría; todo parece maravilloso, la atención es mágica, pero a partir de allí la tensión ya está latente, Wael no se siente segura con tanta y rara hospitalidad. Ahora; ya en la isla son recibidos por la dueña de la misma, quien está muy contenta ¿Por que será?; los invitados deben comer, vestirse y dormir un poco, deben estar fuertes; por algo será.

En la noche tienen una fiesta de recepción, todos conversan y discuten un poco sobre los problemas políticos de sus países, todo sin pensar en nada fatal, eso parece, porque la gente es demasiado amigable; hay desacuerdos y los ánimos se calientan un poco. De pronto el niño se desmaya, lo atienden, pasa la noche y al otro día, todas las presas despiertan en una camioneta rumbo al sitio de la acción; ellos están incrédulos, no saben lo que está pasando, pero Wael desde un principio sabía que algo andaba mal. Todos están frente a un grupo de europeos sádicos ,con ansias de matar y satisfacer sus placeres. La dueña da su discurso y les dice que ellos tienen el destino en sus manos, serán cazados y si sobreviven tienen la oportunidad de ir a Europa. A correr todo el mundo para tratar de salvar sus vidas y mientras todos huyen y los cazadores los persiguen; la dueña desde la comodidad de su hogar da instrucciones precisas. De verdad tienes que disfrutar de esta electrizante película que tiene de todo; y como dije antes, he visto muchos filmes con esta tónica, pero The Hunted es diferente; es realista, aquí no hay cabida para la comedia como sucede en otros filmes de este tipo.

A medida que la trama avanza; se establece un juego demasiado peligroso para ambos bandos donde nadie tiene escapatoria; y lo mejor de todo, es que nada ocurre al azar, las acciones no se dan de manera desbocada; sino que paso a paso la desesperación crece muy pero muy lenta. Otra cosa impresionante; es que cada lugar, sin importar lo grande que sea, es una trampa asfixiante, más aun si los traumas del pasado te juegan una mala pasada. Las escenas son sangrientas, frías, crudas y desgarradoras, lo que pudiera despertar en cualquiera de nosotros, la bestia que llevamos dentro; nadie sabe como actuar, hasta que se ve inmerso en un profundo peligro y al mejor estilo de Battle Royale, la zona segura poco a poco se achica. Con un final de locura y ultra inesperado que jamás imaginé.

La calidad en lo que respecta a ambientación, fotografía y música son especiales; podemos pensar que estamos en un paraíso, pero ese paraíso será una jaula gigante que te mantiene atrapado; no hay lugar de escape, no hay nadie que pueda salvarte, solo tú en una hermosa isla a Merced de quienes creías tus salbadores; sea de día o de noche, todo es peligro. Aquí tenemos un ejemplo claro, de que quien te ayuda, no siempre será tu salvador; jamás se sabe cuáles son las oscuras intenciones de quien tiende su mano para contigo; tampoco quien dice ser tu amigo, lo es en realidad; salvarse será su primera opción y aquí se demuestra todo lo dicho. Esta situación se vive a diario, así no estés en una cacería; porque a veces el depredador lo encuentras en tu propio mundo de concreto. En definitiva; la película refleja un mensaje muy profundo, que debe calar en la conciencia de todo el mundo.

Viendo la película y dando vueltas en nuestra mente; esto nos invita a pensar sobre las verdaderas motivaciones de estas personas. ¿Ya están acostumbrados a hacer esto?; ¿Será por mera satisfacción, por dinero o por ego?; ¿Forman parte de una especie de patrulla en alta mar?; ¿Son enviados por alguien en especial?; debes fijarte en los detalles y poco a poco iras quitando las cosas de esta cebolla. Lo cierto, es que más allá de entretener, es un llamado a la conciencia de una realidad que está latente en todas las fronteras; para nadie es un secreto que miles de migrantes pierden sus vidas tratando de avanzar y otros miles también fallecen habiéndo cruzado. En definitiva; no siempre escapar de algo malo, te garantiza que salves tu vida; saludos y nos vemos pronto.

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Today let us talk about The Wedding Party, because if you have never watched this one before, see ehn, you are missing out on one of the funniest, most chaotic wedding stories Nollywood has ever given us.

The story centers on Dunni Coker, a 24year old art gallery owner, the only daughter of her parents, living the kind of life where everything seems finally about to fall into place, she is marrying Dozie Onwuka, an IT entrepreneur, the love of her life, the man she's been waiting for, and in true old school romantic fashion, the two of them have made a vow of chastity, holding off on being intimate until after the wedding, looking forward to this whole ground breaking first night together experience once they're finally husband and wife, that's sweet, right? Innocent, even, you would think their biggest problem on the wedding day would just be nerves.

Chai, you would be so wrong.....

