I’ve always wondered what it would feel like to be in real danger, the kind of situation where you desperately need someone to swoop in and save you. I have been in different kinds of danger, but not like that of being kidnapped. Now, don’t get me wrong, I’m not planning to get kidnapped anytime soon (God forbid 😂), but let’s be honest, our minds sometimes wander into these “what if” scenarios. I remember always thinking of scenarios where terrorists entered my class, and I had to save everyone, but I have grown now, and I wouldn't even want to encounter such an event. And here’s the fun part: if I had to choose one fictional character to come rescue me, who would it be? A bold hero or a clever villain, or maybe that one unpredictable character who doesn’t play by the rules? Their personality, their methods, even how far they’re willing to go, all of it would matter. After thinking of all of this, there is only one person I can think of right now, and that person is "John Wick."

Designed on Canva.

John Wick is a very popular anti hero and for many people who have seen the movie "John Wick" would understand that, if I am this man own, and I get kidnapped or injure, there is no length he wouldn't go to make sure I am rescue and for the kidnappers, I have nothing to say about that.

The reason I picked John Wick is because of his dedication to the cause; he is a man of focus and can never be easily distracted. There are many heroes and villains out there who, because of a little distraction and loss of focus, lost a lot of things, but when this man put his mind to something, he would make sure that thing was settled before doing anything else.

A man whose son killed John Wick's dog has one thing to say to his son after his son bragged that they have more men who can protect him, and besides, John Wick is just a man, so how will he get him? He said.

I can assure you that the stories you hear about this man, if nothing else, have been watered down.

Then went on to hug his son because he knew the kind of danger the son was in. Now, imagine John Wick was given the information to come rescue me, with such focus, I know that at the end of the day, none of the kidnappers will live to tell the story.

Then John Wick goes on and pull up a line like this when they ask him what he would need to come rescue me

Guns. Lots of guns.

I'll just be chilling with my kidnappers and be singing the song for them "Jerusalem on high My song and city is; My home whene'er I die, The center of my bliss."

"Oh, happy place! When shall I be, My God, with thee To see your face?"

I am sure, only a few of them would know the meaning, but I will be happy to sing them a crossing over to the afterlife song, because that's all I can give them at that time, based on my generous character. Although, they would be seeing God, they would be going straight to hell but one of them might confess his sin before John Wick do his job.

At the end of the day, the thought of being rescued by John Wick might sound extreme, but that’s exactly the point. In a world full of distractions, betrayals, and half-hearted commitments, my hero's relentless focus and loyalty stand out. He may not be the shining, noble superhero in a cape, but he is the man who will get the job done, no questions asked, no compromises made. If I ever found myself in the worst kind of danger, I wouldn’t want a hero who hesitates, I’d want a force of nature. And for me, that force has a name John Wick.

Thanks for reading. My name is Fashtioluwa.

The Buys (S01E03)

Airdate: June 16th 2002

Written by: David Simon Directed by: Peter Medak

Running Time: 55 minutes

David Simon’s unflinching dissection of Baltimore’s institutional failures reaches a critical juncture in The Buys, the third episode of The Wire. Simon continues his relentless project of painting law enforcement not as society’s noble bulwark, but as a fractured, self-serving entity that often mirrors the very drug-fuelled organised crime it purports to combat. Through a meticulously woven tapestry of internal disputes, calculated betrayals, and Machiavellian intrigues within the Baltimore Police Department (BPD), the episode starkly illustrates how the machinery of justice is frequently subverted by personal ambition and political expediency. Simultaneously, "The Buys" delivers television history by introducing one of the most iconic and enduring characters of early 21st-century screen: the enigmatic, whistle-haunting stick-up artist, Omar Little.

