W przerwie pomiędzy oglądaniem Yellowstone z mężem obejrzałam sobie całkiem sama serial Biały Lotos. Jest to wydarzenie nie lada, bo ja bez męża mało co oglądam ;) wolę książki. Ale tak kiedyś postanowiłam spróbować jego śladem, jak to się gotuje przy oglądaniu czegoś na komórce, włączyłam pierwszy odcinek... i nawet się wkręciłam.

Between watching Yellowstone with my husband, I watched the series White Lotus all by myself. This is quite an event, because I rarely watch anything without my husband ;) I prefer books. But then I decided to try following his example, like you feel cooking when watching something on your phone, so I put on the first episode... and I got quite hooked.

Niby fabuła mało ciekawa i coś, co mnie raczej nie interesuje. Ot, perypetie bogatych Amerykanów na wakacjach w luksusowym hotelu na Hawajach. Ale jednak jest w tym serialu coś. Piękne zdjęcia, absorbująca muzyka, niezła gra aktorska (Armond!), ciekawe dialogi. I szczypta humoru oraz absurdu. Dodajmy do tego nitkę suspensu. W pierwszej scenie serialu dowiemy się, że podczas tego turnusu wakacyjnego ktoś został zabity. I tak do ostatniego odcinka możemy się zastanawiać, kto to taki zginął.

The plot isn't particularly interesting, and I'm not particularly interested in it. It's just the adventures of wealthy Americans vacationing at a luxury hotel in Hawaii. But there's something to this series. Beautiful cinematography, absorbing music, good acting (Armond!), interesting dialogue. And a pinch of humor and absurdity. Add to that a thread of suspense. In the first scene of the series, we learn that someone was killed during this vacation. And so, until the very last episode, we're left wondering who died.

Odrobina luksusu, powiew ciepła i morskiej bryzy. To serial, na który po prostu fajnie się patrzy, ale też troszkę więcej. Podobało mi się. Drugi sezon ma opinię jeszcze lepszego, więc nie omieszkam sprawdzić.

A touch of luxury, a touch of warmth, and a sea breeze. It's a series that's simply beautiful to watch, but also a bit more. I enjoyed it. The second season is said to be even better, so I'll definitely check it out.

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Old Cases (S01E04)

Airdate: June 23rd 2002

Written by: David Simon Directed by: Clement Virgo

Running Time: 59 minutes

In a television saga as monumentally complex and socially intricate as The Wire, the sheer volume of characters and the labyrinthine nature of their interwoven relationships necessitate substantial narrative real estate dedicated to exposition. David Simon, particularly in the series' nascent stages, demonstrated a masterful ability to weave this essential groundwork into the fabric of the plot without succumbing to tedium or impeding the story's natural momentum. Consequently, many early episodes, rather than merely advancing the central narrative, function as vital refracting lenses, casting previously established characters and dynamics in startling new light through carefully deployed revelations. Old Cases, the fourth episode of the inaugural season, stands as a prime exemplar of this technique.

The immediate plot thrust emerges directly from the failed raid on The Pit, the open-air drug market controlled by the Barksdale Organisation. This operation, meticulously planned yet yielding pitiful results – primarily the capture of low-level soldier Marvin Browning (Jeorge Watson) with a trivial quantity of narcotics – forces the Liutenant Daniels' into a desperate scramble for leverage. Their initial gambit, attempting to flip Browning against his superiors, founders on his chilling pragmatism: he chooses a guaranteed five-year sentence for parole violation over the mortal risk of cooperating, understanding the street's unforgiving code. A second, fleeting opportunity arises with Boadie, severely beaten but facing assault charges against a police officer. Yet, this avenue collapses spectacularly when Boadie, after being sent to Boys Village juvenile detention centre, simply walks out the front door and vanishes back into the streets of Baltimore.

This operational impasse, however, pales against the storm brewing within the Barksdale camp itself. Avon Barksdale (Wood Harris) exhibits far less concern over the police task force's blundering than over the brazen robbery of his stash by the legendary Omar Little (Michael K. Williams). His fury escalates into a declared hit on Omar and his associates upon learning two critical details: Omar is gay, and his young accomplice, Brandon Wiley (Michael Kevin Darnall), is not merely an accessory but his lover.

