Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 51,257 reviews and counting.
I didn’t expect to laugh this hard while watching a historical drama, but for what its worth, I was practically choking on my drink. Mr. Queen makes you laugh so hard you forget why you were stressed or bored in the first place.
I watched this Korean comedy series recently and I have to admit, I haven’t laughed this much in a very long time. This movie has so many of my favorites Korean actors.
THE PLOT
The story begins with Jang Bong-hwan, a modern day chef who wakes up in the body of a Queen in the Joseon dynasty. Now, he’s trapped in a place full of people who are ready to kill him…or should I say her? He’s the one in control of the body, but he has to talk and act like royalty, while also trying to find out how to get back to the modern era.
And there’s King Cheoljong (Kim Jung-hyun), her royal husband. Between trying to outwit his enemies in the palace while also trying to figure out his wife who acts like she’s on a reality show, lol. What makes him funny is how he struggles to figure out his wife’s strange behavior. When she starts behaving in an uncultured way – cursing, fighting, and causing fights in the royal kitchen.
MY THOUGHTS
What really had me were her food fights in the royal kitchen with the royal chef, and her hilarious dance in the rain, it was one of the moments that captured the show. Watching her scream and curse around in the palace like a local in a royal dress was unforgettable.
Every episode feels like a series of chaos, but it’s fun chaos. Mr. Queen is based on a Chinese Drama ‘Go Princess Go’, but it has a stronger humor with brilliant performances. Mr. Queen is not your typical historical drama. The Queen (Shin Hye-Sun) absolutely steals the show. Watching her vibe switch from royal to that dude energy was ridiculous.
And yes – the actors definitely made the movie funnier than it should have been. Their chemistry was also insane. I mean, a man in a queen’s body falling in love with a king who has no idea what’s going on? Haha.
Can I see the comedic scenes happening in my life? Definitely. Take the rain dance for example. I definitely have danced dramatically in the rain before my friends. Or the scene where she forgets the proper greeting for the royals. Like forgetting how to greet my relatives in my native language.
I’d rate it a 10/10. For what it’s worth, this series was definitely worth my time. It’s weird and wild but it makes perfect sense. You’ll laugh, you’ll cry and you’ll definitely crave ramen.
Written by: David H. Melnick & Shamit Choksey
Directed by: Milčo Mančevski
Running Time: 56 minutes
While the intricate machinery of the Baltimore drug trade forms the undeniable backbone of The Wire, particularly in its seminal first season, the series consistently demonstrates a far more profound ambition. It meticulously situates this trade within a suffocating ecosystem of interconnected economic decay, cultural erosion, and political malfeasance that defines the city itself. The Wire never allows the viewer to mistake the narcotics trade for the sole pathology; rather, it presents it as a violent symptom of deeper, systemic rot. Furthermore, the show possesses a unique genius in illustrating how the toxic after-effects of this trade – the relentless rivalries between criminal factions – can manifest in startlingly unconventional, almost ritualistic, forms. It is precisely within this nuanced exploration that the episode Game Day (written by David H. Melnick and Shamit Choksey) finds its compelling significance, transcending a simple procedural narrative to offer a microcosm of Baltimore's complex, fractured reality.
The episode's title, far from being metaphorical, refers to a grimly established tradition on Baltimore’s mean streets: an annual, high-stakes basketball game pitting teams sponsored by the city's dominant drug organisations. The West Side squad, bankrolled by the formidable Avon Barksdale and his disciplined crew, faces off against the East Side contingent, underwritten by the shrewd and calculating Joseph “Proposition Joe” Stewart (portrayed by Robert F. Chew). This event is not mere recreation; it is a vital piece of social infrastructure, a temporary truce zone where territory disputes are momentarily suspended on the court, reinforcing the drug lords' quasi-legitimate authority within their respective communities. The sheer scale of its impact becomes immediately apparent to Detectives Herc and Carver, perched bewildered on rooftops overlooking the deserted Pit. The thoroughfares lie eerily empty, a phenomenon that baffles them until the spectacle of the game itself dawns upon them. Crucially, this very spectacle, culminating in an East Side victory despite Avon’s recruitment of high-school talent, proves unexpectedly fortuitous for the Lieutenat Daniels' task force. The rare, unguarded gathering provides them with a visual identification of the notoriously elusive Avon Barksdale – a critical piece of evidence Daniels desperately needs. Facing immense political pressure to deliver a major arrest that guarantees conviction, Daniels requires irrefutable proof of Avon’s presence at the scene of his organisation’s operations; the basketball game, an event born of criminal rivalry, inadvertently supplies it.
This fragile moment of relative calm, however, is swiftly shattered by the resumption of the brutal conflict with Omar Little. Ignoring Stringer Bell’s pragmatic calls for a temporary ceasefire to preserve resources and avoid heat, Avon’s obsession with organisational reputation propels him back into the fray. Omar executes another audacious heist, stealing a significant quantity of Barksdale narcotics. Demonstrating his characteristic opportunism, he then delivers the contraband directly to Proposition Joe, trading it not for money, but for the simple yet invaluable commodity of Avon’s cell phone number. Omar uses this intelligence to set a deadly ambush. Yet, the narrative subverts expectations: Avon’s life is spared not by his own cunning, but by the accidental, fortuitous intervention of Wee-Bay, who wounds Omar in the shoulder – a stark irony given Omar had previously shot Wee-Bay. This sequence is pivotal, puncturing the myth of Omar’s invincibility and highlighting the capricious, often accidental, nature of survival on these streets.
Directed with steady, unshowy competence by Milčo Mančevski, Game Day masterfully weaves its central plot with several minor yet deeply consequential subplots. Shardene Innes, devastated by the tragic fate of her colleague Keisha Michaels, is successfully flipped by the detectives, leading her to sever ties with D’Angelo Barksdale. D’Angelo himself, increasingly burdened by conscience, attempts a genuine intervention, urging Wallace to abandon the crew and return to school. Tragically, the money D’Angelo provides Wallace is swiftly consumed by his addiction, rendering the effort futile and foreshadowing Wallace’s grim destiny. Meanwhile, Bubbles, after a darkly comedic misadventure involving a worthless stolen stash and a chance encounter with the pragmatic drug counsellor Walon (Steve Earle), tentatively resolves to seek sobriety – a fragile hope amidst pervasive despair.
The episode also continues to utilise Herc and Carver as the series' primary, albeit grimly ironic, source of comic relief. Temptation to pocket some cash during Wee-Bay’s capture, followed by their panicked attempts to cover the discrepancy when reporting to Daniels, exemplifies their chronic incompetence and moral laxity.
Most significantly, Game Day offers a crucial, implicit deconstruction of the Omar Little mythos. While Omar is presented as a figure who redistributes stolen drugs to addicts (who then act as his informal surveillance network), and who pragmatically collaborates with both police and rival kingpins like Proposition Joe, the episode deliberately strips away any romanticised veneer. His alliance with Joe is purely transactional, born of mutual convenience, not principle. The failed ambush, precipitated by mere chance and resulting in his wounding by the very man he had previously injured, serves as a powerful reminder: Omar Little is not a noble avenger, but a skilled, ruthless operator operating within the same brutal, amoral ecosystem as everyone else. He is vulnerable, fallible, and ultimately just another player in Baltimore’s tragic, cyclical game. Game Day thus transcends its sports-themed title, using the basketball spectacle as a lens to expose the intricate, often contradictory, web of power, survival, and consequence that defines The Wire's unparalleled vision of the American city. It shows how the drug trade is merely one thread in a tapestry of urban dysfunction, where moments of communal ritual can simultaneously serve criminal enterprise, aid law enforcement, and shatter the illusions of its most iconic anti-hero.