The narrative thrust emerges directly from the disastrous, impromptu raid on the Barksdale Organisation’s open-air drug market in the high-rises, depicted in the previous episode. That botched operation, which sparked a minor riot, cost a teenager his eye, and left three detectives under formal investigation by the Internal Investigation Division (IID), casts a long shadow. Deputy Commissioner Ervin Burrell orchestrates a tense meeting where Major Robert "Bobby" Reed (Tony D. Head), heading the IID probe, effectively agrees to quash the investigation into Detective Roland "Prez" Pryzbylewski’s brutal assault on a civilian. This concession, secured in exchange for Prez’s removal from active field duty to a strictly clerical role within Lieutenant Cedric Daniels’ nascent detail, is transparently a political favour to Stanislaus Valchek (Al Brown), the powerful Southeast District commander and Prez’s father-in-law. The compromise is less about justice and more about protecting Valchek’s influence and the department’s fragile facade, revealing how easily official misconduct is buried when powerful patrons demand it. Daniels’ reluctant agreement to retain Prez, albeit desk-bound, underscores his precarious position, forced to navigate treacherous political waters just to keep his fragile task force intact.

Compounding the task force’s woes, the investigation against the seemingly omnipotent Avon Barksdale grinds to a frustrating halt. Hindered not only by the perceived inadequacy of some assigned detectives and antiquated equipment but by the near-mythical status of Barksdale himself – a phantom with no criminal record and no known photograph – the unit flounders. It is here that the quietly observant veteran detective, Lester Freamon (Clarke Peters), emerges from the shadows. Acting on a nebulous tip, Freamon locates Barksdale’s photograph at a local boxing gym, a simple yet pivotal act demonstrating that institutional memory and street-level intuition, long dormant within the BPD, remain potent investigative tools. To gather actionable intelligence for a desperately needed warrant, Detective “Snot” Snydor prepares for an undercover buy in "The Pit," coached meticulously by the indelible Bubbles on how to convincingly mimic a "dope fiend." This operation, reluctantly greenlit by Daniels under intense pressure from superiors like William Rawls, sets the stage for the episode’s central, bitterly ironic action – a raid McNulty vehemently opposes as premature and reckless.

The bitter irony, however, lies in the revelation that Daniels’ task force is not the sole entity surveilling the Barksdale operation in The Pit. Unbeknownst to the police, a trio of meticulous stick-up artists, led by the chillingly charismatic Omar Little (Michael K. Williams), has also been observing. After days of patient reconnaissance, Omar and his crew strike just before the police raid commences, making off with a significant stash of drugs and cash. This sequence is The Wire’s genius in microcosm: the police, focused on their own bureaucratic imperatives and blind to the street’s complexities, are spectacularly outmanoeuvred by the very criminals they seek, while simultaneously missing the far more immediate threat operating in their blind spot.

McNulty’s pre-raid efforts to bolster the operation – borrowing microphones from his FBI contact Fitz – yield further unsettling revelations. He learns Daniels himself was once under suspicion of corruption due to unexplained assets, though the investigation was mysteriously dropped. More personally shattering is the discovery that Michael Santangelo (Michael Salconi), a former Homicide detective now assigned to Daniels' details, is actively spying for Rawls on McNulty, tasked with digging dirt. These disclosures compound the episode’s central thesis: suspicion and betrayal are endemic, permeating every level, with individuals like Santangelo weaponised as tools in internal power struggles, further eroding any sense of collective purpose.

The ensuing raid on The Pit, conducted under this cloud of deceit and incompetence, predictably collapses into farce and brutality. Thanks to the prior robbery by Omar, the police find little evidence, their frustration boiling over into violence as officers, including the usually professional Kima Greggs, rough up the young dealer Bodie Broadus after he assaults an officer. The police achieve nothing tangible, yet inflict further trauma, embodying the hollow, reactive cycle of enforcement Simon relentlessly critiques.

Directed by Peter Medak, a veteran of Homicide: Life on the Street, The Buys maintains the series’ signature gritty, documentary-like realism while expertly utilising its structure for profound character exposition. Kima’s sexuality, subtly established earlier, is discussed explicitly with McNulty, who is hilariously and tragically revealed as "the last man in Baltimore" to know – a moment highlighting his social obliviousness amidst professional intensity. McNulty’s raw admission of fault in his divorce that deprived him of two children, citing his own infidelity, adds crucial depth to his self-destructive charisma. This vulnerability spills over into his late-night visit to Assistant State Attorney Rhonda Pearlman (Deirdre Lovejoy), ostensibly to discuss "cloning pagers" for investigative purposes, which predictably culminates in the series’ first explicit sex scene – a transactional yet charged encounter underscoring McNulty’s use of sex as both escape and weapon.

