That's Got His Own (S04E12)

Airdate: December 3rd 2006

Written by: George Pelecanos Directed by: Joe Chappelle

Running Time: 58 minutes

The Wire has long conditioned its audience to anticipate that the penultimate episode of each season would deliver the narrative’s most devastating crescendo—a moment where the fragile veneer of hope is shattered. When George Pelecanos, the novelist-turned-screenwriter renowned for his unflinching portrayal of urban decay, crafts such an episode, the fallout is invariably catastrophic, targeting those characters who embody innocence, iconicity, or sheer likability. Season 4’s That’s Got Its Own epitomises this pattern, plunging the viewer into a maelstrom of despair as the quartet of young protagonists introduced in the season’s premiere are systematically broken by the very systems meant to protect them. This episode is not merely a turning point; it is a surgical dissection of how institutions—familial, educational, political, and criminal—conspire to extinguish the futures of Baltimore’s most vulnerable, leaving in their wake a trail of irreversible trauma.

The episode opens with Michael Lee, the quartet’s most perceptive and strategically astute member, being hunted through a derelict building by Chris Partlow and Snoop Pearson. What initially appears to be a life-or-death chase is revealed as a paintball exercise—a chilling simulation designed by Chris to mould Michael into a remorseless enforcer for Marlo Stanfield’s organisation. Michael, having already orchestrated his stepfather’s murder through Marlo’s crew, now embodies the cold efficiency of his new role, brutally assaulting Kenard (Thuliso Dingwall), a prepubescent boy who stole Namond’s drug stash. The violence is a demonstration of Michael’s psychological transformation. As Namond later laments, “Michael isn’t Michael anymore”—a line that resonates with tragic precision. The boy who once shielded his brother and negotiated with corner boys has been replaced by a weaponised shell, his intelligence now harnessed for destruction rather than survival.

Namond Brice, meanwhile, confronts the harshest truth of his lineage: he lacks the “gangsta” spirit his incarcerated father, Wee-Bay, embodies. This perceived weakness is unforgivable to his mother, De’Londa, whose ambition for status on the streetr leads her to eject Namond from their home. His subsequent confrontation with Michael at Cutty Wise’s gym—a sanctuary of discipline and redemption—ends with Michael savagely beating him, prompting Cutty to expel Michael. In a poignant act of contrition, Cutty ventures to the corners to reconcile with the boys, only to be shot in the leg by Marlo’s lieutenant, Monk Metcalf (Kwame Patterson). Michael’s fleeting redemption—intervening to prevent Cutty’s execution—feels hollow against the backdrop of his moral erosion. Cutty’s resigned instruction to “go with his people” as he awaits the ambulance underscores the inevitability of Michael’s path.

Dukie Weems’ final day at Tilghman Middle School epitomises institutional abandonment. Prez’s exceptional mentorship has secured Dukie’s advancement to high school, yet this “success” is a death sentence. Without Prez’s protective presence, Dukie faces a hostile new environment where his poverty, hygiene, and vulnerability will render him prey. Prez’s hollow reassurance—that Dukie may return for help—is undercut by Principal Donnelly’s admonishment: Prez and his wife should have their own children rather than using Dukie as a surrogate. Donnelly’s remark exposes the education system’s cruel pragmatism; Dukie is one of “many more” children that need people like Prez, his individuality erased by bureaucratic indifference.

Randy Wagstaff’s storyline delivers the episode’s most harrowing blow. Shunned as a snitch and terrorised for his half-hearted co-operation with police, Randy is confined to his home, his foster mother Miss Anna (Denise Hart) shielding him as best she can. Carver’s assurances that the “heat will blow over,” coupled with a police stakeout, prove tragically naive. The street code’s brutality manifests when attackers lure the police away, hurling Molotov cocktails into the house. Miss Anna suffers third-degree burns, and Randy, awaiting her fate in the hospital, knows he will be returned to the group home he hated—a cycle of neglect now cemented by trauma. Carver’s futile attempt to comfort him rings with devastating irony: his promise of safety, once a cornerstone of his redemption arc, is exposed as empty rhetoric. The scene lays bare Carver’s complicity; his failure to grasp the streets’ merciless logic has doomed the very child he sought to save.

Bubbles’ arc reaches its nadir in a morally complex tragedy. Desperate to rid himself of a tormenting addict who repeatedly robs him, Bubbles consults the „arabbers” (street vendors) and devises a lethal solution: spiking drug vials with sodium cyanide. His plan backfires when his nephew Sherrod, his protégé and surrogate son, ingests the poison and dies. Bubbles’ devastation is palpable—not merely from grief, but from the realisation that his desperation has corrupted the one pure relationship he nurtured. The episode refuses to sanitise his guilt; Sherrod’s death is a direct consequence of Bubbles’ moral compromise, illustrating how the drug trade’s poison permeates even those seeking escape.

For Mayor Tommy Carcetti, the episode marks the shattering of political idealism. Confronted with a US$54 million hole in the education budget—a crisis engineered by his predecessor—Carcetti faces a Faustian bargain. His chief of staff, Steintorf (Neal Huff), urges him to beg the Republican governor for funds, but the governor, viewing Carcetti as a gubernatorial rival, offers aid contingent on state control of schools—a move that would alienate teachers’ unions and Black voters. The governor’s humiliation of Carcetti (forcing him to wait interminably) mirrors the episode’s broader theme: power exacts its price in dignity. Carcetti’s dilemma—accept “poisoned” state oversight or risk fiscal collapse—exposes the hollowness of his reformist promises, reducing politics to a game of survival rather than service.

Amidst this bleakness, the Major Crime Unit (MCU) experiences fleeting momentum. Lester Freamon’s discovery of Lex’s remains in a rowhouse triggers a breakthrough: the “tomb” houses containing Marlo’s victims can be identified via freshly nailed boards. Yet bureaucratic inertia resurfaces as Homicide’s Sergeant Landsman blocks the search to protect clearance rates—a grotesque prioritisation of statistics over justice. Freamon’s appeal to Daniels, Rawls and Carcetti succeeds only because Daniels frames the recovery as a political necessity: the bodies’ discovery will shift blame for unsolved murders onto the previous administration. The MCU’s triumph is thus tainted, a reminder that even righteous pursuits are subsumed by institutional self-preservation.

Herc’s downfall provides a rare moment of perverse catharsis. Years of procedural negligence culminate in an Internal Investigation Division summons over a stolen video camera. Facing termination, Herc absolves his colleagues Snydor and Dozerman by accepting full blame—a solitary act of integrity in a career defined by incompetence. It is a small mercy in an episode where redemption is scarce, yet it underscores The Wire’s recurring motif: even flawed individuals can, fleetingly, choose honour.