Hola amigos el día de hoy les comparto mi reseña sobre la nueva película de Superman.
Hello friends, today I'm sharing my review of the new Superman movie with you.
Fuente
Superman ha sido una de las películas más esperada del año por todos los fanáticos el universo DC; en particular yo estába con muchas ganas de ver está nueva entrega de este súper héroe kriptoniano de todos los tiempos.
Superman has been one of the most eagerly awaited films of the year for all fans of the DC universe; I, in particular, was really looking forward to seeing this new installment featuring the Kryptonian superhero of all time.
La película desarrolla en la ciudad ficticia de Metrópolis es aqui donde Clark vive, trabaja y se desenvuelve como el súper héroe de esta ciudad y también dónde su vida da un giro al perder la credibilidad ante las personas y ante el gobierno de los EEUU; también se aprecian escenas con un ambiente que hace referencia a la Antártida así mismo se aprecian escenas en zonas desérticas.
The film takes place in the fictional city of Metropolis, where Clark lives, works, and acts as the city's superhero, and where his life takes a turn when he loses credibility with the people and the US government. There are also scenes with an atmosphere reminiscent of Antarctica, as well as scenes in desert areas.
Fuente
Superman no es el único súper héroe de Metrópolis también en está película está presente Guy Linterna verde, Mr terrife, y la chica Halcón de estos dos poco conozco pero si se que pertenecen a las comics de Superman, además se une metamorfo y me parece interesante que Superman tenga ayuda sería muy difícil para un súper héroe poder lidiar con varias amenazas a la vez.
Superman isn't the only superhero in Metropolis. This film also features Green Lantern, Mr. Terrifi, and Hawkgirl. I don't know much about these two, but I do know that they belong to the Superman comics. Metamorpho also joins them, and I find it interesting that Superman has help. It would be very difficult for a superhero to deal with several threats at once.
Fuente
Por otro lado Lex Luthor es el villano de está historia es una mente maestra aunque es un humano; el odio a Superman y su misión es destruirlo sus armas de guerra son poderosas y así mismo ha creado un universo de bolsillo con portales en todo el mundo es decir que desde cualquier parte tiene acceso a entrar; aunque en el universo DC existen otras dimensiones en este caso esté universo de bolsillo no crea otras realidades ni universos paralelos.
On the other hand, Lex Luthor is the villain of this story. He is a mastermind, even though he is human. He hates Superman, and his mission is to destroy him. His weapons of war are powerful, and he has created a pocket universe with portals all over the world, meaning that he can access it from anywhere. Although there are other dimensions in the DC universe, in this case, this pocket universe does not create other realities or parallel universes.
Fuente
Está vez vemos a kripto la mascota de la película es súper revoltoso pero se roba el corazón de todos con sus travesuras tanto así que este elemento ha sensibilizado a la sociedad real a la adopción de los perritos de los refugios. El enfoque de Kripto ha sido muy innovador.
This time we see Kripto, the movie's mascot, who is super mischievous but steals everyone's hearts with his antics, so much so that this element has sensitized real society to the adoption of dogs from shelters. Kripto's approach has been very innovative.
Hi movie lovers, I’m daeze-winnie and I’m your host for the movie review for tonight
😂 How did that sound? Amazing right?
Yeah, I’m testing my “presenter” skills.
Oh well, I’ll be doing a movie review of the K-drama; Love Next Door.
Honestly I got to learn about this movie when I checked out this lady called Jung So-min. Yeah, I first saw her in Alchemy of souls as Mudeok and I loved her character because she killed the role. Damn!
So I checked her out and then I discovered she was also the female lead I fell in love with in the K-drama-Playful kiss.
I then decided to hop on this drama of hers. I plan to watch some other movies she’s featured in though.
Without further ado, let’s get into the review please…
Love Next Door tells the story of Bae Seok-ryu (Jung So-min), a woman who finds herself reconnecting with her childhood friend Choi Seung-hyo (Jung Hae-in) after moving back into her family home. What started as an awkward reunion slowly unfolds into a journey of rediscovery of love, friendship and the quiet bonds that shaped their lives.
What I loved most about the drama was how the story built up so gently yet powerfully. The chemistry between Seok-ryu and Seung-hyo was so undeniable. Like, it felt so warm, natural and beautifully paced.
Their friend Jeong Mo-eum brought a playful and charismatic spark to the drama, while the shy journalist Kang Dan-ho had me smiling every time he appeared. (PS. I have a thing for adorable eye candies)
Another unforgettable part of this drama was the friendship between their mothers, Na Mi-sook and Seo Hye-sook. Together with their friends, they were fondly called the Suk Suk Sisters, and later in the movie they rebranded themselves as the Lavender Sisters. Their meetups were always a delight to watch because it was filled with laughter, heartfelt conversations and that comforting sense of sisterhood that only true friends can bring. Those moments added so much warmth to the drama and often reminded me of the quiet beauty of my lifelong friendships.
At one point, I got worried about the progression of the story, especially when Seok-ryu kept rejecting Seung-hyo’s proposals. But then, when the deeper revelation of her struggles showed her diagnosis of cancer, her depression and her decision to keep it all hidden. That part touched me deeply because, as adults, we sometimes shield our loved ones from our pain, not wanting to burden them.
From Seung-hyo’s perspective, though, the drama reminded me of something equally important and that is that true love isn’t about shielding others, but about being present for them even in the darkest moments.
In the end, the movie, Love Next Door, left me with warmth and reflection. It wasn’t just a romance filled drama, but it was about friendship, family and the strength of connection through both joy and hardship. A drama that lingers in the heart long after the final episode because honestly, I didn’t want it to end.
I’ll gladly rate this movie a 10/10. You definitely need to watch it.
Peacemaker Season 2 came out and this is a first time for me, Im the type of viewer that really dont care if I havent seen the first movie or the previous season of a TV series, in fact I think thats even better because then I get intrigue on how we got there so I decided to give it a try and man I have some mixed feelings about this whole thing, like seriously James Gunn what were you thinking with some of these choices. There is this episode that tries to do way too much at once while also feeling kinda empty in places that matter with the opening scene where Chris wakes up to Eagly pecking at him was cute and all but then we dive straight into this whole multiverse thing with his quantum chamber that his dad left behind, which honestly feels like they are trying too hard to connect everything to the bigger DC universe instead of just letting Peacemaker be its own thing and I hope the Multiverse thing stays just here in Peacemaker and dont try to expand into other movies or series and go the entire MCU style. The whole setup with the alien dude throwing dead animals into a furnace every day is weird but not in the good way its more comedy than superhero related and I get this is a very dark TV series, its all so weird and you can tell the writers are like "we need something quirky here", then Chris discovers this other dimension where his dad and brother, Mutltiverse AGAIN!!!, are still alive and everything is perfect which should be this emotional gut punch moment but it kinda just happens without any real meaning rather than pushing this multiverse narrative.
After the Superman 2025 movie came out there will be more connection within the entire DCEU and they have started with Peacemaker so there is the thing between the old DC movies and the new DCU, sure I get that James Gunn had to fix some stuff but the way they just retconned the Justice League appearance from season one feels lazy as hell, yeah I havent seen Season 1 but that screenshot comparing S01 and S02 says it all, same show with Justice League and then Justice Gang, it seems there is going to be a lot of copy / cut / paste / delete. They literally reshot scenes and changed dialogue to make it the Justice Gang instead which is fine I guess but it makes you wonder what else they are gonna change down the line with he whole previously on segment was clever I will give them that but it also made me miss the original season one ending even more, like why not just embrace the messiness instead of trying to clean it up. Now WTF!!! with that orgy scene, it just felt completely unnecessary and felt like shock value for the sake of shock value, like we get it Chris is lonely and makes bad decisions but did we really need to see all that, plus John Cena promoting coke? wtf, seriously. The scene goes on way too long and adds nothing to his character development, plus it just feels gross considering how they established that he doesn't have many real friends to begin with so where did all these people come from, did he just put an add on Facebook "Orgy Here" with his address and a sign on his front door?.