Yet, the episode’s most resonant character moment belongs to D'Angelo Barksdale. While observing the dealers’ interactions in The Pit, D'Angelo articulates a startlingly pragmatic morality: violence against customers is counterproductive, as the resulting bodies and chaos are precisely what attract police scrutiny. Later, in a scene etched into television history, he uses a chessboard to elucidate the drug trade’s brutal hierarchy to his lieutenants. Comparing pawns to the expendable street-level dealers, knights to the enforcers, and the king to Avon, D'Angelo reveals a profound, tragic awareness of the system he’s trapped within. This isn’t mere exposition; it’s the thematic heart of The Wire – individuals recognising their dehumanising roles within a larger, inescapable game. D'Angelo’s chess lesson, delivered with weary wisdom, transcends the street corner, becoming a universal metaphor for power, sacrifice, and the illusion of agency within any rigid institution, whether criminal syndicate or police department. The Buys masterfully demonstrates that in Baltimore, as Simon portrays it, the lines between the enforcers of the law and the breakers of it are not just blurred, but often indistinguishable, with the true casualties lying in the human spirit ground down by the machine.

RATING: 7/10 (+++)

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

InLeo: https://inleo.io/signup?referral=drax.leo Leodex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9

I thought hard on how to make a review of this movie. Many times, I have seen people engage in conversations surrounding this movie and it does turn out to be a heated one. With some people on the side of Robert Gayle and others on the side of Melinda Moore Gayle.

I believe we know this movie I am talking about. It is titled Acrimony.

Movie Plot

Acrimony follows the story of a psychotic wife, Melinda Moore (Taraji P. Henson) who stalks her ex-husband, Robert Gayle (Lyriq Bent) and his fiancee, Diana Wells (Crystal Stewart) nearly killing them because she wanted what she believes was hers after she spent her whole life supporting him before he became successful.

My Take On The Movie

There are some that believe in the end justifying the means. It's funny and also crazy how Melinda is being painted as the villain while letting off her husband, Robert Gayle. I mean everything should be fine since Robert paid Melinda off at the end so he should no longer have any business with her. Is that right?

She Never Believed In His Dreams

It's hypocritical to say she never believed in his dreams. She did believe in him from the start. She was the reason why he even made it that far with his project. If she never supported him from the start, maybe there wouldn't have been a million-dollar project to begin with.

But the problem was that there's only so much one could take. She snapped when it became too much for her and she could no longer take it. The toll of working multiple jobs while her husband sits at home. Maybe it would have been easier if her husband, Robert had supported her from the start instead of leaving the whole financial burden to her.

She Shouldn't Have Allowed Her Family Come Between Them

She never listened to her family from the start when they told her not to marry him. He was the reason why they were able to get into her head.

She became the villain because she was a woman scorned. There's only too much one could take. She supported him for 18 years while Robert didn't support her. He sat on his ass working on his battery prototype while she took multiple jobs, feeding him, clothing him, housing him.

She probably should have licked her wounds and moved on with the money he gave her. But what about the time she wasted with him? How could she love another when all her life she had loved Robert Gayle?

She should have been patient

Yes, she probably should. I mean she had been patient from the start, so why not wait a little longer?

But It's easier to dish out advice when we are not in her shoes. How would she have known how long she needed to wait more. How long is long enough?

Melinda Is Psychotic But Robert Is A Big Manipulator

I think Robert never loved her. He only loved what he could get from her, which was her money. She sold everything she had and poured it into him while he made promises.

I agree that she took it too far when she found out that another woman is now living her life. The life he promised her from the start. The same woman, Diana Wells, whom he cheated with that caused Melinda to become enraged to the point of ramming her car into his which caused an accident that rendered her infertile.

The mistake she made was not seeing Robert for the manipulator he was. He claimed to love her but took advantage of her when he slept with her after her mother's funeral. He claimed to love her but cheated on her afterwards. He claimed to love her but watched while she toiled day and night to feed and provide for them.

Look at how easy it was for him to move on? He was engaged to another woman while she was left with what? A check and flowers?

I think one of the important lessons here is that sometimes, it's best people don't start what they can't finish because when it doesn't turn out the way they want, it breeds anger, hatred and resentment.