Because from the moment planning starts, everything that could possibly go wrong starts creeping in from every direction, first, you have the families. Dunni's people and Dozie's people are basically from two completely different worlds, one side more reserved, working with what they have, and the other side dripping in wealth and status, looking down just slightly on the idea of their son marrying into a humble family, and when I tell you Dozie's mother is not here for this marriage, at least not initially, I mean she is fully skeptical, side eyeing everything about Dunni's family from day one, wondering if her son could have done better for himself.

Then, as if that tension isn't enough, an ex-girlfriend of Dozie's decides this is the perfect day to reappear, and not just to wish the couple well either, she comes with a whole revenge agenda, ready to disrupt things in the most dramatic way possible, because apparently some people cannot just let go and move on gracefully, meanwhile, back at the actual event itself, things are unraveling in real time, the best man, of all people, loses the wedding rings, not misplaces for five minutes, loses, on the actual wedding day. If that happened at my own wedding, ah, somebody would be answering serious questions.

And then there is the wedding planner, bless her, trying her absolute best to hold this entire circus together while dealing with gatecrashers nobody invited, people just walking in for free food and drama, the way it happens at every big Nigerian wedding whether you like it or not, on top of all that chaos, the groom's father's own mistress decides today is the day she wants to make her presence known, showing up uninvited, adding an entirely different layer of scandal that the family definitely did not need on top of everything else already falling apart.

So basically, what was supposed to be one simple, elegant, romantic wedding day slowly turns into this whirlwind of family drama, old flames, missing rings, uninvited guests, and buried secrets all colliding at once, and somehow, through all that madness, laughter and heart still manage to survive underneath it, because that's exactly what these kinds of stories do best.

So by the time everything settles, and trust me it does eventually settle, you do realize that this movie wasn't just showing you a wedding, it was showing you an entire cross section of Nigerian family life, class tension, love, pride, and every bit of drama that comes wrapped up in it.

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After watching this movie, I can say for a fact that this is the kind of movie you put on when you want something light, funny, romantic and you don't want to spend two hours trying to understand the entire plot..

The story follows Owen, a young musician who meets a girl named Emily and immediately feels like he has found the person for him... But it's not that simple, because when Owen tries to contact her, he discovers that he has been given the wrong phone number and instead of accepting defeat like a normal human being, this man decides he is going to find her.

So begins the search for Emily but while looking for the Emily he met, he ends up meeting another Emily... This Emily is a psychology student who is working on a thesis about love and relationships and somehow, these two end up helping each other.

The movie becomes interesting at this point because Owen is basically chasing an idea of love, while Emily is studying love like it is a scientific problem... She is actually quite sceptical about romantic love, while Owen is the complete opposite.

He is the guy who sees one person across a room and is already thinking about their future together.

That contrast between them is what makes the movie work... Spike Fearn was really good as Owen. He plays him as this slightly awkward, hopelessly romantic guy without making him completely annoying because honestly, a character like Owen could easily become irritating.

You're searching an entire university for a woman whose phone number you don't even have correctly?... That's really crazy..

Angourie Rice was probably my favourite though... Her Character, Emily is much more guarded and analytical... She has her own relationship problems and reasons for being sceptical about love, and watching her slowly get dragged into Owen's ridiculous mission was entertaining and the chemistry between Rice and Fearn is probably the biggest reason the movie works.

They feel comfortable together. Their conversations feel natural and there is that slow realisation that maybe the person you're looking for isn't necessarily the person you originally thought you wanted.

I also liked the Manchester setting... The movie makes good use of the city and the university environment, and it gives the whole thing a nice British rom-com feeling.

There is also a lot of music throughout the movie, which makes sense considering Owen is a musician. The soundtrack adds a lot to the atmosphere and keeps the movie feeling lively.

The biggest problem for me is that the story can be a little too predictable.

You can probably figure out where things are going long before the characters do.

Some of the supporting characters are funny, but a few feel like they exist mainly to push Owen and Emily toward the next part of the story and the whole idea of Owen contacting hundreds of people named Emily could easily come across as creepy if the movie wasn't so determined to keep everything lighthearted.

Thankfully, it mostly works because the film knows exactly what it is.

It isn't trying to be Oppenheimer.

It isn't trying to teach us some deep lesson about human existence.

It is a romantic comedy.

And sometimes you just need that.

What I really liked, though, is the little message underneath everything.

We sometimes build an entire fantasy around someone we barely know.

You meet somebody, you like them, and suddenly you've created this perfect version of them in your head but what happens when reality doesn't match the fantasy?

That's where Finding Emily becomes more interesting.

Owen thinks he is searching for one specific girl but along the way, he starts discovering what he actually wants from love and Emily, who spends so much time studying love from a distance, is forced to actually experience it.

That part was sweet.

Overall, Finding Emily is exactly the kind of movie I would recommend when you want something easy and enjoyable.

It is funny.. It is romantic.. The leads have good chemistry.. The soundtrack is great and it has that old-school British rom-com feeling, just with a more modern university setting.

_{IMAGE SOURCE: IMDB}

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Rating: 80/100