The new opening dance sequence is another thing that really bothered me, I get it has to be awkward to fit with the rest of the theme, if this was my first time on this series without knowing anything at all about Peacemaker then I would have probably shut it down righ there, there is no excitement, no energy, everyone seems dead and the only cute / cool part is the eagle posing at the end. I went back to check if the opening is a thing for the series and it seems, this time the choreography looks more expensive and polished but sometimes more money doesn't equal better results, the original felt more fun while this one feels like they are trying too hard to top themselves. All the new cast members doing the dance looked awkward as hell and not in the charming way that made the first season so endearing, Frank Grillo and Michael Rooker looked like they would rather be anywhere else, the whole thing about showing Chris with Harcourt in romantic situations during the dance felt premature too since their relationship hasn't even developed that far yet, its like they are spoiling their own story.
To finish on the alternate universe stuff because this is where the episode really lost me even though it had some good moments scattered, the idea of Chris finding a world where his dad isn't a racist monster and his brother is still alive is actually pretty brilliant on paper but the execution felt rushed and shallow. We don't spend enough time in that world to really feel the emotional impact of seeing what his life could have been like, instead we just get this quick tour of his perfect bedroom and a newspaper showing how successful the family is. The fight between the two Peacemkers was decent action wise but it felt inevitable rather than surprising, like of course one of them has to die for the story to move forward. What really bothered me was how quickly our Chris decides to potentially take over this other guys life without thinking about the consequences, like what about all the people who care about that version of him. The whole thing with the other Peacemaker having better gear and being able to fly was cool visually but it also made our Chris look like a chump in comparison.
The stuff with Harcourt having toxic masculinity issues was interesting in theory but the execution felt clunky and forced, like they needed to give her something to do while Chris was dealing with his multiverse problems. Jennifer Holland is a good actress but some of her lines in this episode sounded really awkward but I guess this is just me getting use to this series, honestly this is not the type of superhero series I like to watch but Im giving it a chance, especially when she was trying to be sarcastic, there is just . The bar fight scene where she just wants to feel something was fine but it felt disconnected from everything else happening in the episode, same with the whole subplot about Amanda Waller facing congressional hearings which gets mentioned but never really explored. The episode tries to juggle too many plotlines at once and ends up not doing justice to any of them, season one was much better at focusing on specific character moments and letting them breathe, even the stuff with Vigilante felt thrown in just because Adrian is a fan favorite character, his whole obsession with owl facts was mildly amusing but didn't add anything meaningful to the story and there is Rick Flag Senior showing up was expected since Frank Grillo was in the credits but his motivation for hunting Peacemaker feels a bit thin, like yeah his son died but does he really think tracking Chris down is gonna solve anything. Obviously I had to dig into season 1 and kinda spoil it for myself but it really doesnt matter to me, Im not that type of person that cares about spoiling a series, personally it doesnt bother me, but yeah some of the stuff seen on this first episode look some what disconnected from the first season and I wonder if its because of the drastic changes they want to do considering James Gunn vision on the hole DCEU, if it all plays out then at first it will feel like chaos until everything is sync in.
Esta película japonesa a pesar de repetir una fórmula me ha entretenido. Para los que sepan un tanto de cine, ya sabrán que la trama es ya algo visto en otros títulos; sin embargo, creo que han logrado darle su propio sabor. Estrenada hace poco en Netflix. Siendo su director Shinji Higuchi.
Despite repeating a formula, this Japanese film entertained me. Those who know a little about cinema will already know that the plot has been seen before in other titles; however, I think they have managed to give it their own flavor. Recently released on Netflix. Directed by Shinji Higuchi.
Sinopsis: En las ajetreadas ciudades de Japón, el tren bala sirve para interconectar velozmente a sus ciudadanos; sin embargo, un día esto se vuelve una pesadilla, pues un terrorista ha avisado de una bomba, que explotará si el tren baja de los 110 km/h. En una carrera contra el desastre, se buscará una solución.
Synopsis: In Japan's busy cities, the bullet train serves to quickly connect its citizens; however, one day this turns into a nightmare when a terrorist warns of a bomb that will explode if the train slows down below 110 km/h. In a race against disaster, a solution must be found.
La trama si bien tiene acción, lo que llama más la atención es la reacción humana a tal suceso. Desde los encargados fuera y dentro del tren, hasta los propios pasajeros. Se buscarán soluciones, se buscarán culpables, y se reacciona de diversas maneras ante un suceso negativo e inesperado.
Although the plot has action, what is most striking is the human reaction to such an event. From those in charge outside and inside the train to the passengers themselves. Solutions are sought, culprits are sought, and people react in different ways to a negative and unexpected event.
Hay un tanto de burocracia en la trama, pero llama la atención los imaginativos planes para salvar a los pasajeros, y como estos pueden fallar o funcionar. Por otro lado, se le da un poco de trasfondo a los personajes, dando mayor historia a los mismos.
There is a bit of bureaucracy in the plot, but what stands out are the imaginative plans to save the passengers and how they can fail or succeed. On the other hand, the characters are given a bit of background, giving them more depth.
Lo que no me convenció fue el villano de la historia, no solo por que no es tan sorpresivo sino por lo irreal que parece. A pesar de ello, no malogra la capacidad de entretener de la cinta. Pues quieres ver cómo se soluciona el gran problema y evita la tragedia.
What didn't convince me was the villain of the story, not only because he's not that surprising, but also because he seems unrealistic. Despite this, it doesn't spoil the film's ability to entertain. You want to see how the big problem is solved and tragedy is avoided.
Si bien hay un cierto protagonista, la verdad es que la película es más bien coral, y da tiempo a varios personajes. La actuación no es lo mejor, le falta fluidez. La música aporta en generar tensión en variados momentos. El despliegue visual es bueno y basto, por mi parte no note mucho el CGI que haya tenido el título.
Although there is a certain protagonist, the truth is that the film is more of an ensemble piece, giving time to several characters. The acting is not the best; it lacks fluidity. The music helps to create tension at various moments. The visuals are good and rough; for my part, I didn't notice much of the CGI used in the film.
Si buscan una película con una premisa entretenida, con un buen despliegue visual y caos humano, puedes darle una oportunidad.
If you're looking for a film with an entertaining premise, good visuals, and human chaos, give it a try.
Greetings, movie lovers! Many of you know that I don't tend to give reviews with spoilers; it's very unusual, and in fact, I recommend avoiding it. I could even say that I've never done it, but I might be lying and perhaps I have. However, on this occasion, I understand that there are many times when it is warranted. This time, I'll be talking about the psychological thriller A Sacrifice, directed by Jordan Scott and starring Eric Bana and Sadie Sink.
Spanish
¡Saludos, cinéfilos! Muchos aquí saben que no tiendo a dar reseñas con spoilers, es muy poco usual, de hecho les recomiendo evitarlo. Incluso, podría decir que no lo he hecho nunca, pero podría pecar por mentir y que tal vez sí lo haya hecho. Pero en esta oportunidad, y comprendo que hay muchas veces que amerita el uso de este recurso. En esta oportunidad hablaré del thriller psicológico A Sacrifice, dirigido por Jordan Scott y protagonizado por Eric Bana y Sadie Sink.