Acrimony is a movie worth watching. Taraji P. Henson, an exceptional actress, performed her role perfectly.

Try watching this movie if you are yet to do so. I am giving it a rating of 8/10.

Movie Trailer;

This trailer us gotten from #Youtube

Image Source : _{Rotten Tomatoes}

Posted using CineTV

What’s your take on Mad Max: Fury Road? Did the nonstop action win you over, or did the storyline leave you unsatisfied like it did for me? Share your perspective, I''d love to hear different views on this one.

Official Trailer👇

Hello hivers, warm greetings. Today I have decided to participate. Every post I've read has inspired me, and thanks to that, I dare to modestly offer some criteria or considerations about a film that has marked a before and after in me.

I no longer see a cornfield, a small and timid dust storm, or a clock with skipping hands the same way. You can't imagine how many things go through my head if a book falls to the floor from a bookcase for no apparent reason; it's quite disconcerting.

And so, dear friends, without further ado, I offer you my amateur considerations on this film.

SensaCinehttps://es.web.img3.acsta.net/r_512_288/img/df/f8/dff81d3bb820abb51ce32c05e28cd0c3.jpg

Directed by Christopher Nolan and with a screenplay co-written with his brother Jonathan Nolan, Interstellar is a cinematic epic that aspires to be everything: a survival thriller, an intimate family drama, a lesson in theoretical physics, and a philosophical meditation on love and time. The result is a monumental film (in my opinion and that of many), visually sublime and emotionally powerful.

The film depicts a dystopian future where Earth is dying, decimated by plagues and dust storms that annihilate crops. A former engineer and pilot, "Cooper" (Matthew McConaughey), is recruited for a desperate mission. He must pilot the Endurance spacecraft through a wormhole near Saturn in search of a new home for humanity. The mission forces him to leave behind his young daughter, Murph, with a promise to return, unaware that the effects of relativity will mean that time passes much more quickly for her.

Along with theoretical physicist Kip Thorne as a consultant, Nolan creates one of the most spectacular and credible representations of space ever filmed. The wormhole is a hypnotic sphere, the planet with the giant wave is terrifying and sublime, and the black hole Gargantua is a masterpiece of light and gravity, whose visualization even generated scientific papers. The Endurance spacecraft is functional and believable, and the silences of space are respected, creating a feeling of solitude and vastness without equal.

Matthew McConaughey's solid performance brings his characteristic charisma and vulnerability, anchoring the film in a very human emotion. His scene watching his children's messages after years of time dilation is heartbreaking. Jessica Chastain is also there, as the adult Murph, conveying a palpable rage, intelligence, and sadness. Michael Caine and Anne Hathaway also deliver notable performances, full of conviction and conflict; at least I couldn't expect anything less from them.

Hans Zimmer's soundtrack creates an organic score based on church organ and clocks, which is both intimate and colossal. It accompanies the action and defines it, generating constant tension, a sense of urgency and awe, making it, in a way, another character in the film.

At the heart of this story of spaceships and black holes lies a father-daughter drama of brutal force. The premise that love can transcend the dimensions of space and time—something that has been said to the point of exhaustion and that critics call cheesy—is the emotional engine that keeps the viewer hooked (it did with me). Cooper's broken promise and Murph's anger are the true conflict of the film.

The film takes a radical and audacious turn in its final act. The decision to materialize abstract concepts like love and turn the "tesseract" (the 5th-dimensional library) into a literal and tangible solution is where Interstellar divides its audience. For some, it is a poetic ending consistent with its themes. For others, it is a deus ex machina that abandons the rigorous science it so preached for a forced mysticism that resolves all problems almost magically. For me, it's a bit of both, which I tolerate very well, with all due respect to professional critics.

Some complain that Nolan sometimes distrusts his audience. The dialogue, especially from the robot TARS (though charismatic), often explains scientific ("It's relativity!") or philosophical concepts in a very direct way, sometimes breaking subtlety and the "show, don't tell" rule. The same happens with Anne Hathaway's monologue about love as a quantifiable force—it's the clearest example: a moment intended to be profound but which for many comes off as incredibly clumsy and forced.

And so it goes with Matt Damon's character, Dr. Mann. He introduces a vital human conflict (the survival instinct), but it is all resolved somewhat abruptly and melodramatically, feeling more like an obstacle than a deep exploration.