The sole respite arrives via Omar Little’s audacious stick-up of Proposition Joe’s stash, aided by Renaldo, Kimmy, and three new recruits. Omar’s success—a testament to his tactical brilliance—feels almost anachronistic amid the pervasive despair. Yet it serves a purpose: his defiance highlights the MCU’s impotence, reminding viewers that the streets operate by rules the police cannot comprehend or control.

Director Joe Chappelle, a series veteran, elevates the episode’s despair through masterful visual storytelling. The closing sequence—Carver trudging through hospital corridors as Randy’s repetition of his broken promises echoes with bitter irony—is among The Wire’s most haunting. The camera lingers on Carver’s defeated posture, the fluorescent lights casting long shadows that mirror the moral void he now inhabits.

That’s Got Its Own epitomises Season 4’s unrelenting darkness, extinguishing the fragile optimism Carcetti’s election initially sparked. The glimmers of progress—Prez’s teaching, Cutty’s gym, Freamon’s investigation—are systematically dismantled, revealing how institutions perpetuate cycles of failure. Yet the episode is not without flaws. Pelecanos’ reliance on early-2000s pop culture references—such as Jennifer Lopez and Marc Anthony’s divorce—feels jarringly anachronistic, alienating viewers unfamiliar with tabloid minutiae of the era. These moments, while grounding the narrative in its time, risk dating the episode’s emotional resonance.

Equally curious is the meta-irony of Robert Ehrlich’s cameo as the governor’s security guard. The real-life Republican governor, defeated by Martin O’Malley (Carcetti’s political analogue) a month before the episode aired, embodies The Wire’s blurring of fiction and reality. His presence is a winking commentary on the show’s prescience—a reminder that Baltimore’s struggles are not allegorical, but lived.

In the end, That’s Got Its Own is a triumph of narrative brutality, weaving individual tragedies into a tapestry of systemic critique. As the camera fades on Carver’s hollow eyes, the message is clear: in Baltimore, as in life, the game is rigged, and the most innocent pay the highest price.

RATING: 7/10 (+++)

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When I think about a movie that captures the essence of the supernatural, something that goes far more beyond the realm of the ordinary this movie The Sixth Sense immediately comes to mind. There are many other films but this particular one is my favourite. It is an old movie but this film is not just a masterclass in storytelling and suspense but also a deep emotional exploration of life, death, and the invisible world that may exist between the two.

It is one of those rare supernatural films that doesn’t rely on jump scares or distorted imagery to make you uneasy. Instead, it builds its haunting atmosphere through quiet tension, psychological depth, and a storyline that lingers in your mind long after the credits roll.

Screenshot from the movie

The story centers on a young boy named Cole Sear who confides to his therapist Dr. Malcolm Crowe that he can “see dead people. You know that one line, so simple, yet chilling sets the tone for the entire movie. The supernatural aspect of Cole’s ability to interact with spirits is what drive the film, but what makes it truly powerful is how his ability is treated and use. It’s not presented as a curse or a trick but instead, it becomes a metaphor for human empathy, trauma, and the desire to be understood. The movie makes me to imagine what it would mean to live in a world where the dead coexist with the living, unseen by all but a few.

As I watched The Sixth Sense, I was struck by how the supernatural didn’t just make me feel afraid, it made me feel curious and emotional. The film’s ghosts aren’t monsters rather they are people searching for closure. There was an unexpected tenderness in that idea, a reminder that even the supernatural can be rooted in human pain and longing. The final twist of the movie redefines everything that came before it, forcing you to question what is real and what is not. It’s unsettling in the best possible way because it blurs the line between the natural and the supernatural so seamlessly.

I have never personally experienced anything supernatural, though I have always been fascinated by the possibility. If I could witness one kind of supernatural event, I think I would want to experience a gentle one like seeing a spirit appear just to deliver a message of comfort or reassurance and I would definitely avoid anything demonic or malevolent. You know I am brave when it comes to movies, but in real life, I’d probably run in the opposite direction because even dead eat scares me.

But Still yet, the supernatural appeals to something deep in me, the part that wonders if there is more to the world than what we can see. The Sixth Sense reminds me that maybe, just maybe, there is.

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Hola amigos || Hello friends

Ciertamente a lo largo de su trayectoria no ha habido muchas producciones o intentos por hacer crecer la popularidad de estos héroes en la nueva generación más allá de las cinco películas oficiales estrenadas hasta la fecha. Dos de ellos del director Tim Story, una de 2015 dirigida por Josh Trank y la más reciente de 2025 quien fue dirigida por Matt Shakman quien fue el mismo quien dirijió y produjo WandaVision . Retomando el tema de las primeras películas la verdad es que no fueron de mucho agrado para la audiencia, críticos y mi persona.

Certainly, throughout its history, there have not been many productions or attempts to grow the popularity of these heroes among the new generation beyond the five official films released to date. Two of them were directed by Tim Story, one in 2015 directed by Josh Trank, and the most recent in 2025 directed by Matt Shakman, who also directed and produced WandaVision. Returning to the subject of the first films, the truth is that they were not very well received by audiences, critics, or myself.

No les voy a mentir, quizás la trama no sea la mejor, pero le da un peso y química a los personajes que tanto necesitaban ellos y nosotros como fanes de la gran familia de Marvel además su ambientación a los 80 pero con nueva tecnologia esta bien estructurada. Creo que están retomando el camino que es y es que para empezar las escenas de acción que son lo importante en este tipo de películas, considero que tuvieron a la altura lo que no obtuvimos mucho en las cintas anteriores y ya por ahí, nos deja mucho que pensar si llegan a extienden la saga de este nuevo universo Marvel.

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I'm not going to lie to you, maybe the plot isn't the best, but it gives the characters the weight and chemistry that they needed so much, and that we as fans of the great Marvel family needed too. Plus, the 80s setting with new technology is well structured. I think they're getting back on track, starting with the action scenes, which are the most important part of this type of movie. I think they lived up to what we didn't get much of in the previous films, and that leaves us with a lot to think about if they extend the saga of this new Marvel universe.

Aunque sé que muchos han criticado la película debido al nivel de nostalgia considero que la estética de la película basada en el estilo retro es atrayente. Las escenas de escape en el espacio, la nave y los acontecimientos en las diferentes escenas son muy buenas sin lugar a dudas hay grandes actos que considero mis favoritos.

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Although I know that many have criticized the film because of its level of nostalgia, I think the film's retro-style aesthetic is appealing. The escape scenes in space, the ship, and the events in the different scenes are very good. Without a doubt, there are some great moments that I consider my favorites.