This apparent stagnation in the primary investigation paradoxically grants McNulty (Dominic West) the latitude to indulge a personal itch: assisting his old partner Bunk Moreland (Wendell Pierce) in revisiting the cold case of Deirdre Kresson, a college girl found shot dead, naked, in her apartment. Sergeant Jay Landsman (Delaney Williams), ever the pragmatic clearance-rate calculator, posits a potential Barksdale link based on a nebulous tip mentioning someone named "D." McNulty and Bunk, demonstrating the intuitive forensic brilliance that defines their partnership, meticulously reconstruct the scene, their dialogue consisting almost entirely of expletive-laden variations – a scene famously critiqued for its stylistic audacity – yet they unearth crucial, previously overlooked evidence. Unbeknownst to them, D'Angelo Barksdale (Larry Gilliard Jr.) is simultaneously confiding in his Pit crew: Deirdre was Avon’s girlfriend, and he executed her on Avon’s orders after she threatened the kingpin in a jealous rage. This parallel revelation – the detectives stumbling towards truth while D'Angelo confesses it to his crew – is quintessential The Wire, highlighting the gulf between institutional procedure and street reality.

Convinced conventional avenues against the Barksdale hierarchy have reached a dead end, Lieutenant Cedric Daniels (Lance Reddick) finally concedes to McNulty’s persistent argument: the wiretap is the only viable path forward. Deputy Commissioner Ervin Burrell (Frankie Faison), chastened by Judge Phelan’s (Peter Gerety) sharp reprimand over the Pit raid’s shoddy execution, reluctantly sanctions the request. Crucially, the groundwork for this pivotal operation is laid not by the unit’s leaders, but by the seemingly peripheral Detective Lester Freamon (Clarke Peters). His quiet brilliance manifests in tracing a pager belonging to D'Angelo Barksdale – an act of meticulous police work overlooked by others. Deeply impressed by this "clerical" pawnshop detail, McNulty probes Freamon’s history, uncovering a devastating institutional injustice: Freamon was once Homicide’s finest, sidelined for thirteen years to menial duty after filing charges against a politically connected suspect.

Old Cases is indeed an episode saturated with significant revelations, though their contemporary resonance varies. Omar Little’s sexual orientation, a potentially incendiary detail in early 2000s Baltimore and television, is handled with Simon’s characteristic matter-of-factness. Its relative banality now speaks to shifting societal attitudes, but Simon’s genius lies in never treating it as sensational. Omar’s sexuality is simply a facet of his character, relevant only in how it fuels Avon’s rage, not as a narrative hook. Far more compelling are the deepened portraits of established figures. Lester Freamon emerges unequivocally as the intellectual anchor of Daniels’ squad, his enforced desk duty transformed into a crucible where he honed not just investigative skills but lucrative miniature-making crafts – a poignant symbol of resilience amidst institutional neglect. Cynical Sergeant Landsman, despite his profound disdain for McNulty’s maverick ways, delivers a brutally pragmatic assessment to his superiors Rawls: McNulty’s very flaws – his obsession, his disregard for procedure – make him an unparalleled detective whose skills could significantly boost Homicide’s clearance rates. This moment underscores the show’s nuanced view of institutional pragmatism versus personal animosity. Most dramatically, D'Angelo Barksdale, previously positioned as the Organisation’s flickering moral conscience, is irrevocably tarnished by his confession to Deirdre Kresson’s murder. While the act seemingly seeds his later existential crisis, it shatters any lingering illusion of his inherent decency, forcing viewers to confront the inescapable moral corrosion of his world. McNulty, meanwhile, receives a devastating personal vignette: his awkward, ill-timed appearance at his son’s suburban soccer game, accompanied by the destitute Bubbles (Andre Royo), incurs the justified fury of his ex-wife Elena (Callie Thorne). This scene crystallises McNulty’s profound failures as a husband and father, revealing a domestic life as fractured as his professional obsession is singular.

Yet, Old Cases is not without significant flaws, flaws intrinsically linked to Simon’s artistic choices. The most famous sequence – McNulty and Bunk’s near-silent forensic reconstruction using only the F-word – is undeniably the episode’s most memorable moment. Simon’s intent was clear: to establish The Wire’s unflinching, profane authenticity, a deliberate middle finger to network sanitisation. While undeniably bold and initially darkly humorous, the conceit rapidly curdles. The relentless repetition transcends realism, becoming a self-conscious, almost theatrical stunt. It feels less like authentic police work (even for these two) and more like Simon prioritising a statement about the show’s identity over believable character behaviour. This artifice jars violently against the series’ otherwise meticulous commitment to procedural and social realism, marking the scene as the episode’s greatest conceptual weakness, a moment where the creator’s authorial hand becomes distractingly visible.