And so, dear friends, I definitively conclude that Interstellar is a magnificent work for some, a magnificent failed work for others. It is a film that is not afraid to aim for the stars, literally, and although it doesn't hit every target, the mere fact of trying with so much ambition, resources, and heart makes it an essential cinematic experience.

It is not a perfect film, but it is indispensable. Its visual grandeur, powerful soundtrack, and emotional dramatic core are strong enough to forgive whatever is "not so good." It is a film that you feel, see, and hear in the theater seat, one that invites you to dream big and look upwards, reminding us that the greatest driving force, for better or worse, may be the love we leave behind.

It is the kind of film that generates debate, and that is perhaps one of its greatest achievements: it leaves no one indifferent.

I am a Doctor of Microbiology, a lover of nature, literature, music, cooking, and life itself. A staunch defender of family and children.The texts are written by me without the use of AI. Banners created on Adobe Fireworks courtesy of @azufrecs. Thank you for visiting my blog.*

Imágenes de SensaCine.

VERSIÓN EN ESPAÑOL.

Hola hivers, un saludo afectuoso. Hoy he decidido participar, me ha inspirado cada uno de los post que he leído y gracias a eso me atrevo a dar de manera modesta algunos criterios o consideraciones sobre un filme que ha marcado un antes y un después en mi.

Ya no veo igual un sembrado de maíz, una pequeña y tímida tormenta de polvo, un reloj con las agujas saltonas. No se imaginan cuantas cosas pasan por mi cabeza si cae un libro al suelo desde un librero sin causa aparente, es algo desconcertante.

Y así, queridos amigos sin más dilación les ofrezco mis consideraciones amateurs sobre esta película.

Dirigida por Christopher Nolan y con un guion coescrito junto a su hermano Jonathan Nolan, Interstellar es una epopeya cinematográfica que aspira a serlo todo: un thriller de supervivencia, un drama familiar íntimo, una lección de física teórica y una meditación filosófica sobre el amor y el tiempo. El resultado es una película descomunal ( a mi criterio y el de muchos), visualmente sublime y emocionalmente poderosa.

El filme muestra un futuro distópico donde la Tierra se muere, diezmada por plagas y tormentas de polvo que aniquilan las cosechas. Un exingeniero y piloto, "Cooper" (Matthew McConaughey) es reclutado para una misión desesperada. Debe pilotar la nave Endurance a través de un agujero de gusano cerca de Saturno en busca de un nuevo hogar para la humanidad. La misión le obliga a dejar atrás a su joven hija, Murph, con la promesa de volver, sin saber que los efectos de la relatividad harán que, para ella, el tiempo pase mucho más

Junto con el físico teórico Kip Thorne, como consultor, Nolan crea una de las representaciones más espectaculares y creíbles del espacio jamás filmadas. El agujero de gusano es una esfera hipnótica, el planeta de la ola gigante es aterrador y sublime, y el agujero negro Gargantúa es una obra maestra de luz y gravedad, cuya visualización incluso generó artículos científicos. La nave Endurance es funcional y creíble, y los silencios del espacio se respetan, creando una sensación de soledad y vastedad incomparables.

La interpretación sólida de Matthew McConaughey aporta su carisma y vulnerabilidad característicos, anclando la película en una emotividad muy humana. Su escena al ver los mensajes de sus hijos, tras años de dilatación temporal, es desgarradora. Tambien está Jessica Chastain, como la adulta Murph que transmite una rabia, una inteligencia y una tristeza palpables. Michael Caine y Anne Hathaway también ofrecen actuaciones notables, cargadas de convicción y conflicto al menos yo, no podía esperar otra cosa de ellos.

La Banda Sonora de Hans Zimmer crea una partitura orgánica basada en órgano de iglesia y relojes, que es a la vez íntima y colosal. Acompaña la acción y la define, generando una tensión constante, una sensación de urgencia y asombro, lo que la hace de alguna manera un personaje más en la película.