Si mencionamos a los actores como: Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, Julia Garner, todos lo hacen fantástico, la música de Michael Giacchino es fantástica y también la fotografía y los efectos visuales. Y una de las cosas que me hizo dejar la boca abierta por unos minutos fue la presencia de Galactus ya no sea una absurda nube cósmica de tormenta tubular algo que definitivamente le dio a la película mucho más suspenso para la hora de enfrentarse a el demoledor de mundos. Los actores hicieron y pusieron todo de su parte, con un buen desarrollo de sus personajes ofreciendo una buena trama, representando su rol a la perfección además sus dilemas y su manera de ver las cosas sus problemas y como lo resuelven es el verdadero estilo de Los 4 Fantásticos. En conclusión, la recomiendo mucho si eres fan de marvel como de los comics y si eres nuevo en marvel, pues, bienvenido a la familia.

If we mention actors such as Pedro Pascal, Vanessa Kirby, Ebon Moss-Bachrach, Joseph Quinn, and Julia Garner, they all do a fantastic job, Michael Giacchino's music is fantastic, and so are the cinematography and visual effects. One of the things that left me speechless for a few minutes was the presence of Galactus, no longer an absurd cosmic cloud of tubular storm, which definitely gave the film much more suspense when it came to facing the destroyer of worlds. The actors gave it their all, with well-developed characters offering a good plot, playing their roles to perfection. Their dilemmas and their way of seeing things, their problems and how they solve them is the true style of the Fantastic Four. In conclusion, I highly recommend it if you're a fan of Marvel and comics, and if you're new to Marvel, well, welcome to the family.

Portada diseñada por mi en el editor de Canva

La historia sigue a las hermanas Baladro, quienes dirigen algunos prostíbulos en pueblos e incluso se dedican a la trata de personas, pero todo esto queda expuesto a raíz del atentando por parte de Serafina Baladro contra el panadero Simón (su ex pareja) y a raíz de esto comenzaron las investigaciones que expusieron los maltratos e incluso las muertes de algunas mujeres.

Por otra parte otra cosa que me molesta es que, a pesar de que sé que está basada en la novela homónima de Jorge Ibargüengoitia, que seguía la vida de las hermanas Baladro, estas estaban inspiradas a su vez en Las Poquianchis, unas hermanas asesinas que secuestraban muchachas, las prostituían y cuando ya no les servían las mataban, practicaron abortos y se cuenta que los lugares donde residían y trabajaban estaban llenos de cadáveres sepultados y tapiados, y aunque la narración de la novela mantiene un tono satírico, al menos hace énfasis en las muertes orquestadas por las hermanas Baladro (Las Poquianchis) mientras que la serie muestra que la mayoría de las victimas se asesinaron entre ellas y que las sobrevivientes incluso adjudicaron a las hermanas crímenes que ellas nunca cometieron.

Sin embargo si algo puedo decir a favor de la serie es que cuenta con un excelente crew de actores, muy talentosos, además la ambientación es fenomenal, de verdad te traslada en el tiempo con solo ver una escena: los autos, los lugares, la iluminación, el vestuario TODO es maravilloso y de verdad en este aspecto yo les daría un 10/10.

En fin, de verdad no me gustó mucho pero probablemente ustedes la vean desde otro punto de viste y terminen disfrutándola, al fin y al cabo sirve para ilustrar una triste realidad que siempre ha existido, pero que antes ocurría con mayor impunidad. Muchas gracias por leer esta review, les mando un gran abrazo 😉

Imagen diseñada por mi en el editor de Canva.

In the 2015 film Bajrangi Bhaijaan, there is a scene of the hero, Bajrangi (Salman Khan) was sleeping near an entrance of a mosque. An Imam spotted him and invited him to come into the mosque. Bajrangi said he can’t because he is not a Muslim. To that the Imam laughed out loud and said, “So what brother? This place is open for everyone.”

Within the confines of light hearted drama, comedy and adventure wrapped with beautiful melodies of Bajrangi Bhaijaan, (which is a grand trademark of Bollywood) lies a subtle critique of two conflicting countries and religion (Hindu of northern India and the Muslim of Pakistan). Where two different faiths from two countries can be united through humanity and compassion, which is showcased and symbolised by the character arc of both Bajrangi and Munni. It peaked in that finale scene where both crushed through the man-made political borders and be united.

It is sad that the current generation which is the product of brainwashing and indoctrination by a system that feeds on differences has demonised any idea of unity. In Koran it says that God has created us differently for us to know each other. And what would we find if we finally know each other? It is that we are all the same.

Of course, the advocates of the system for divisions will surely blasphemised this idea because their goal is for their politicians to win the next election. Whilst the real statemen would think of the next generation. As how a 19th-century American theologian and author James Freeman Clarke said it. It is a commentary on thinking in short-term and a long term vision.

At the end of the film Gubra, Yasmin Ahmad included the Rumi quote saying, “The lamp is different but the light is the same.” The universality of the symbolic meaning of light is used even by Tolkien in the Lord Of The Rings. Galadriel passes Frodo the Light of Eerendil and says, “May it be a light for you in dark places, when all the other lights go out.”

And may other conflicting bordering tribes of all faiths anywhere in the world find common ground and peace.

Happy Diwali to all.

Cascade (S0210)

Airdate: March 29th 2017

Written by: Dan Nowak Directed by: Mikael Salomon

Running Time: 42 minutes

While The Expanse rightfully thrills with its meticulously rendered zero-G combat, intricate political machinations, and the relentless propulsion of its space opera narrative, the series possesses a deeper strength in its willingness to occasionally throttle back. It recognises that the vastness of its universe, and the weight of its human drama, demand moments of respite – spaces filled with the quiet accumulation of detail, the slow burn of character revelation, and the profound implications of its worldbuilding. Cascade, the tenth episode of the second season, stands as a masterclass in this essential pacing. Far from filler, it is a deliberate, atmospheric, and deeply unsettling pause that utilises the aftermath of Ganymede’s devastation to explore the chilling reality of societal collapse and the fragile threads holding humanity together.