Dr. Ben Monroe is a social psychologist investigating a series of deaths in Germany linked to a cult. He takes his teenage daughter, Mizzy, with him. She has problems with her father and begins to behave erratically, even joining a cult. You can imagine how the plot unfolds from this premise.
It's a basic, predictable film with no worthwhile plot twist. I feel like they tried to create one with the character of Nina. But it was impossible for this supposed plot twist to be credible when she looked guilty from the moment she was introduced in the first 15 minutes, both because of the script and the actress's terrible performance. And this is partly the biggest issue. It had a fairly appealing premise and promised to be a good thriller, but as it unfolded, noticeable errors began to emerge, both in editing and acting. This started to be a concern for me because it prevented me from enjoying the film. The fact that Agent Nina, who was also her partner on the case, is part of the cult, or that she defends it so clearly, should not be so obvious from the beginning. I don't know if this was a mistake in the direction, the script, or the acting, or all of the above, but it was terrible.
Spanish
El Dr. Ben Monroe es un psicólogo social que investiga unos casos de fallecimientos en Alemania que están relacionados con un culto. Se lleva consigo a su hija adolescente, Mizzy. Ella tiene problemas con su padre y empieza a tener comportamientos erráticos, incluso empieza a asistir a un culto. Ya se imaginarán como va la trama con darles la premisa.
Es una película básica, predecible, sin un plot twist que valga la pena, siento que intentaron hacer uno con el personaje de Nina. Pero fue imposible que este supuesto giro de trama fuera creíble, cuando se veía culpable desde que la presentaron en los primeros 15 minutos, tanto por el guion, como por la terrible actuación de la actriz. Y esto es en parte el mayor gran problema. Tenía una premisa bastante atrayente, y prometía ser un buen thriller, pero a medida que se iba desarrollando, empezaban a emanar notorios errores, tanto de edición como de actuación. Esto empezó a ser un problema para mí, porque dejé disfrutar de la película. No debería ser tan resaltante desde el principio el hecho de que la agente Nina, quien también era la compañera del caso, sea parte del culto, o que lo defienda tan claramente. Esto no sé si fue un error de dirección, de guion o de actuación, o de todas juntas, pero estuvo terrible.
The cult was the least terrifying thing I could have seen; it was boring and didn't stir any emotions in me. Worst of all, although it's presented as psychological horror, it was far from it. It was a flat and boring movie.
It had glaring errors, almost like those made by beginners, such as the fact that they start university in Germany and the textbook is in English, and they speak English at school when it's clear that they are German. Another error is that he went into the lake during the day to retrieve a body, and when he reached the shore, it was already nighttime. These are beginner's mistakes in filmmaking. This might have been acceptable 20 years ago, but at this point, such obvious mistakes cannot be allowed.
And although I understand that the film sought to show how people can end up joining these religious cults and what drives them to take these actions, they did not exploit this. Another thing they did not take into account was the professor's work. I did not understand why he never investigated anything. The best thing the followers did was to set themselves on fire with a match to end the cult, but I wish they had burned the film too because there was no way to salvage it.
After watching this film, I remember the reasons why I don't tend to watch this genre, which is that the vast majority of them are terrible. It's on HBO, don't waste your valuable time, don't go see it. If you want to see a good psychological horror movie involving a cult, you're better off watching Midsommar. Meanwhile, to get rid of the bitter taste of what I just watched, I started watching an amazing series that I'll review as soon as I finish it. Hugs to all and thanks for reading.
Spanish
El culto era lo menos terrorífico que pude haber visto, fue aburrido, no generó en mí ningún tipo de emoción. Lo peor de todo, aunque lo presentan como género horror psicológico, estuvo bastante lejos de llegar eso. Fue una película plana y aburrida.
Tuvo errores garrafales, casi que de Principiantes, como el hecho de que empiezan una universidad en Alemania y el libro de texto está en inglés, en el colegio hablan inglés cuando se nota que son alemanas. Otro error es que entró de día al lago a sacar un cuerpo y cuando llegó a la orilla ya era de noche. Son errores de cine de principiantes, esto podría pasar hace 20 años, pero a estas alturas no pueden permitir errores tan visibles.
Y aunque entiendo que la película buscaba representar como las personas pueden llegar a unirse a estos cultos religiosos, cuáles son las razones que las conducen a tomar estas acciones, no explotaron esto. Otra cosa que tampoco tomaron en cuenta fue el trabajo del profesor, que no entendí por qué nunca investigó nada. Los seguidores lo mejor que hicieron fue encenderse con una cerilla ellos mismos, para terminar con la secta, pero ojalá hubieran quemado la película también porque no había manera de rescatarla.
Luego de ver esta película, recuerdo las razones por las que no tiendo a ver este género, y es que en su gran mayoría son terribles. Está en HBO, no pierdan su valioso tiempo, no vayan a verla. Si quieren ver una buena película de horror psicológico que involucre un culto, mejor vean Midsommar. Mientras tanto, para quitarme el sabor amargo de lo que terminé de ver, empecé a ver una serie espectacular que les reseñaré en cuanto la termine. Abrazos a todos y gracias por leerme.
I saw the last episodes of this series about 20 hours ago and then I saw this contest about four hours ago, so it's almost like I'm choosing this because it's the most recent I saw but I saw two comedy series before this one almost a one week ago so I'm actually choosing this because it is the best I'll recommend for a fun movie time.
I've had this series on my watch list for over four months before I decided to see and all through my experience seeing it, I wish I saw it much earlier. It was just the right movie I needed to see with everything seemingly serious in my reality. No recommendations before I saw it but a clip I saw won me over because I love the male lead.
His role in Love Revolution is a direct opposite of his role in Weak Hero Class and that drew me in. I may not review the series in the best way I want to because I'll be focusing more on the comedy aspect but before that, it's best to know the series could possibly have a second season. But if there isn't, it did give a fair closure to viewers.
"Love Revolution" is a 2020 released Korean series in the genre of "Comedy, romance, coming-of-age" starred by "Park Ji-hoon, Ruby Lee, Kim Young-hoon" and other known supporting characters. The story is based in a school of students navigating love, friendship and studies.
Gong Joo-young, a new student at a school who just moved to live alone, meets a pretty girl (Wang Ja Rim) and fell in love with her at first sight. Wang Ja Rim, a very reserved student meets a fellow student who keeps disturbing her quiet life. Both have to come to a middle ground.
That story line seem almost like, there won't be much comedy but from the first episode, you're in for a good laugh. Watching Gong Joo-young pursue his true love, neglecting his studies and being the best friend to his guys, it's a sweet and funny rollercoaster ride you'd love every side of it.
I must give a spoiler here that the series is definitely not for who finds exaggerated scenes annoying because this story had a lot of it thanks to the role Gong Joo-young played. He does everything in excess and that is also part of why the story is a very funny one. From how he shows love to how he neglect his studies, exaggerated.
Maybe the last series I saw him in where he was so serious and heartbroken made this series more impactful as it felt like he was relieved of all those tension and just being a little princess in love (his name in the series means princess - so hilarious). I can't forget the scene where his messed up proposal got him a positive response.
I'll say the female lead kinda brings down the mood of the story with her calm, serious and unconcerned character which is the opposite of the personality who fell in love with her. It's like her role made Gong Joo-young shine better in his role but she's so pretty and perfect for the role she played. I also like her banter with her sister.