Similarly problematic is the episode’s concluding sequence. McNulty’s late-night visit to Kima Greggs’ (Sonja Sohn) apartment ostensibly to discuss the case quickly devolves into gratuitous titillation. The lingering shots of Greggs in scant clothing, swiftly followed by her disrobing for a steamy encounter with her lesbian partner Cheryl (Melanie Nicholls-King), feel utterly disconnected from the preceding narrative gravity. While the show later develops Greggs’ relationship meaningfully, here it functions purely as fan service – a calculated appeal to a presumed male gaze. The abrupt shift from the grim realities of murder investigations and institutional decay to this stylised, eroticised interlude feels exploitative and undermines the episode’s otherwise rigorous tone. More critical viewers are entirely justified in finding this conclusion not only gratuitous but fundamentally at odds with The Wire’s celebrated commitment to substance over sensationalism.

Despite those misssteps, Old Cases remains a vital, richly textured chapter, proving that in The Wire, the most compelling stories are often found not in the grand busts, but in the quiet, devastating revelations buried within the old cases themselves. It lays the essential, intricate groundwork upon which the series' unparalleled exploration of institutions and individuals would firmly stand, warts and all.

RATING: 7/10 (+++)

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Ari Aster just came up what might be the most uncomfortble movie expirience I have had in years with Eddington and honestly Im still trying to figure out if thats a good thing or not because it was not bad bad although its like I feel force to like it, this movie takes us back to May 2020 when everything went to absolute hell with COVID and throws us into this tiny New Mexico town where a sheriff and mayor are about to destroy each other over mask mandates. Joaquin Phoenix plays Joe Cross, this sheriff who has asthma and refuses to wear masks while Pedro Pascal is Ted Garcia, the mayor trying to keep things together while also dealing with his own personal demons, Emma Stone shows up as Louise, Joes mentally unstable wife who makes creepy dolls and has serious trauma from her past that slowly gets revealed through the movie. The whole setup feels like watching your own 2020 experience but cranked up to eleven with all the paranoia, conspiracy theories and political division that made that year so miserable for everyone involved, Aster doesnt hold back from showing how social media turned everyone into either extreme liberals or right wing conspiracy theorists with no middle ground left anywhere. The movie does feel so accurate at capturing that specific anxiety of going to the grocery store during lockdown, having people yell at you for not wearing a mask properly or wearing one when you think its stupid, the whole thing brings back memories that make me angry just to revisit considering Im one of the very few on Earth that NEVER got any vaccine and it was my choice but was not easy, I was the one been yell at. The movie starts slow with Phoenix doing his usual intense but controlled performance as this guy who thinks he knows whats best for everyone while clearly having no idea what hes doing, his relationship with Emma Stone is bizarre and uncomfortable as she deals with her own mental health issues and gets involved with Austin Butlers character who runs some kind of cult or self help group for trauma victims.

• IMDB: https://www.imdb.com/title/tt31176520/

Rottentomatoes Rating

Phoenix absolutely carries this movie on his shoulders even when the script goes completely off the rails in the third act, his portrayal of Joe Cross feels like every middle aged guy who thought COVID was the perfect excuse to finally lose his mind and take control of his life through violence and manipulation. The way he handles the mask controversy at the beginning feels so real it made me cringe remembering all those videos of people fighting in stores over face coverings, Pedro Pascal does his best with Ted Garcia but the character feels underdeveloped compared to everything else going on around him. Emma Stones performance as Louise is disturbing but I not sure if to say its on a good way, she plays this fragile woman whos been dealing with childhood trauma and mental illness while trying to maintain some kind of normal relationship with her husband, her scenes with Austin Butler are creepy and effective even though Butler barely gets any screen time. The supporting cast includes Deirdre OConnell as Louises conspiracy theorist mother who spends all day watching YouTube videos about government coverups, Michael Ward as a black deputy caught between his job and the Black Lives Matter protests happening around town, and various teenagers who start their own BLM chapter without really understanding what theyre fighting for. Aster does an incredible job showing how everyone during 2020 became obsessed with being right about everything while at the same time having no idea what they were talking about, the teenagers especially feel like real kids who got caught up in social justice movements more for social media clout than actual conviction. The political stuff never feels preachy because Aster makes everyone look equally stupid and hypocritical, from the conspiracy theorist mother to the sheriff who thinks hes the only sane person left in town.