The episode’s central narrative thread follows the Rocinante crew navigating the shattered remnants of Ganymede Station, the former breadbasket of the Solar System. This setting, previously glimpsed only in the chaos of its destruction, is finally granted the grim scrutiny it deserves, and the view is profoundly bleak. What was once a thriving agricultural hub, vital for sustaining the Belt and beyond, lies ravaged. The inhabitable area has been catastrophically reduced, perhaps halved, by the initial battle and its chaotic fallout. Death and displacement hang heavy in the thin air; countless souls perished in the initial catastrophe, while countless more were forced into desperate flight. For those who remain trapped within the crippled domes, existence has become a daily struggle against pervasive scarcity. Shortages of food, medicine, and basic necessities are the norm, forcing inhabitants into increasingly desperate and morally ambiguous measures for survival. This desperation is crystallised in a chilling moment where Meng, inspecting the surviving plant life crucial for atmospheric regulation within the fragile domes, is informed that starving survivors have begun consuming these very plants. The tragedy is twofold: these plants possess negligible nutritional value, serving solely to maintain the delicate ecological equilibrium necessary for life support, and their consumption represents the beginning of a terminal "cascading failure." Ganymede, as Meng starkly declares, is effectively "dead" – not instantly annihilated, but succumbing to a slow, inevitable metabolic collapse, its lifeblood draining away.

Amidst this pervasive humanitarian crisis, Naomi’s investigation into the potential presence of the Protomolecule adds a layer of specific dread. The medical staff, still overwhelmed by the sheer volume of casualties from the initial disaster, report no immediate signs of the alien entity. Yet, this absence offers little comfort to the starving Ganymedans. Their immediate reality is one of gnawing hunger and fractured families, made exponentially worse by the exodus of supply ships carrying vital foodstuffs in the chaotic aftermath. The rupture of communication has severed countless connections, leaving survivors adrift and vulnerable, forced to seek information through exploitative intermediaries. Roma (Stephen Yaffee), a morally ambiguous hacker operating in the station’s shadows, exemplifies this grim new economy. He trades in the most basic human needs – locating missing loved ones like Mei Meng and Dr. Strickland – but demands payment in the only currencies of value: food or sexual services. Holden’s attempt to secure Roma’s cooperation through bartered rations is met with cynical indifference, ultimately requiring Amos’s characteristic, physically persuasive intervention to initiate the search. This scene powerfully underscores the erosion of societal norms; even the Rocinante crew, relative outsiders, must engage with the station’s brutal new hierarchy to achieve their goals.

Simultaneously, the episode shifts perspective to Earth, offering subtle but significant political tremors. Undersecretary Chrisjen Avasarala’s relentless pressure finally yields a crack in Undersecretary Errinwright’s facade. His reluctant admission of his shady dealings with the enigmatic Jules-Pierre Mao marks a pivotal moment, revealing the deep rot within the highest echelons of the UN and hinting at the vast conspiracy driving the conflict.

This political intrigue contrasts sharply with the plight of Martian Marine Sergeant Bobbie Draper. Despite ultimately adhering to Mars’s official stance on Ganymede, her superiors view her with suspicion and disdain. They coldly inform her of her imminent return to Mars, bluntly refusing her poignant request to see Earth’s ocean – a symbol of the planet she fought for but never truly experienced – before departure. True to her resilient nature, Bobbie refuses to accept this denial. She slips away from the Embassy, navigating the grim reality of Earth’s underbelly within a sprawling shantytown, where she is eventually directed towards the ocean. It is there, amidst the crashing waves, that she encounters Avasarala and Cotyar, who extend an offer of uneasy cooperation, recognising her unique perspective and skills in uncovering the truth behind Ganymede’s fall. This sequence, culminating in Bobbie’s silent communion with the vast ocean, is one of the series’ most resonant moments – a quiet, deeply human counterpoint to the political and military machinations, showcasing her adaptation to Earth’s gravity and light, and establishing her as the episode’s emotional anchor.

Scriptwriter Dan Nowak deserves significant credit for embracing this quieter, more contemplative approach. While Amos’s use of force to coerce Roma is present, it is notably restrained compared to the visceral bloodshed of preceding episodes. Cascade understands that the true horror lies not in grand battles, but in the grinding reality of famine, the bureaucratic indifference of the powerful, and the quiet desperation of the displaced. This deliberate pacing allows the narrative space to fully explore the dire ecological and social collapse on Ganymede. More significantly, it grants The Expanse its first substantial, ground-level glimpse into everyday life on Earth – not from the privileged vantage point of the UN elite, but from the perspective of the forgotten masses. The portrayal is starkly pessimistic; despite the existence of a Universal Basic Income designed to mitigate technology-induced unemployment, the episode reveals a society where countless individuals have slipped catastrophically through the cracks. The shantytowns, rampant drug addiction, and pervasive crime depict a vicious cycle of poverty and despair that appears stubbornly resistant to centuries of supposed progress, challenging any notion of Earth as a utopian haven.

Director Mikael Salomon complements Nowak’s script with a keen eye for atmosphere. While Alex’s solitary moment enjoying a beer in zero-G aboard the Rocinante might superficially resemble "filler," it serves a vital purpose. It is a moment of fragile calm, a brief respite for the crew amidst the surrounding chaos, showcasing the show’s technical prowess in depicting microgravity while reinforcing the theme of finding small pockets of humanity in the void.

However, it is the final sequence with Bobbie Draper that truly elevates the episode. Her journey from the Embassy’s sterile confines, through the lawless shantytown, to the ocean’s edge is a masterclass in visual storytelling. Salomon lingers on her physical adaptation – squinting against the unfamiliar sun, relearning how to walk under Earth’s gravity – culminating in that profoundly quiet moment of her simply looking at the ocean. There are no grand speeches, no sudden revelations; just a soldier, weary and displaced, finding a moment of awe and connection. This understated, emotionally resonant conclusion proves far more powerful and thematically fitting than the convenient cliffhangers the series sometimes employs.

RATING: 7/10 (++)

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• IMDB: https://www.imdb.com/title/tt18392014/
• Platform: PRIME VIDEO

Rottentomatoes Rating

The cast is stacked with people like LaKeith Stanfield, Keegan Michael Key, Tony Shalhoub, Thomas Jane, all these talented people who deserve way better material than this, Stanfield plays this actor guy who runs a failing theater and he is always trying to like method act his way through the heist which could of been funny but they dont do enough with it, Keegan Michael Key is basically wasted here, Tony Shalhoub shows up as the villain and he was doing this weird thing where he was supposed to be intimidating but it never lands, Thomas Jane gets killed off so early that you wonder why they even bothered casting him. The whole buddy movie vibe that Shane Black usually nails is missing here, in my opinion the movie story splinter into so many characters and it wanted to develop each one of them that ends doing nothing, here there was too many damn characters and none of them get enough screen time to become memorable or interesting, they try to do something with Wahlberg and Stanfield but it doesnt work because Stanfield feels like a side character not a co lead. The script feels like it was written by committee, three people worked on this thing and somehow it still came out feeling flat and generic, theres double crosses and triple crosses and you see all of them coming from a mile away, nothing is surprising, nothing makes you lean forward in your seat, its just paint by numbers heist movie garbage that could have been made by anybody.