The supporting characters are not left out, there are different comedy and love story going on between them especially the love triangles that turn out unexpectedly. The episode about them being scared of a ghost story has to be the highlight for me. I also laughed a lot in the scene where Gong Joo-young tried dancing to gain love.
Over all, this series is a good break from serious movies or thriller and horror genres. If you want a good laugh, check this series out. I'll recommend it and I'm hoping the second season will be better if it ever comes out. Let me know in the comment section if you've seen the series before or not.
One of my old favorite actor is Eddie Murphy, growing up he was one of my favorite and if possible, I can say I have watched almost all his movies, or movies he appeared in. My dad was a fan of his, so when he is buying any DVD movie, he always include movies of Eddie Murphy collection. I doubt anyone born in the 90s will say they don't know him. He is one of the Hollyhood star, and people loved him.
Today, I will be reviewing one of the movie he acted and even though the movie had a redo of it by Robert Downey who played the role of Iron Man in Avengers, nothing has ever come close to the first and original.
The movie is Dr. Dolittle is a movie that was released in 1998, but trust me, you will love it. The storyline is actually funny when you think of it. It started with little John Dolittle, who as a kid could hear animals talk. Not just barking, meowing or making random sounds, but real conversation like you and I are having.
Of course, in a regular African America home, if a child starts saying he is hearing goats and dogs talking to him, they will drag him straight to church for prayers, and that’s exactly what happened. After he was prayed for, the “gift” or maybe “curse,” depending on how you see it, disappeared.
Fast forward 30 years later, boom! The gift came back out of nowhere, and now as an adult doctor, he has to deal with animals chatting with him like they are neighbors gossiping.
One of the funniest parts of the movie was when Dr. Dolittle was still trying to convince himself that he wasn’t going crazy. Imagine a grown man arguing with a dog in the middle of the night like, who wins that argument? Then there was the scene with the rat and the guinea pig (voiced by Chris Rock, another of my favorite movie actor), always running their mouths and giving Eddie Murphy stress. The guinea pig especially was like that one friend who never keeps quiet but somehow you can’t stop laughing at.
After you finish watching the first part, it didn't end there, there is a second and third part. So after you enjoy the first part, there is always a second and third to laugh your stress away.
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What made the movie fun to watch wasn’t just the storyline, but the way Eddie Murphy carried the role. His facial expressions alone could make you laugh, and when you combine that with animals cracking jokes, throwing sarcasm, and literally having arguments with a human, you just can’t stop watching. The chaos of a man trying to live a normal doctor life while monkeys, dogs, and even pigeons keep disturbing him was comedy gold.
It’s one of those movies that never gets old, because the humor was natural and family friendly. You didn’t need to be a kid to enjoy it, and you didn’t need to be an adult either, meaning its a movie you can watch together with anyone, be it family or friends. It has a balance that worked for everyone. And that’s why, even with all the remakes, the Eddie Murphy version will always remain the classic. Yes, I said what I said.
I will rate the movie a classic 9.5/10. I will be keeping the 0.5 to myself. hehehe.
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>Thanks for reading. My name is Fashtioluwa.
Hello everyone, movie fans, dear Movies and TV Shows community, this time I want to share a new review with you, I'm going to talk about a rather curious movie, today it's time to talk about: Triangle of Sadness, really, I almost didn't watch it... it's just that the title... The Triangle of Sadness? It sounded like a super artistic and kind of depressing European movie, I saw it with some friends and the truth is I would have preferred to watch anything else: action, cartoons, whatever, I imagined two hours of pure existential anguish, people looking out the window with sad faces... and how wrong I was! Seriously, if you're like me and the name or the poster makes you doubt, forget about it and give it a chance, maybe you'll be as surprised as I was... from the first scene, I realized this was something else, it starts with a casting of models, men, and the guy interviewing them tells them to change their pose according to the brand... like: "Let's see, H&M attitude!", and everyone goes boom!, smile, good vibes, then: "Now Balenciaga!", and immediately they put on a serious face, marked angles, not at all friendly, pushing each other a bit...
I thought it was great, super funny, but at the same time very sharp, that scene perfectly sets the tone for the entire film: it's a very intelligent and hilarious social satire that makes fun of the rich, the beautiful, the powerful. It makes you think about how we deal with this status thing, how ridiculous it all is, the story mainly follows a young couple, Carl and Yaya.. he's a model, played by Harris Dickinson, who does it really well, and she's a model and influencer, played by Charlbi Dean.. the point is that they're this semi-modern couple, dealing with fame, money, gender roles... There's a scene at the beginning, which is really good and uncomfortable at the same time, where they argue about who pays the dinner bill.. it felt so real, but at the same time very connected to this particular world that they live in.
Hola a todos, fanáticos de las películas, querida comunidad de Movies and TV Shows, en esta ocasión les quiero compartir una nueva reseña, les hablaré de una película bastante curiosa, hoy toca hablar de: Triangle of Sadness, de verdad, por poquito y no la veo.. es que el título... ¿El Triángulo de la Tristeza? Me sonaba a película europea súper artística y medio deprimente, la ví con unos amigos y la verdad prefería ver cualquier otra cosa: acción, dibujitos, lo que fuera, yo me imaginaba dos horas de pura angustia existencial, gente mirando por la ventana con cara de tristeza... y qué equivocado estaba! En serio, si ustedes son como yo y el nombre o el póster los hacen dudar, olvídense de eso y denle una oportunidad, tal vez se sorprenden tanto como yo.. desde la primera escena, me di cuenta que esto era otra cosa, empieza con un casting de modelos, hombres, y el tipo que los entrevista les dice que cambien la pose según la marca.. como que: "A ver, ¡actitud H&M!", y todos ¡pum!, sonrisa, buena onda, luego: "¡Ahora Balenciaga!", y al toque ponen cara de serios, ángulos marcados, cero amigables, empujándose un poco..
Me pareció genial, súper gracioso, pero al mismo tiempo muy filoso, esa escena te marca perfecto el tono de toda la película: es una sátira social muy inteligente y divertidísima que se burla con todo de los ricos, los guapos, los poderosos. Te pone a pensar en cómo manejamos eso del estatus, lo ridículo que es todo, la historia sigue principalmente a una pareja joven, Carl y Yaya.. él es modelo, interpretado por Harris Dickinson, que lo hace súper bien, y ella es modelo e influencer, interpretada por Charlbi Dean.. el punto es que ellos son esta pareja medio moderna, lidiando con la fama, la plata, los roles de género... Hay una escena al principio, buenísima e incómoda a la vez, donde discuten sobre quién paga la cuenta de la cena.. se sintió tan real, pero al mismo tiempo muy conectada a ese mundo particular en el que viven.
Well, it turns out they're invited on a cruise, a super-luxury yacht, and basically for free. The condition? That they post about the trip on their social media... here, my people, is where the movie really gets good. The movie is divided into three very clear parts, each with its own vibe, its own place. And this second part, the yacht part, seemed very interesting to me. Imagine the most ridiculously rich and disconnected people you can think of... and now multiply it by ten. There you have a Russian millionaire who proudly says he sells "shit" (I mean, fertilizer, but he says "shit"), a super-cute old English couple who made their fortune selling... mines and grenades! (How crazy, really!), tech millionaires, whatever you want, this whole second part takes place on the luxury yacht with these eccentric people and the poor crew, who are literally ordered to please them in EVERYTHING, no matter how ridiculous what they ask is.