The first half of Eddington works really well as this slow burn character study about people losing their minds during lockdown but then the movie takes this wild turn into action thriller territory that completely changes the tone and pacing. Its when Joe Cross decides to run for mayor against Ted Garcia and things escalate way beyond normal political rivalry into straight up murder and violence, the homeless guy who appears throughout the movie becomes a victim of Joes breaking point and then Ted Garcia and his son get killed too, its here where the movie either completely falls apart or becomes something totally different depending on how much you are willing to go along with Asters vision, personally I found the shift jarring and unnecessary even though the action sequences are so intense that kept me entertained. Close to the ending we get introduce to this mysterious terrorist who shows up in a private plane and starts killing everyone, here they completely lost me and made me feel we were on another movie without any notice, a movie about government conspiracies rather than the small town story we started with, its an actual WTF moment during the movie and why close to the end?. Phoenix does his best to sell the transformation from frustrated sheriff to unhinged killer but the script falls flat including him because there is just too much contrast with what had happen so far during the movie by the time I watch him run through the streets with a machine gun I was ok with the movie until that point, right there the movie falls straight to a 7 for me and if it wasnt for Pedro who I think was totally underdeveloped I think the internet is right at calling it a flat 6 across multiple score sites. The political commentary that worked so well in the first half gets lost in all the gunfire and explosions, what started as a smart satire about COVID times with the paranoia turns into this generic action movie about ANTIFA terrorists and government cover ups. Director Aster seems more interested creating such high schock jaw dropping moment to the audience with violence and nudity than following what was build up during the movie and a coherent story line, to me that is frustrating because those themes were relevant.

I watch this movie over the weekend with my wife and we were both shocked at how they fucked up what could have been a very refreshing movie even if it was about hard times for everyone so I keep thinking about how this could have been a really great movie if they had trusted the initial concept instead of trying to turn it into some kind of action thriller hybrid. The stuff about social media radicalization and COVID paranoia hits hard because its still so fresh and printed in our minds, watching Phoenix slowly lose his grip on reality while everyone around him does the same thing felt belivable and relevant but its like at half of they movie they realize they were going too slow, like they were cooking and suddenly realize it has no spice so they throw in the entire spice bottle, yes I know slow burn character development isnt enough to carry a movie and even the conspiracy plot was relevant but the mysterious terrorists and government data centers that feels completely disconnected from everything else is was goes off rails. Emma Stones character disappears halfway through the movie right when her story was getting interesting, Pedro Pascal gets killed off just as we start understanding his motivations and the teenagers who seemed important early became irrelevant side characters. The movie is also way too long at almost two and a half hours, Im sure there could have been some scenes that could have been cut without losing anything important to the story. The technical aspects are all solid with great cinematography that really gets the desolate New Mexico landscape and good sound design that makes every gunshot feel shocking and real, but the technicals cant make up for a script that doesnt know what it wants to be.

I know I have been ranting on the latest movies reviews I had made but its just disappointment in many ways, probably because Im dearing at watching certain movies that are not my first choice or I just had to watch like "Supperman 2025". I cant deny that Eddington brought me back many memories, I cant say those were some of my worst times in life because it wasnt but its probably the world wide event with the most impact, it was a PANDEMIC World Wide, it captures something real about how 2020 felt for a lot of people even if it takes that feeling to ridiculous extremes and it had to because those were weird and extreme times, people fought over toilet paper. Some of the first scenes when Phoenix was trying to deal with mask requirements while dealing with his asthma felt really frustrating reminds me wearing glasses with mask too, the teenagers arguing about racism and privilege while clearly not understanding either completely and Emma Stones deteriorating mental health during lockdown was really sad and makes me think about those who really had a hard time at staying in one place under lockdown for so long because in some countries they were not that soft, you literally could get arrested if go out. Aster made an important movie that actually engages with the trauma and division that COVID brought to society world wide, most movies either ignore that period completely or treat it as background noise rather than exploting the experience that connects people in so many ways. Phoenix gives another very committed performance even when the script doesnt deserve it, he finds real humanity in this flawed character even as the script pushes him toward cartoonish villainy by the end. If youre willing to watch this long ass movie sometimes you are going to feel frustrated at it, it just doesnt tackles recent PANDEMIC events with more ambition, Eddington might be worth checking out, just dont expect it to provide easy answers or a movie that is easy to watch. I give it a 7 out of 10 for effort even though the execution left me wanting more.