The heist itself isnt even clever or interesting, they are trying to steal this treasure from a sunken ship called the Lady of Arintero if I didnt get the name wrong, its full of jewels and artifacts worth hundreds of millions, there was this whole thing about a corrupt president and Tony Shalhoubs character Lozeni whos running this crime organization in New York and everyone after the same prize, they plan to rob a train thats transporting the treasure but then somebody is a step ahead of them and it all goes sideways. Theres a scene where they derail the train and Stanfield barely avoids getting hit by it, like the train passes inches from his face and somehow hes totally fine, not a scratch on him, the laws of physics dont apply in this movie apparently. The third part of the movie just becomes this mess of people shooting at each other and jewels getting scattered everywhere and revelations that dont mean anything because you never cared about these people in the first place, Zen turns out to be playing everybody for her own reasons, she wants to help her country, Parker kills her because she murdered his original crew and he promised this widow played by Gretchen Mol that he would get revenge, he hands out jewels to people like he is Oprah, but specifically gives his share to the families of his fallen crew members, which actually carries weight given his promise to Grace and his code of honor. At the end its just Parker returning to his simple life of crime alongside Grofield after distributing the jewels and killing Zen, a kind of life reset ending.

This could have been something special, Shane Black had all the pieces, a talented cast, a big budget from Amazon, source material thats been adapted successfully before but instead we get this generic streaming flop that feels like it was made to be fill content quota, nobody involved seems to care, the action is forgettable, the characters are empty, the plot is predictable, the dialogue lacks that Shane Black spark, its Christmas themed because of course it is, Black always does Christmas but even that feels half assed here, its just another streaming movie that you will forget about after watching. I would call this is Shane Black on autopilot making a Red Notice type movie, just bland corporate product with no soul, I know I rant a bit on this one but had to, Wahlberg is miscast, the supporting players are wasted, its a mess from top to bottom and I cant recommend it to anyone. Maybe a 6 out of 10 if Im being generous and thats only because Rosa Salazar looks both bad ass and damn hot, there is also Stanfield who has a few decent line, everything else about this movie is a waste of time and talent, I would say skip it.

#skiptvads, #inleo, #hive, #playdirty, #shaneblack, #markwahlberg, #amazon, #heist, #thriller, #action, #rosasalazar, #lakeithstanfield, #disappointment, #streaming, #parker, #christmas, #robbery, #betrayal, #treasure, #boring, #miscast, #wasted, #potential, #generic, #forgettable, #review, #movie, #2025

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Fuente

Materialists es la segunda película de Selene Song después de Past Lives que tuvo un montón de reconocimiento en los premios y todo eso, pero con esta nueva entrega siento que la directora se perdió un poco en lo que quería contar realmente, la historia trata sobre Lucy una mujer una casamentera en Nueva York interpretada por Dakota Johnson, que básicamente su trabajo es emparejar gente rica con otra gente rica y cobrar por eso, en una boda concoe a Harry un tipo super adinerado que interpreta Pedro Pascal y también se reencuentra con su ex John que es un actor fracasado de 37 años que trabaja de mesonero en eventos y lo interpreta Chris Evans, desde ahí se arma este triángulo amoroso que honestamente nunca termina de funcionar como debería porque la película no se compromete con ninguna de las opciones y eso me frustró bastante. El concepto inicial de la película es interesante porque muestra como la gente trata el amor como si fuera un negocio, todos estos clientes de Lucy tienen listas ridiculas de requisitos para sus parejas como altura minima, cantidad de dinero, raza especifica y un monton de cosas superficiales mas, de hecho los hombres hasta se operan para ser más altos, se rompen las piernas para ganar 15cm y ser más cotizados que locura. Lo malo es qier después de establecer todo esto la película abandona sus propias ideas y se va por un camino genérico que me decepcionó un montón.

Fuente

Fuente

Lucy empieza a salir con Harry y ahí es donde todo se pone raro porque nunca vi realmente su relación, si pasan partes que son bien aburridas y más bien parece como un montaje donde ellos van a restaurantes caros y ya está, no sentí que había química entre ellos, no hay conversaciones profundas se esas que te hacen entender porque estarían juntos o porque no funcionaria, la película nos dice que Lucy no lo ama pero yo no vi suficiente de su relación para llegar a esa conclusión por mí misma, no se si me entienden lo que qiiero decir es como si la directora quisiera que simplemente aceptara que Harry no es el indicado sin mostrarnos realmente porque, lo único que así profundo o intimo que hablas es que Harry se operó las piernas para ser más alto y gasto como 200 mil dólares en eso lo cual es raro pero tampoco es algo tan terrible como para descartarlo completamente. El tema es que Dakota toma la peor decisión posible en toda la película, ella termina con Harry justo cuando el le iba a pedir matrimonio y se va con su ex John que literalmente no tiene nada, el tipo vive con dos amigos en un apartamento asqueroso, tiene como 15 dólares en el banco, sigue persiguiendo su sueño de ser actor a los 37 años sin ningún progreso y básicamente es un fracasado total.

Fuente

En principio Lucy terminó con el novio porque estaba cansada de ser pobre y de pelear por plata todo el tiempo, ahora diez años después el sigue igual de pobre pero de repente a ella ya no le importa y quiere estar con el, esto no tiene ningún sentido porque nada cambió, ella sigue ganando 80 mil dólares al año en Nueva York lo que es pracicamente nada y ahora va a tener que mantenerlo a el, al final de la película le ofrecen un ascenso en su trabajo pero ella dice que estaba pensando en renunciar para que, para casarse con el tipo sin plata, es la cosa más gafa que he visto en mucho tiempo y la verdad no me lo creí y no me malinterpreten no estoy con los hombres por dinero porque ninguna de mis parejas ha teido plata son hombres trabajadores como yo, pero ajá pasan diez años y el tipo no ha evolucionado en nada me parece que es como retroceder. Si las cosas iban muy rápido con Harry ella pudo hablar con el y pedirle más tiempo, el tipo organizó un viaje increíble a Islandia, le consiguió un pasaporte porque ella ni siquiera tenía uno, y fue super atento con ella en todo momento pero ella le da una excusa de mierda y termina con el justo el día del viaje, la forma en que trata a Harry es horrible y no tiene ninguna justificación y está bien si no hay química ni por más plata que tenga alguien no va a crecer nada allí pero el tipo era guapo, interesante, trabajador, atento o sea no sé que quería ella.