There's a scene where a millionaire chick insists that the entire crew drop what they're doing to go swimming with her, just because she felt like it! It makes you laugh so much, the fact is that the staff is told from the beginning: say yes to everything, to everything!, because tips depend on it... there you see how entitled they feel to everything, that cruelty they have as if it's nothing, disguised as 'being eccentric'. The film clearly shows you how so much money and so much privilege can totally disconnect you from reality, from being... human... they live in their own bubble, where what they want is the law and others are just... employees, and seeing that contrast, between the guests who are in their own world and the super forced smiles of the crew... that's where a lot of the film's dark humor is. Oh, and then there's the captain, played by Woody Harrelson...
Honestly, he's hardly in it, it's like a special appearance, but every time he appears, he steals the show! He's a Marxist gringo, kind of disappointed with life, who spends his time drunk in his cabin and doesn't want to even look at the 'capitalist pigs' he has on his ship. There's a scene that is... wow, incredible! It's during the 'Captain's Dinner' – which, by the way, a GIANT storm falls at that moment! – and the captain and the Russian millionaire start fighting... there are funny scenes, but I don't think everyone would like it, it's complicated.
Bueno, resulta que los invitan a un crucero, osea un yate de súper lujo, y básicamente gratis, ¿la condición? Que posteen sobre el viaje en sus redes.. aquí, mi gente, es donde la película de verdad se pone buena, la peli está como dividida en tres partes bien claras, cada una con su propia onda, su propio lugar, y esta segunda parte, la del yate me parecío muy interesante, imagínense la gente más ridículamente millonaria y desconectada que se les ocurra... y ahora multiplíquenlo por diez. Ahí tienes a un millonario ruso que dice, así con orgullo, que vende "mierda" (o sea, fertilizante, pero él dice 'mierda'), una parejita de viejitos ingleses súper tiernos que hicieron su fortuna vendiendo... ¡minas y granadas! (¡Qué locura, de verdad!), millonarios de tecnología, lo que quieran, toda esta segunda parte pasa en el yate de lujo con esta gente excéntrica y la pobre tripulación, que tiene la orden literal de complacerlos en TODO, no importa qué tan ridículo sea lo que pidan.
Hay una escena donde una tipa millonaria insiste en que toda la tripulación deje lo que está haciendo para irse a nadar con ella, ¡solo porque se le antojó! Te da mucha risa, es que al personal le dicen desde el principio: digan que sí a todo, ¡a todo!, porque de eso dependen las propinas.. ahí ves cómo se sienten con derecho a todo, esa crueldad que tienen como si nada, disfrazada de 'ser excéntricos'. La película te muestra clarito cómo tanta plata y tanto privilegio te pueden desconectar totalmente de la realidad, de ser... humano.. viven en su propia burbuja, donde lo que ellos quieren es ley y los demás son solo... empleados, y ver ese contraste, entre los invitados que están en su mundo y las sonrisas súper forzadas de la tripulación... ahí está mucho del humor negro de la película. ¡Ah, luego está el capitán, lo hace Woody Harrelson..
La verdad, casi no sale, es como una aparición especial, pero cada vez que aparece, ¡se roba la pantalla! Es un gringo marxista, medio decepcionado de la vida, que se la pasa borracho en su camarote y no quiere ni ver a los 'cerdos capitalistas' que lleva en su barco, hay una escena que es... ¡uff, increíble! Es durante la 'Cena del Capitán' – que aparte, ¡cae una tormenta GIGANTE en ese momento! – y el capitán y el millonario ruso se ponen a pelear.. hay escenas graciosas, pero creo que no a todo el mundo podría gustarle, es complicado.
Okay, so some scenes need to be talked about at least, so be prepared... it gets really, really graphic, with vomiting and all that, it's over the top, it's pretty gross, BUT it's also incredibly funny, in a very dark way... it's like nature itself is saying, 'Okay, take off all those rich and powerful masks!' Suddenly, everyone, no matter how many millions they have, is stripped down to their most basic, their bodies functioning... or failing, in the most vulnerable ways, and honestly, how disgusting! It's a super daring move by the director, Ruben Östlund (who, mind you, won the Palme d'Or at Cannes for this film and got Oscar nominations for Best Picture, Director, and Original Screenplay, so that tells you something!). He uses this super extreme, sometimes half-surreal humor, not only to make you laugh, but to really make you think about inequality, vanity, and the whole absurd show we put on with social hierarchies... and okay, without wanting to spoil too much, things take a HUGE turn after the yacht part, entering the third act.
And this is where the movie completely turns the tables; from one moment to the next, those who survive find themselves in a situation where money is worthless... this third part shows us this super interesting twist where power no longer comes from the wallet, but from practical survival skills. And guess who has those skills? Obviously not millionaires or models, here enters a character who is a gem, Abigail, one of the yacht's cleaning workers... overnight, she becomes the most powerful person in the group, and it's fascinating to see how the rules of the game change. It really explores the idea that the roles of the abuser and the abused can be completely reversed depending on the circumstances... who are you when you have nothing versus who you become when you suddenly have all the power... that's sort of the key question the film leaves you with.
Okay, hay que hablar de ciertas escenas, por lo menos, vayan preparados.. se pone muy, muy gráfico, vomitos, y demás cosas, es exagerado, es asqueroso, bastante, PERO también es increíblemente divertido, de una forma muy oscura.. es como si la naturaleza misma dijera: '¡A ver, quítense todas esas máscaras de ricos y poderosos!' De repente, todos, sin importar cuántos millones tengan, quedan reducidos a lo más básico, a sus cuerpos funcionando... o fallando, de la forma más vulnerable y, la verdad, ¡qué asco! Es una jugada súper atrevida del director, Ruben Östlund (que, ojo, se ganó la Palma de Oro en Cannes por esta película y consiguió nominaciones al Oscar: Mejor Película, Director y Guion Original, ¡eso ya te dice algo!). Él usa este humor súper extremo, a veces medio surrealista, no solo para hacerte reír, sino para que de verdad le des unas vueltas a la cabeza sobre la desigualdad, la vanidad, y todo el show absurdo que montamos con las jerarquías sociales.. y okay, sin querer spoilearles mucho, la cosa da un giro GIGANTE después de la parte del yate, entrando ya al tercer acto.
Y aquí es donde la película voltea la tortilla por completo, de un momento a otro, los que sobreviven se encuentran en una situación donde la plata no vale nada.. esta tercera parte nos muestra este giro súper interesante donde el poder ya no viene de la billetera, sino de las habilidades prácticas para sobrevivir. ¿Y adivinen quién tiene esas habilidades? Obvio no los millonarios ni los modelos, aquí entra un personaje que es una joya, Abigail, una de las trabajadoras de limpieza del yate.. de la noche a la mañana, ella se vuelve la persona más poderosa del grupo, y es fascinante ver cómo cambian las reglas del juego. Explora muy bien esa idea de que los roles, el del que abusa y el abusado, se pueden invertir totalmente dependiendo de las circunstancias.. quién eres tú cuando no tienes nada versus en quién te conviertes cuando de repente tienes todo el poder.. esa es como la pregunta clave que te deja la película.
Okay, I’ll be honest, I feel like this last part felt kind of slow compared to the whole yacht craziness… and yeah, it could have been a little shorter, maybe… but look, even though it’s long (it’s like two and a half hours), I swear I was hooked for most of the time, discussing it with my friends. It makes you laugh a lot but at the same time it leaves you thinking, and the truth is, it does. I laughed out loud a ton of times, and often times it was like… uncomfortable, you know? And that’s always a good sign in a satire… it’s provocative, it’s daring, it really doesn’t hold anything back… if we compare it to, I don’t know, Glass Onion, which also made fun of the rich, this one seemed much more… wild, like it doesn’t care so much about being an entertaining mystery, but rather sticking its finger in the wound and turning it over.