#skiptvads, #inleo, #hive, #eddington, #aster, #phoenix, #pascal, #stone, #covid, #sheriff, #mayor, #pandemic, #conspiracy, #masks, #violence, #politics, #thriller, #satire, #trauma, #lockdown, #paranoia, #radicalization, #terrorism, #government, #corruption, #media, #division, #america

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In case you were wanting more | Por si quedaste con ganas de más

Cover photo, Logo, Crane, Hand with pen, Yugi, Edward chibi, Edward Child, Edward young, Edward bleeding, Naruto chibi, Goku chibi, Jesper, Hand with a tablet, Sound system & Trigun

When seeking reasons why the Golden Age of Television has surpassed Hollywood’s cinematic output in quality, one might point to the fact that the television series, as a medium, far better satisfies an audience more invested in substantive content than in glossy visuals and sound. Upon reflection, the most popular TV series of our time have generally not appeared, nor do they appear, significantly more visually striking than the low-budget existential dramas that win awards at independent film festivals. However, given the hyper-production of scripted television content, it was only a matter of time before someone sought to defy this notion by attempting to create a series as spectacular as the most ambitious summer blockbuster. Naturally, such an endeavour would be—or at least appear—justified if the work in question belonged to the science fiction or fantasy genres, where even the most fantastical worlds must seem somewhat plausible. Ironically, it is the television series American Gods that has come closest to this ideal, despite its core concept being rooted in an ostensibly mundane reality that viewers—particularly those living in America—encounter the moment they step away from their television sets.

The series is based on American Gods, a novel by British author Neil Gaiman, one of fantasy literature’s most esteemed figures, whose children’s book Stardust served as the basis for a successful film in 2007. American Gods, his most renowned work, explores a fascinating premise: what would happen to the deities of the Old World—figures from Norse, Slavic, Greco-Roman, Egyptian, Arabic, and African mythology—if they found themselves in the New World, and how they might adapt or clash with the new gods born of modern society’s obsessions. Produced by Starz, a channel known for its insistence on edgy content, the series was executive-produced by Bryan Fuller, creator of Star Trek: Discovery, and Michael Green, a screenwriter behind several notable films in the late 2010s.

The protagonist, Shadow Moon—played by English actor Ricky Whittle—is a petty criminal released from prison several days early following the tragic death of his wife, Laura (Emily Browning), in a car accident. The devastated and bewildered Shadow is approached by the enigmatic Mr. Wednesday (Ian McShane), who offers him a job as a bodyguard. The pair travel across the American Midwest, visiting bizarre locations and encountering strange characters, witnessing a series of morbid, fantastical events Shadow struggles to comprehend, while Wednesday makes little effort to explain them. Meanwhile, in the background, even more extraordinary events unfold, culminating in an impending clash between the old gods and the new gods born of faith in American technological omnipotence.

From the outset, American Gods strives to convince viewers it is not a typical television series but something exceptional. This uniqueness is reflected primarily in the vast sums of money expended per episode, much of which funds lavish vignettes—typically at the start of each episode—that depict individual deities and their journeys to America. No expense is spared on special effects or techniques used to reconstruct different continents and historical eras, resulting in a series punctuated by striking scenes. Some sequences adopt a cinematic, larger-than-life quality, even utilising the 2:35 aspect ratio. However, what will likely strike viewers most is Starz’s revival of a formula tested at the start of the decade in Spartacus: copious amounts of extremely explicit violence, gore, nudity, and, of course, sex. While audiences have grown somewhat desensitised to TV series attempting to “push boundaries” in this regard, American Gods attempts to do so with a scene in which Djinn, an Arabic demon portrayed by Mousa Kraish, despite claiming not to grant wishes, provides an Arab merchant traveller (Omid Abtahi) with a rather explicit sodomy experience. The creators are also careful not to neglect conventional sexual orientations, featuring several scenes where the goddess of love Bilquis (played by Nigerian actress Yetide Badaki) participates in mass orgies. And those curious about Emily Browning’s appearance in the “birthday suit” will not be left wanting.