Fuente

Ah otra cosa que no me gustó de la peli es una subtrama que se sacan como debajo de la manga de Sophie una clienta que Lucy empareja con un tipo que termina siendo un depredador sexual, después de eso Lucy se obsesiona con sentirse culpable por lo que pasó y empieza a acosar a Sophie en la calle usando un sombrero y un abrigo como si fuera espia o algo así, se ve ridículo para ser sincera y Sophie le grita que es una proxeneta y que la dejó en manos de un criminal, y aquí viene mi pregunta porque carajo esta compañía no hace verificaciones de antecedentes, es lo más básico que deberían hacer y más cuando cobran ese platal por sus servicios, todo el drama con Sophie me pareicó forzado y solo existe para darle a Lucy algo de que sentirse mal. Lo peor es que al final de la película Sophie llama a Lucy diciendo que el tipo que la atacó está afuera de su edificio y que la policía no hace nada, entonces Lucy que estaba con John sale corriendo para ir a consolar dejando al carajo esperando afuera toda la noche. Al día siguiente el le declara su amor diciéndole que va a poner recordatorios en su calendario para acordarse de amarla todos los dias, esa es la vaina más ridiucla que he escuchado en mi vida.

Fuente

Creo que esta peli trata de vender la idea de que Lucy eligió el amor sobre el materialismo pero yo no vi amor entre ella y John yo vi a dos personas que no se conocen realmente tratando de revivir algo que ya estaba muerto hace diez años, es como que es a lo que estba acostumbrada y no consiguió más nada y murió allí para no quedar sola, es la impresión que me da, la pelicula trata de hacer ver a Harry como aburrido y poco emocionante pero el parecía ser el único adulto responsable en toda esta historia. El final es super cursi con John proponiéndole matrimonio con una margarita y la caraja rechazando el ascenso, termina con música alegre como si esto fuera un final feliz pero yo creo que Lucy la cagó, va a renunciar a su trabajo estable para casarse con un tipo que no tiene nada y probablemente van a terminar peleando por plata exactamente igual que antes, porque nada se resolvió y ningún personaje aprendió nada, solo volvieron al punto de partida pero ahora diez años más viejos. La película tiene algunas escenas interesantes sobre cómo la gente ve el amor como una transacción comercial pero todo eso se pierde en la segunda mitad cuando se convierte en una comedia romántica más del montón y aburrida, Dakota Johnson está bien en su papel pero no tiene química con ninguno de los dos tipos, Pedro Pascal desaparece de la película después de que terminan y Chris Evans no tiene nada interesante que hacer con su personaje, es una lástima porque la premisa tenia potencial pero creo que la forma en que la hicieron fue malisima, yo le doy un 5.5/10 porque la primera mitad estuvo decente pero la segunda mitad arruinó todo completamente y le faltó desarrollar muchas cosas para explotar bien esos temas y hacerla más interesantre.

[ENGLISH VERSION]

Source

Materialists is the second movie from Celine Song after Past Lives which got a ton of recognition at the awards and all that, but with this new one I feel like the director got a bit lost in what she really wanted to tell, the story is about Lucy a matchmaker in New York played by Dakota Johnson, who basically her job is to match rich people with other rich people and charge for it, at a wedding she meets Harry a super wealthy guy played by Pedro Pascal and she also runs into her ex John who is a failed 37 year old actor working as a waiter at events played by Chris Evans, from there this love triangle starts that honestly never ends up working like it should because the movie doesn't commit to any of the options and that frustrated me a lot. The initial concept of the movie is interesting because it shows how people treat love like it's a business, all these clients of Lucy have ridiculous lists of requirements for their partners like minimum height, amount of money, specific race and a bunch of other superficial things, in fact the men even get surgery to be taller, they break their legs to gain 6 inches and be more valued how crazy. The bad thing is that after establishing all this the movie abandons its own ideas and goes down a generic path that disappointed me a lot.

Source

Source

Lucy starts dating Harry and that's where everything gets weird because I never really saw their relationship, sure parts happen that are really boring and it seems more like a montage where they go to expensive restaurants and that's it, I didn't feel there was chemistry between them, there are no deep conversations of those that make you understand why they would be together or why it wouldn't work, the movie tells us that Lucy doesn't love him but I didn't see enough of their relationship to reach that conclusion on my own, I don't know if you get what I mean it's like the director wanted me to simply accept that Harry isn't the right one without really showing us why, the only thing that deep or intimate they talk about is that Harry got surgery on his legs to be taller and spent like 200 thousand dollars on that which is weird but it's also not something so terrible to completely rule him out. The thing is that Dakota makes the worst possible decision in the entire movie, she breaks up with Harry right when he was going to propose and goes off with her ex John who literally has nothing, the guy lives with two friends in a disgusting apartment, has like 15 dollars in the bank, is still chasing his dream of being an actor at 37 years old without any progress and basically is a total loser.

Source

In the beginning Lucy broke up with the boyfriend because she was tired of being poor and fighting about money all the time, now ten years later he's still just as poor but suddenly she doesn't care anymore and wants to be with him, this makes no sense because nothing changed, she still makes 80 thousand dollars a year in New York which is practically nothing and now she's going to have to support him, at the end of the movie they offer her a promotion at work but she says she was thinking about quitting for what, to marry the guy with no money, it's the lamest thing I've seen in a long time and honestly I didn't buy it and don't get me wrong I'm not with men for money because none of my partners have had money they're working men like me, but man ten years pass and the guy hasn't evolved at all it seems like going backwards. If things were going too fast with Harry she could have talked to him and asked for more time, the guy organized an incredible trip to Iceland, got her a passport because she didn't even have one, and was super attentive to her the whole time but she gives him a shitty excuse and breaks up with him right on the day of the trip, the way she treats Harry is horrible and has no justification and it's fine if there's no chemistry and no matter how much money someone has nothing's going to grow there but the guy was handsome, interesting, hardworking, attentive I mean I don't know what she wanted.

Source

Oh another thing I didn't like about the movie is a subplot they pull out from under their sleeve about Sophie a client that Lucy sets up with a guy who turns out to be a sexual predator, after that Lucy becomes obsessed with feeling guilty about what happened and starts stalking Sophie on the street wearing a hat and coat like she's a spy or something, it looks ridiculous to be honest and Sophie yells at her that she's a pimp and that she left her in the hands of a criminal, and here comes my question why the hell doesn't this company do background checks, it's the most basic thing they should do and especially when they charge that much money for their services, all the drama with Sophie seemed forced to me and only exists to give Lucy something to feel bad about. The worst part is that at the end of the movie Sophie calls Lucy saying that the guy who attacked her is outside her building and that the police aren't doing anything, so Lucy who was with John runs out to go console her leaving the dude waiting outside all night. The next day he declares his love to her telling her that he's going to put reminders on his calendar to remember to love her every day, that's the most ridiculous thing I've heard in my life.