The characters, although super exaggerated, feel... even believable in how mean they are, it's scary... so, my final verdict? Look, the truth is, it far exceeded what I expected, especially because at first I didn't have much faith in it. Like I said, it's smart, it's funny (if you like dark, acidic humor), it's uncomfortable, and it leaves you thinking a lot about social classes, power, beauty, and the whole absurd capitalism we live in... the ending, wow, no spoilers, but it really sticks with you. So for all that—the surprise, the sharp script, the terrific acting, how daring it is, and how much it made me laugh and think—I give Triangle of Sadness an 8/10. That little drop in pace in the last part is the only thing that takes some points off, but oh well... tell me, have you seen it? That's all for today, see you in the next reviews, take care! Bye-bye!
A ver, voy a ser sincero, siento que esta última parte se me hizo medio lenta, comparada con toda la locura del yate... y sí, pudo ser un poquito más corta, capaz.. pero miren, aunque si es larguita (son como dos horas y media), les juro que yo estuve enganchado gran parte del tiempo, comentadola con mis amigos, te saca muchas risas pero al mismo tiempo te deja pensando, y la verdad, sí es así. Yo me reí a carcajadas un montón de veces, y muchas veces como que... incómodo, ¿saben? Y eso siempre es buena señal en una sátira.. es provocadora, es atrevida, de verdad no se guarda nada.. si la comparamos con, no sé, Glass Onion, que también se burlaba de los ricos, esta me pareció mucho más... salvaje, como que no le importa tanto ser un misterio entretenido, sino más bien meter el dedo en la herida y darle vueltas.
Los personajes, aunque son súper exagerados, se sienten... hasta creíbles en lo mezquinos que son, da cosa.. entonces, ¿mi veredicto final? Miren, la verdad, superó por mucho lo que esperaba, sobre todo porque al principio no le tenía mucha fe, como les dije, es inteligente, es divertida (si les gusta el humor negro, ácido), es incómoda y te deja pensando un montón sobre las clases sociales, el poder, la belleza, y todo el rollo absurdo del capitalismo en el que vivimos.. el final, wow, sin spoilers, pero de verdad se te queda grabado. Así que por todo eso – la sorpresa, el guion tan filoso, las actuaciones buenísimas, lo atrevida que es, y lo mucho que me hizo reír y pensar – yo le doy a Triangle of Sadness un 8/10. ese bajoncito de ritmo en la última parte es lo único que le quita algunos puntos, pero bueno.. cuéntenme, la han visto? Esto es todo por hoy, nos veremos en las próximas reseñas, cuidense! Byebye!
Tell me... have you seen this series? Has it caught your attention? Tell me what you thought of this review with my opinion, and tell me if it has made you want to watch this series. You can leave me in the comments your recommendations for future publications! 😊
Cuéntame.. ¿Has visto esta serie? Te ha llamado un poquito la atención? Dime que te pareció esta reseña con mi opinión, y dime si te han dado ganas de ver esta series. Puedes dejarme en los comentarios tus recomendaciones para las próximas publicaciones!! 😊
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It’s been a while since I last wrote a movie review. Honestly, I have a long list of pending movies and dramas I’ve been meaning to watch these past months. Some of them I already started but never got to finish because I was too busy. But now that I finally have plenty of time, I can watch them—even for the whole day if I want.
One of the movies that I wanted to watch before is "Noise." It is a South Korean thriller, mystery, and horror film. This movie has been released on Netflix since May 3, 2024. And I'm really glad because it was underrated, so I can watch it peacefully—no spoilers.
Are you going to ask me if I’m the type of girl who isn’t afraid of horror movies? Well, my answer is no—I’m actually brave enough to watch them. Like I said, the ones portraying ghosts or evil spirits are just people like us, simply doing their job as actors and actresses. They’re brave enough to take on roles that most of us would find terrifying. But I also think it’s risky, because I’ve watched some documentaries about actors who played those kinds of roles and later experienced being haunted, even in their own homes, while working on those films.
Since I never watched the teaser of this movie, I was curious about the story. Will it really scare me? The poster also looked familiar, but I couldn’t remember which movie it reminded me of.
Anyway, the only cast member I recognized in this film was Lee Sun Bin. I first saw her in the South Korean zombie movie Rampant, and this is my second time watching her act.
The beginning of this movie gave me a bit of a suspenseful feeling already because it goes straight to the point where there's something happening, and unlike some horror films I’ve watched before, they usually start with a normal slice of the characters’ lives before they discover something suspicious.
What I didn't expect is that the female lead is a deaf woman. This is actually my first time seeing someone portray a deaf person using hearing aids. Usually, they just show the character communicating only through sign language or by writing notes whenever they have something to say—as if they’re completely hopeless and will never find any way to hear again. Hello? We have hearing aids now. It gives hope to people who can’t hear clearly like me. And even if you can’t hear completely, you can still use it as a sound-awareness tool, especially when you’re outside.
But you know what? Her hearing aid is more expensive than mine! Huhu I wish that hearing aid was mine because it can connect to the Bluetooth of the phone. You can make it like headphones. You can mute the voices while using it and just use text-to-speech instead if you don't want to hear them.
Wait! What?! Her hearing aid is a waterproof too. All I can say is, this feels like a slap in the face because I’m poor—I can’t afford a hearing aid like that for my ear.
Anyway, those screenshots from this movie are my favorite part! I really like it because it's been a while since I felt the jump scares, to the point that while watching it, I threw my tablet on my bed. Lol
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Also the plot twistttts! I really didn't expect it! There are a lot of thoughts and guesses that I spoke while watching. But all of my guesses weren't right! Dang!
If I were to rate this movie, I’d give it 8.5 out of 10. It’s scary, but mostly just jump scares and nothing deeper than that. Honestly, for me, it’s not that terrifying—it feels more suitable for beginners in watching horror. The kind of horror I’m looking for is the one that keeps you from sleeping because of too much fear. But even so, I liked the story.
From the very beginning, the movie gets straight to the point without giving away any clues about what’s going to happen, which makes it hard to stop watching. You’ll be compelled to finish it until the end. And if I imagine myself in that situation, it would definitely be traumatizing. Those are the only things I noticed about this movie. Oh! the director makes me clap for him for being aware of hearing aids, which serve the purpose of hearing for the deaf and enable them to hear noises. *(I stll can't get over that waterproof hearing aid!)* 😩
Also, I was impressed by Lee Sun Bin’s acting here. She’s such an underrated South Korean actress, and I honestly hope she will receive a role or project that will finally put her in the spotlight—not just films like this one. Something like Rampant, where her talent can truly shine.
And that’s it for my movie review. I hope you enjoyed reading. See you on my next blog!
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Hi! My name is Xanreo (pronounced Shanreyo). I am a Filipina: Pure Ilocana but with a wanport blood of Bisaya, and I lived in one of the provinces in the northern part of Luzon, Philippines. I am a gamer. I love to play Mobile Legends, Cod-M, Roblox, and Honor of Kings. I also love alcoholic drinks. Food is my comfort bestie but number one hater of broccoli. I draw fan art when I am not lazy. I liked reading about your travel, food, art, and gameplay.