All these details, including the exceptionally appealing soundtrack by Brian Reitzell (featuring standout tracks like “Media Bowie” and “Tehran 1979”), cannot conceal the series’ serious, perhaps even fatal flaw. Although the first season is relatively short, comprising eight hour-long episodes, it will feel significantly longer to viewers for a simple reason: very little actually happens. The epic clash between old and new gods is only hinted at in the cliffhanger finale, suggesting a second season, while events are largely followed from the protagonist’s perspective, who neither understands nor seems to care about what is truly unfolding. Fuller and Green were so playful that they allowed themselves entire episodes devoted to quite explicit commentary on current political events, naturally from Hollywood’s limousine left posturing—as most explicitly seen in a scene where advocates of gun rights are almost literally portrayed as Nazis. While the cast was up to the task, lesser roles appeared less like fully fleshed-out characters and more like stylistic exercises. The most characteristic example was Gillian Anderson, who, without particular reason, delivered impersonations of several 20th-century pop icons. Perhaps the higher-ups at Starz were aware of these issues; their insistence on reining in expenditure and bringing production under control ultimately forced Fuller and Green to abandon the project. The second season needed to take a different approach. Gods ultimately reached twilight with third season in 2021.

RATING: 5/10 (++)

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

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Movies act like or as a mirror. Sometimes, you see what you’re dealing with in movies. The ups and downs in movies is just the same thing that we go through in life as well. I watched Rain Man a few months back and I enjoyed watching the movie. I can’t lie about the fact that it’s a movie with a short storyline but too much in the sense that it is longer and should have been cut short.

Rain Man is an American comedy movie that shows the life of two brothers who were distant for years but eventually reconnected and embrace each other.

It’s all about Charlie, a car dealer whose cars got stuck as they fail to pass emission tests but his impatient customers want to get the cars right away and he also needs to repay the loan which he took to buy the cars.

After he learned about the death of his father, he and his girlfriend travels over to Cincinnati but inherits rosebushes and Buick Roadmaster. Then, there was a $3 million balance that was traced to a local mental institution where he met his brother, Raymond after a long time. Raymond suffers from what they call “superb recall”.

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Charlie then tried to get custody of Raymond which didn’t work because of Dr. Bruner’s disapproval. And Raymond also refused to flying to Los Angeles, they drove there and with the ability to solve complex calculations, he and Charlie won $86,000 which was used to cover Charlie’s debts.

In the end, Raymond went back to the mental institution and Charlie promises to visit in two weeks.

This story can be a bit be compared about what my man and I are going through. He once got into debt by buying a car which a client had ordered for but didn’t get the full payment from the client. That’s how we got into debt that we are still paying till now. Truly, as they say, we see our lives in movies. We see what we go through in movies.

This movie influences me in a way or the other. So many people have siblings like Raymond. Instead of sending them to places like a mental institution, take care of them and give them the love that they deserve. Just like when Charlie first met with Raymond in the mental institution, he treated him bad that his girlfriend, Susanna had to travel back and left Charlie behind. Being challenged is not bad. Take care of them if you have one and you will find out how amazing you are just like Charlie found out the exceptional skill of Raymond.

Even though it’s interesting, it’s a movie that is too much. This is a kind if movie that can be done for about a hour and thirty minutes, maximum time but it lasted for over two hours.

I think what I love about the movie is the comedy aspect of it. It has an interesting story already but the comedy which was used to back it all up says so much about it and the comedy was what took more part of the movie.

I think the comedy aspect is what didn’t make us realize how much the movie is. Till you are done watching it, you may not realize how much time you have wasted or spent watching the movie.

I know it’s a too much movie but you will definitely have a great time watching it. I can rate it 8.5/10.

Watch and enjoy!