Source

I think this movie tries to sell the idea that Lucy chose love over materialism but I didn't see love between her and John I saw two people who don't really know each other trying to revive something that was already dead ten years ago, it's like that's what she was used to and she didn't find anything else and died there so as not to be alone, that's the impression it gives me, the movie tries to make Harry look boring and not exciting but he seemed to be the only responsible adult in this whole story. The ending is super cheesy with John proposing with a daisy and the chick turning down the promotion, it ends with happy music like this was a happy ending but I think Lucy screwed up, she's going to quit her stable job to marry a guy who has nothing and they're probably going to end up fighting about money exactly like before, because nothing got resolved and no character learned anything, they just went back to square one but now ten years older. The movie has some interesting scenes about how people see love as a business transaction but all that gets lost in the second half when it becomes just another boring romantic comedy, Dakota Johnson is fine in her role but she has no chemistry with either of the two guys, Pedro Pascal disappears from the movie after they break up and Chris Evans has nothing interesting to do with his character, it's a shame because the premise had potential but I think the way they made it was terrible, I give it a 5.5/10 because the first half was decent but the second half ruined everything completely and it needed to develop a lot of things to really exploit those themes and make it more interesting.

TranslatedwithDeepL

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A New Day (S04E11)

Airdate: November 19th 2006

Written by: Ed Burns Directed by: Brad Anderson

Running Time: 58 minutes

In the meticulously rendered, profoundly dysfunctional Baltimore of David Simon’s The Wire, any semblance of positive change is rendered agonisingly slow, ephemeral, and ultimately meaningless. The relentless forces of institutional inertia and the entrenched power of the old order ensure that for every tentative step forward, society is invariably thrust two steps back. Among the series’ many masterful illustrations of this crushing thesis, Season 4’s New Dawn stands as a particularly resonant and devastating exemplar. This episode meticulously dissects the fleeting illusion of progress, demonstrating how even the most earnest reformist impulses are systematically subsumed, corrupted, or rendered futile by the very structures they seek to mend.

The episode’s title, continuing The Wire’s cherished tradition of layered meaning, operates on multiple levels. Literally, it references the New Dawn Co-Op, Proposition Joe’s ostensibly legitimate front where he conducts his narcotics empire. It is here that Joe receives the chillingvisit from Omar Little and Renaldo, who deliver the "friendly suggestion" that he arrange a meeting with Marlo Stanfield. Omar seeks recompense for his unjust incarceration, a direct consequence of Marlo’s ruthless frame-up – a stark reminder that the drug trade’s brutal logic operates with its own perverse sense of justice, utterly divorced from the city’s nominal institutions.

Yet, the more profound and tragically ironic meaning of "New Dawn" pertains to the nascent mayoralty of Tommy Carcetti. Riding a wave of genuine reformist zeal and populist promises, Carcetti initially appears to possess the political acumen to enact tangible change. He employs ingenious, if heavy-handed, tactics to force recalcitrant city administration departments into reluctant functionality. This nascent energy even permeates the long-suffering police department; the typically cynical and street-smart Detective Kima Greggs, upon hearing promises of pay rises and improved equipment, utters the hopeful refrain, „it’s a new day.” This optimism facilitates Cedric Daniels’ resurrection of the proper Major Crime Unit, with Lester Freamon gladly leaving Homicide to spearhead it, initially functioning as a near one-man operation. The unit’s first significant victory – solving the mystery of Lex’s disappearance – is born from Freamon’s meticulous reconstruction of Herc’s catastrophic mishandling of information from the vulnerable Randy Wagstaff. Freamon finally deduces Marlo’s chilling innovation: hiding victims like Lex in plain sight, within freshly boarded-up abandoned rowhouses, transforming the city’s decay into convenient, anonymous tombs.

However, Carcetti’s "new dawn" swiftly encounters the immovable bedrock of Baltimore’s political reality. His first major crisis erupts from Herc’s tragicomic incompetence – the misidentification and rough treatment of a Black clergyman. The mayor faces an impossible dilemma: leaving disciplinary action to police subordinates guarantees a mild punishment, pleasing the rank and file but enraging the Black ministers upon whom his political future critically depends. This vulnerability is instantly seized upon by the Machiavellian Ervin Burrell, who subtly hints at his potential assistance – for a steep, unspoken price. Simultaneously, Deputy Commissioner William Rawls suffers a jarring realisation: Daniels, as a capable Black commander, is clearly being groomed as Burrell’s successor, shattering Rawls’ own succession ambitions and exposing the racialised power dynamicse.

Yet the most profound and devastating challenge for Carcetti, one glaringly absent from his campaign rhetoric, is the city’s education system. The shocking revelation of a $54 million deficit in the Baltimore City Schools lands like a physical blow, exposing the sheer scale of disinvestment and bureaucratic rot. This fiscal abyss, coupled with the entrenched hostility towards innovation and the crushing weight of institutional inertia, poses an existential threat to the season’s young protagonists. Namond Brice, thriving under Bunny Colvin’s unconventional special class – to the point where Colvin contemplates reintegrating him into regular education – sees his fragile progress placed in immediate jeopardy. Principal Donnelly’s grim announcement that school authorities intend to shut down Colvin’s programme is the bureaucratic snuffing out of a lifeline, demonstrating how easily systemic indifference can erase hard-won individual gains. Similarly, while Prez’s classroom shows signs of improvement and he valiantly steps in to aid the assaulted Randy, the futures of his most vulnerable pupils remain perilous. Dukie Weems, despite his evident talent, is advanced to ninth grade – a transition likely to strip him of Prez’s crucial mentorship and thrust him into an uncaring system. Michael Lee, meanwhile, descends further into the abyss, orchestrating a retaliatory attack where Officer Walker is robbed and doused in yellow paint, a chilling symbol of his full assimilation into Marlo’s violent world.

Directed by Brad Anderson, whose eclectic filmography spans romantic comedy to sci-fi (Fringe), New Dawn maintains The Wire’s consistently high standard. Anderson handles the complex interweaving of narratives with assurance, his direction favouring the series’ signature observational realism over flashy technique. While the episode contains subplots that feel somewhat peripheral – Omar’s business at the Co-Op, Bubbles’ reunion with Sherrod, McNulty’s casual fraternisation with Bodie – these elements rarely feel like mere filler; instead, they contribute to the rich tapestry of Baltimore life, reinforcing the show’s central theme of interconnected systems. The pacing, though dense, remains compelling, effectively setting the stage for the season’s impending, inevitable tragedies in its final episodes.