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Joe Wright owes much of his reputation as one of today’s foremost British filmmakers to his 2007 film Atonement, which is now less remembered for the role of his muse Keira Knightley and more for the exceptionally striking scene depicting the chaos on the beaches of Dunkirk during the famous Allied evacuation at the start of the Second World War. Wright’s film, however, is no longer the most renowned depiction of these events, largely thanks to Dunkirk, a spectacular and ambitious film directed a decade later by his far more successful and popular colleague Christopher Nolan. That film represented one of Nolan’s more ambitious attempts to secure the long-desired golden statuettes for himself. Wright, whose filmography is largely built on such Oscar-baiting films, has by circumstance directed a new such attempt in the form of a film tackling the same subject, albeit with a somewhat smaller budget and from a rather different perspective.
While Dunkirk portrayed these events through the eyes of ordinary, anonymous British soldiers, Darkest Hour does so from the perspective of the figure who, in a 2002 BBC poll, was named the greatest Briton of all time. The plot begins on 9 May 1940, when Winston Churchill (Gary Oldman), a Conservative politician renowned for an exceptionally long, tumultuous, and colourful yet generally not particularly successful career, is on the verge of realising his lifelong dream by becoming Prime Minister and leading the United Kingdom and the British Empire. The outgoing Prime Minister and Conservative leader Neville Chamberlain (Roland Pickup), known for his policy of appeasement towards Hitler and Nazi Germany, is held responsible for simultaneously leading Britain into war while leaving it inadequately prepared—a failure evident in the Allies’ disastrous attempt to halt the German invasion of Norway—and has consequently lost parliamentary support. Although Chamberlain would have preferred to see Foreign Secretary Lord Halifax (Stephen Dillane), who shared his views, succeed him, he is compelled under pressure from opposition Labour members to propose Churchill as the head of a grand coalition government as a compromise solution.
History, however, ensured that Churchill would achieve his lifelong ambition at the worst possible moment, for the following day, upon assuming office, the Germans—who had long observed the British and French, despite their superiority in manpower and tanks, doing nothing but sitting behind the Maginot Line—launched an offensive that would be remembered as the most brilliantly executed military operation of the Second World War. Just three days after drawing the bulk of British and French forces into neutral Belgium and the Netherlands with their attack, they executed a lightning tank advance through the supposedly impassable Ardennes forests, breaking through the weakly defended French positions along the River Meuse and emerging behind Allied lines. Amidst the widespread chaos and disarray, France appears likely to capitulate soon, while the retreating British Expeditionary Force, making for the coast of the English Channel, faces total annihilation. In such circumstances, with Britain seemingly on the brink of losing its army, allies, and facing invasion by the hitherto undefeated Nazi war machine, Lord Halifax proposes an ‘elegant’ solution by accepting the offer of Hitler’s ally—and then still neutral—Italy to mediate a peace settlement that would grant the Nazis dominion over Europe. Churchill confronts the reality that many of his ministers agree this would be the least worst of all options in the current situation, as well as his own doubts, and must summon the last vestiges of moral fortitude, oratorical and political skill to persuade himself, his government, and the nation to continue what appears to be a hopeless war.
Darkest Hour is frequently compared to Lincoln, the biographical film with which Spielberg attempted five years prior to clinch another Oscar. Certain similarities undoubtedly exist, primarily in that the narrative unfolds during an epic conflict whose nature and outcome are deemed favourable, the protagonist being an almost unquestionable national icon, and the film delving into political machinations behind the scenes—matters generally uninteresting to filmmakers yet inherently fascinating. Darkest Hour met the same fate as Lincoln in this regard: Wright lost the battle for Best Picture but found solace in at least one winning campaign, namely the Oscar for Best Actor. This was undoubtedly thanks to Gary Oldman, the actor who had built a reputation as one of the foremost names among the British acting fraternity so readily employed by Hollywood. Here, he faces the demanding yet ungrateful task of portraying one of the most frequently depicted figures in British—and not only British—docudramas and historical dramas, attempting to surpass older, often-praised colleagues while simultaneously embodying an authentic Churchill and offering the public something fresh. Oldman exerts exceptional effort, aided significantly by an extraordinarily high-quality latex prosthetic mask, convincingly reconstructing both the Churchill of newsreels and the Churchill described by those closest to him—a man whose political foresight, literary and oratorical talent coexisted with military failures, an eccentric lifestyle, out-there ideas, bouts of depression, and unhealthy habits involving tobacco and enormous quantities of alcohol. Oldman’s performance is truly compelling, and the Oscar is entirely justified in his case.
However, Oldman alone cannot carry the film. A screenplay capable of delivering drama worthy of such a role is still essential. Fortunately, May 1940 was the most dramatic moment in British, one might say world, history, and in comparison to the burden on Churchill’s shoulders, the troubles afflicting the protagonist of the thematically and temporospatially close Oscar-winning film The King’s Speech appear trivial. The screenplay by Anthony McCarten, known for the not particularly impressive biographical film The Theory of Everything, largely succeeds in balancing historical authenticity, efforts to dramatise cabinet discussions, and the need to efficiently and economically provide historical context for an audience unfamiliar with the period. Darkest Hour can also be praised for adding a touch of typically British humour, which somehow functions even within the context of events that, at first glance, seem least suited to it.
Wright, of course, proves immensely helpful throughout, demonstrating a penchant for ‘showy’ framing while also exhibiting exceptional talent in incorporating all this within a relatively modest budget. Darkest Hour unfolds predominantly in interiors; the war, raging on the distant yet so proximate Continent, is reconstructed through only a few brief but striking scenes. Darkest Hour could thus be considered one of the finest achievements of Wright’s career. Assuming one overlooks the occasionally fatal Spielberg-esque lurch into pathos typical of this genre, occurring towards the end when Churchill’s character seeks inner strength to make the right decision and finds it among ordinary people—specifically passengers in a London Underground carriage. This scene feels forced and overly ‘Hollywood,’ particularly after the inclusion of a Black passenger among the commuters. This detail, however, should be understood within the context of Oscar politics—Wright’s attempt to avoid accusations of alleged racism that his rival Nolan faced due to all major characters in Dunkirk being white males. All things considered, Darkest Hour stands as one of the more accomplished—and, given certain rather disconcerting trends in today’s world, timely—portrayals of a historical period that, like the film itself, had both dark and bright moments.
RATING: 8/10 (+++)
(Note: The text in the original Croatian version was posted here.)
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The stuff with Harcourt having toxic masculinity issues was interesting in theory but the execution felt clunky and forced, like they needed to give her something to do while Chris was dealing with his multiverse problems. Jennifer Holland is a good actress but some of her lines in this episode sounded really awkward but I guess this is just me getting use to this series, honestly this is not the type of superhero series I like to watch but Im giving it a chance, especially when she was trying to be sarcastic, there is just . The bar fight scene where she just wants to feel something was fine but it felt disconnected from everything else happening in the episode, same with the whole subplot about Amanda Waller facing congressional hearings which gets mentioned but never really explored. The episode tries to juggle too many plotlines at once and ends up not doing justice to any of them, season one was much better at focusing on specific character moments and letting them breathe, even the stuff with Vigilante felt thrown in just because Adrian is a fan favorite character, his whole obsession with owl facts was mildly amusing but didn't add anything meaningful to the story and there is Rick Flag Senior showing up was expected since Frank Grillo was in the credits but his motivation for hunting Peacemaker feels a bit thin, like yeah his son died but does he really think tracking Chris down is gonna solve anything. Obviously I had to dig into season 1 and kinda spoil it for myself but it really doesnt matter to me, Im not that type of person that cares about spoiling a series, personally it doesnt bother me, but yeah some of the stuff seen on this first episode look some what disconnected from the first season and I wonder if its because of the drastic changes they want to do considering James Gunn vision on the hole DCEU, if it all plays out then at first it will feel like chaos until everything is sync in.