I had my hopes up for this Superman reboot, after all James Gunn has made some amazing movies and bringing him into the DC universe seemed like the perfect match but after watching Superman 2025 I felt more confused than excited about what I just witnessed. The movie starts off strong with Superman already three years into his superhero career, which I actually appreciated since we didn't have to sit through another origin story but this decision also created some problems that haunted the entire movie in my opinion. David Corenswet looks perfect as Superman, he has the jawline, the build, the wholesome American charm that makes you believe he could be the Man of Steel but somehow his performance never quite reaches the level of commanding presence you expect from Earth's greatest protector, I mean this guy felt more like an activist rather than the invincible hero, spend more of the time getting beat up badly. Rachel Brosnahan does well as Lois Lane and their chemistry works, specially during the small fights they have as a couple, they feel like a real couple who have been together for a while, which is refreshing compared to other superhero movies where romance feels forced but the problem is we never get to see how they fell in love or what makes their relationship special, how she find out he was Superman and when did he told her neither. The movie itself is a beauty with all the visual spectacle, the bright colors pop off the screen in ways that make you feel like you are reading a comic book come to life, the costume design is fantastic and Metropolis looks like a real city where superheroes would exist but all these technical achievements can't mask the fundamental storytelling issues that drag the whole movie down.

• IMDB: https://www.imdb.com/title/tt5950044/

Rottentomatoes Rating

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What bothered me most about this movie was how weak Superman felt throughout the entire thing, he is supposed to be the most powerful being on Earth but he spends most of his screen time getting beaten up by various villains who shouldn't even be able to touch him, its like they downgrade him on purpose. The opening scene shows him already defeated and bloodied in Antarctica, which sets a tone that never really changes, he was constantly struggling and needing help from other heroes who seem more competent than he does, both using their powers and even smarter than him. Mr Terrific steals every scene when I honestly thought would be the weakest of them all but them that guy has a brain and powers, he feels more like the main character than Superman himself, he was the one solving problems, making the smart decisions and generally being more heroic than the actual hero of the movie, he was even with Lois during the hole time so all he had to do was ask her out and Superman was done done. Nicholas Hoult does a great job as Lex Luthor although lets be honest he doesnt beat Jesse Eisenberg as Lex Luthor in Justice League, did have that manic energy that makes him hateable in all ways possible, his plan to frame Superman as a threat so he can profit from military contracts is clever and feels grounded in real world politics, a page taken by Iron Man in a way, but even Lex seems to have Superman figured out in ways that make our hero look incompetent rather than noble. Guy Gardner brings some comic relief as the obnoxious Green Lantern from the comics, Nathan Fillion nails the character's arrogant personality perfectly but like most of the Justice Gang members he feels underutilized and more like a cameo than an actual character. The movie tries to juggle so many different characters and plot threads that none of them get the development they deserve, leaving you wanting more of some characters while questioning why others were even included and even made me feel lost at times like whats next? because it does felt like I had no clue where the movie was going next.

The pacing of the movie feels rushed in all the wrong places and slow in others, we jump from scene to scene without letting emotional moments breathe or giving us time to understand whats actually at risk. The relationship between Superman and his adoptive parents feels surface level, we see them for maybe ten minutes total and they come across as simple farmer who don't really understand their son's world but still loves him very much, which could have been interesting if the movie had explored this characters more but I can understand they wanted to jump in to the Superman of now rather how everything started. The political subplot involving the fictional war between Boravia and another country feels heavy handed, the imagery clearly references real world conflicts but the movie doesn't really have anything meaningful to say about war or Superman's role in global politics beyond "killing civilians is bad" thats it. Krypto the dog is cute and will probably sell a lot of toys but his presence feels more like a marketing decision than a story choice, although we can also argue that he most likely belong to another movie after all Krypto is Supergirl dog seems, he shows up to save Superman when needed and disappears when convenient. The fortress of solitude looks amazing but serves mainly as a place for Superman to go when he's hurt, which happens way too often for my liking, I want to see Superman win fights not constantly need healing and backup, is this Batman movie?.

James Gunn clearly understands the comic book source material and isn't afraid to embrace the weirdness that makes Superman stories special, the pocket dimension sequence and kaiju fight show he is willing to go full comic book in ways that other directors might not as to stick more traditional to the Man of Steell we all have known for many years, that can be good and bad depending who the majority of your audience is. The problem is that understanding the source material and translating it effectively to screen are two different things, this movie feels like someone read a bunch of Superman comics and decided to adapt all of them at once without focusing on what makes any individual story work. The humor hits sometimes but misses just as often, Superman's "golly gee" personality can be charming but it also makes him feel immature in ways that undercut his authority as a leader and protector, even Lois felt had more authority over everyone else including Superman. The action sequences look good but they are shot in a way that makes everything feel chaotic, almost like you know Superman is going to get beat up every time, the camera moves around too much during fight scenes and you lose track of what's happening, which is frustrating when Superman is supposed to be graceful and precise in his movements. Lex Luthor's motivation makes sense but feels over the top, especially when he fights Superman it feels like they playing Playstation throwing combos a Superman, he's so obviously evil that it becomes cartoonish rather than menacing, I want a Lex Luthor who could convince people he was right even when he is wrong.