New Dawn ultimately delivers a masterclass in dramatic irony. The title’s promise of renewal is systematically dismantled, revealing the cyclical repetition of Baltimore’s failures under a momentarily brighter, yet ultimately illusory, light. Carcetti’s initial energy is sapped by political compromise; the Major Crime Unit’s victory is overshadowed by Randy’s trauma and the horrifying reality of Marlo’s disposal method; the children’s flickers of hope are extinguished by bureaucratic indifference and systemic violence. The episode powerfully argues that in a city so fundamentally broken, no single "new dawn" can pierce the perpetual twilight of institutional failure. True change, Simon implies, requires not just new faces or hopeful slogans, but the near-impossible task of dismantling and rebuilding the very foundations of power – a task that remains, as the series relentlessly demonstrates, perpetually out of reach.

RATING: 7/10 (+++)

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I’m not one to go back to a series. It’s really never that deep or captivating enough to do that. But I did it once. I watched Mr. Queen, and I went back two times afterwards to rewatch the entire series. It’s still my best K-drama till date. Made me laugh the most, made me smile the most. I honestly am in my happiest state whenever I see that drama.

Unfortunately, I haven’t seen any series like that till this moment, so yeah, I could still say, in all generality, that re-watching a series is not my thing. But then, there’s the Bridgerton series, but not all of them. The focus is on Season 2.

Now, I saw the second season of Bridgerton just about the same time everyone else saw it. But there’s a reason I was particularly drawn to this series. You see, it still may not be known but the Bridgerton series came from a book series. Daphne and Simon’s story which was Season 1 was titled ‘The Duke and I,” and Kate and Anthony’s story was the next in the series which was titled, “The Viscount Who Loved Me.”

Every one of the Bridgerton siblings had their story, and in the six to eight books, or so, it was the most scintillating thing you’d ever read. I think the entire series was by Julia Quinn, if I’m not mistaken, and I love her to this day for this series that made my days in High school the joy that it was, at least when it comes to hobbies.

So, you can understand my most enthusiastic interest when I found out that there was to be a movie adaptation. You’ve heard it a million times, so I guess I do not need to say it, but I wouldn’t be a bibliophile if I didn’t say once more that the books are always better.

Yes, the movies add a lot of spice, and it’s great to see the live form of something you had only visualised in your mind, but sometimes, some stories remain refreshing when they stay in your imagination.

And this is how I feel for all of the seasons in the Bridgerton series, except one.

The story of Anthony and Kate.

I do not want to hear a word of how she was unfair to Edwina, or whatnot. For both our sakes, I hope people with such mindset do not exist on this platform. This is not the reason I’m spotlighting this particular season, so it’s away from the point. There is something that this season possessed that the others sorely lacked, no matter what you say.

And that is, the raw, unfiltered, absolutely swoon-worthy chemistry that Kate and Anthony had in the season. I do not know if anyone has ever felt goose bumps from a performance by a character in a movie, but the chemistry between these two made the hair on my skin, at several intervals, rise.

The tension was palpable. It’s impossible to think that these two did not have some form of romantic emotion for each other in real life. Alas, that’s not the case as Anthony, or rather Jonathan Bailey, is married to a man. How he was able to pull off that masterful demonstration in the series is a testament to his versatility and dexterity in acting.

It will always be the best season in the series to me because of Jonathan Bailey and Simone Ashley, who played Kate. They embodied their roles with such impeccable finesse, I have seen nothing like it dibce. Watching this season was a beautiful experience for me because I felt it deeply. The sparks, and the titillating emotions that enshroud the forbidden. The raw angst and tension that characterizes two people that adore themselves but cannot be together.

I loved the way I felt watching this, and if not for anything, the very fact that they made me smile hard in a love series, blush even, is enough for me to talk about it once more on this space.

So, yeah. That’s about it. I’m seeing another series I’d love to talk about, so look out for when I’m done with that one. If you’re Nigerian, and you know Kenzy Udosen, you would understand my reference when I say this series was a ten over ten across boards. You go! Whoever casted these lovely people together. You go!

Jhymi🖤

_{Images from IMDB.}

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A terrifying reminder for the new generation – zombies aren’t just about bites, they mark the start of a new war.

🎬 Ziam (2025)
⭐ IMDb Rating: 7.0/10
🎭 Genre: Action | Horror | Thriller
🌍 Country: Thailand 🇹🇭

Spoiler-Free Review

Feeling the void left by zombie movies like World War Z (2013) and Train to Busan (2016)?
Well, Netflix’s new Thai action-horror Ziam (2025) fills that gap perfectly, delivering not just zombies but a chilling psychological battle too.

At the heart of the story is Singh, a former Muay Thai fighter, thrown into a desperate mission to save his loved ones amid a devastating virus outbreak. As people across the city turn into bloodthirsty monsters, Singh uncovers a sinister truth—the virus is man-made, designed to create a “new species”.

Dazzling fight scenes, blood-soaked corridors, and relentless tension—Ziam is a flawless blend of action and horror.
More than just fear, the film weaves in themes of love, sacrifice, and the deeper meaning of survival.

🎯 Verdict:
Parsonal Rating: ⭐ 8.2/10
💭 “The gripping intensity of Train to Busan, the terror of World War Z—Ziam brings back that missing connection!”

• IMDB: https://www.imdb.com/title/tt10160976/
• Platform: PRIME VIDEO

Rottentomatoes Rating

Source The scares in this are definitly an upgrade from the first one, that magazine stand scene from the trailer is fine I guess but they already spoiled it so by the time it happens your just sitting there waiting for it instead of being suprised, they should have skip it from the trailer. What actually worked was that whole chapel sequence with the goat demon showing up, that thing looked so messed up and wrong in a way that its going to shock you, even when it doesnt make much sense why a completely different demon just shows up randomly without any explanation, is this Valak soldier?. The movie tries to do this thing where Valak can be in multiple places at once possessing Maurice while also appearing as the nun and also somehow being a giant goat upstairs terrorizing little kids and makes me question if this demon is so powerful and can be everywhere at the same time why doesnt it just posses a couple of people to start looking for the damn eyes. That whole vision sequence where Irene sees everything unfold through flipping magazine pages goes on forever and gives her way to much information, she literally figures out that Maurice is possessed and that the demon wants Saint Lucys eyes and where its headed next all from seeing some random images, which is convenient as hell but makes things too easy, was like the writers speed run the mystery through a big info dump.

#skiptvads, #inleo, #hive, #nun, #horror, #valak, #conjuring, #taissa, #farmiga, #demon, #possession, #maurice, #irene, #sequel, #boarding, #school, #catholic, #exorcism, #monastery, #saint, #lucy, #france, #scary, #thriller, #supernatural, #vatican, #warren, #ghost

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