I found myself thinking about all the missed opportunities this movie had, there was clearly passion and effort behind every it but never comes together into something greater than the sum of a couple of cool scenes. The biggest problem is that Superman never feels like Superman, he was too weak, too unsure of himself, too dependent on others to be the inspiring figure this character should be, I wanted to feel like the good times of DCU heroes, ngl some of the Wonder Woman and The Batman, those make you fell excited about being a good person but instead I felt frustrated that they made the Man of Steel feel so small. The movie sets up a larger DC universe and introduces characters who will probably get their own movies but it doesn't make me particularly excited to see more of this version of these characters, especially if Superman continues to be overshadowed by everyone around him. David Corenswet has the potential to be a great Superman but the script doesn't give him enough moments to really shine, to really feel like he got a single fight under control, he is likeable but never gets to be truly heroic, there was just the single guy rooting for Superman as a hard core fan and gets shot, WTF!!. The visual effects are solid and the production values are high, but technical competence can't replace good storytelling and character development, this movie looks like a Superman movie but doesn't feel like one where it counts. I give Superman 2025 a barely 7 out of 10, it's not terrible but it's not the Superman movie many of us wanted after waiting so long, maybe the sequel will give us a Superman who actually feels super instead of just wearing the costume.

#skiptvads, #inleo, #hive, #superman, #jamesgunn, #davidcorenswet, #reboot, #dcuniverse, #disappointed, #superhero, #review, #lexluthor, #rachelbrosnahan, #mrterrific, #krypto, #metropolis, #weak, #underwhelming, #comic, #justice, #loisklane, #nathanfillion, #nicholashoult, #pacing, #visuals, #storytelling, #mediocre, #potential

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Hey Hive friends and cinema fans! ‎ ‎I will talk about the 2014 science fiction film "The Maze Runner" that has become one of my favorite movies.

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I watched this before with my family — our first family movie date. ‎ ‎Watching this in the theater with the lights dimmed is so exciting. ‎ ‎And I'm sharing it with you too. I hope you'll enjoy it. 🌷 ‎ ‎One thing I love about this film is the suspenseful plot.

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I love movies with intriguing mystery elements, and "The Maze Runner" just successfully builds that tension and keeps me guessing until the final reveal. ‎ ‎This film was directed by Wes Ball, based on the novel by James Dashner. ‎ ‎The main cast are Dylan O'Brien, Kaya Scodelario, and Thomas Brodie-Sangster, who deliver a compelling performance.

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The story started, when Thomas, played by Dylan O'Brien, awakens in a mysterious maze called the Glade with no memory of his past.

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He joins a group of boys who are trying to find a way out while uncovering the secrets behind the Glade for years. ‎ ‎They are called "Gladers".

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That Glade is surrounded by a giant maze that changes every night.

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There they have formed their own rules and society. ‎ ‎While Thomas is adjusting his life in the Glade, he also starts to uncover secrets about the maze, as he becomes involved in the efforts to solve the mystery.

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A suspenseful journey of Thomas and the Gladers follows as they face dangers in the Maze and try to escape. ‎ ‎My love for mystery and suspense is so satisfied in this film. ‎ ‎The clever plot twists, the moments of tension, and the slow reveal of what lay behind the maze are like a puzzle I couldn't put down because every scene deepened my fascination. ‎ ‎Watching the story unfold, I admired how it kept me guessing. ‎ ‎All in all, this film perfectly matched my passion for uncovering secrets and unravelling mysteries. ‎ ‎It became one of my favorites, leaving me eagerly waiting for the next chapter (which is out now). ‎ ‎Of course, this leaves me with some lessons: ‎ ‎• that teamwork or working together is so effective in surviving and uncovering secrets about a situation ‎ ‎• that having courage is so important in facing the unknown dangers ‎ ‎• and lastly, that adjusting to new challenges and changing circumstances will help you survive. ‎ ‎Until my next movie... ‎ ‎Thanks for the visit! Have a lovely day. Buh-bye. 💗🌸