En el corazón de esta historia de naves espaciales y agujeros negros late un drama padre-hija de una fuerza brutal. La premisa de que el amor puede trascender las dimensiones del espacio y el tiempo, algo que ha sido dicho hasta el cansancio y la crítica exprese que lo hace de forma cursi, es el motor emocional que mantiene al espectador enganchado (lo hizo conmigo). La promesa rota de Cooper y la ira de Murph son el verdadero conflicto de la película.

La película da un giro radical y audaz en su acto final. La decisión de materializar conceptos abstractos como el amor y convertir el "teseracto" (la biblioteca de 5ª dimensión) en una solución literal y tangible, es donde Interstellar divide a su audiencia. Para algunos, es un final poético y coherente con sus temas. Para otros, es un deus ex machina que abandona la ciencia rigurosa que tanto predicó por un misticismo forzado que resuelve todos los problemas de forma casi mágica. Para mi es un poco de los dos que tolero muy bien, con el perdón de la crítica especializada.

Algunos se quejan de que Nolan a veces desconfía de su audiencia. Los diálogos, especialmente los del robot TARS (aunque carismático), a menudo explican conceptos científicos ("¡Es la relatividad!") o filosóficos de una manera muy directa, rompiendo a veces la sutileza y el "show, don't tell". Tambien sucede con el monólogo de Anne Hathaway sobre el amor como una fuerza cuantificable es el ejemplo más claro: un momento que pretende ser profundo pero que para muchos resulta increíblemente torpe y forzado.

Y así acontece con el personaje de Matt Damon, el Dr. Mann, introduce un conflicto humano vital (el instinto de supervivencia), pero todo se resuelve de forma un tanto abrupta y melodramática, sintiéndose como un obstáculo más que como una exploración profunda.

Y así queridos amigos yo concluyo definitivamente que Interstellar es una obra magnífica para algunos obra fallida magnífica. Es un film que no tiene miedo a apuntar a las estrellas, literalmente, y aunque no acierta en todos sus disparos, el simple hecho de intentarlo con tanta ambición, recursos y corazón la convierte en una experiencia cinematográfica esencial.

No es una película perfecta, pero sí es imprescindible. Su grandeza visual, su poderosa banda sonora y su emotivo núcleo dramático son lo suficientemente fuertes como para perdonar lo que esté "tan bien". Es una película que se siente, se ve y se escucha en la butaca, una que invita a soñar a lo grande y a mirar hacia arriba, recordándonos que la mayor fuerza impulsora, para bien o para mal, puede ser el amor que dejamos atrás.

Es el tipo de película que genera debate, y ese es quizás uno de sus mayores logros: no deja indiferente a nadie.

Soy Médico Microbióloga, amante de la naturaleza, las letras, la música, la cocina y la vida en sí.Férrea defensora de la familia y los niños. Los textos son creados por mi, sin uso de IA. Banners creados en Adobe Fireworks por cortesía de @azufrecs. Gracias por entrar a mi blog.

I was delighted when I found out that the Alien franchise was going to get a series. Not just a series, but a prequel to the original film from 1979 I believe it was, that made the world scream in terror at the presence of a truly terrifying other-world invader parasite.

The brilliance of the original film was that it was, well, completely original in many ways. I think that it is always tough to build on a beloved older film because obviously, our film-making technology has advanced just a tad since the original film was made in the late 70's

For the most part I think they do a damn good job of not surpassing the technology that is originally introduced in the original film, but at the same time there are some thing that happen in Alien Earth that are dangerously close to making the original film not make sense in the context of the timeline. This is something that is always dangerous with prequels and I suspect that the people making this series are not really all that concerned with ruining the timeline. I mean why would they? Entertainment these days seems to be rather dead-set on ruining the legacy of a lot of the classics.

Anyway, lets get on with my rant about why I am not hopeful about this series outside of a pure entertainment point of view filled with visual spectacles.

Mild spoilers ahead, be warned!

If you have never seen the original film or even the second one, Aliens which I think is the best one of all of them, what I am about to say might not be all that meaningful to you but I'll basically point out something that is very important: The human species in both of those films are completely unfamiliar with the Xenomorphs. They know NOTHING about them. In the first film nobody knows anything at all about them and that is what makes combating them so damn difficult. This becomes even more evident in the 2nd one where only one person in the crew, Ripley (Sigourney Weaver) has any idea what to expect from this new species and even her knowledge is extremely limited.

In Alien Earth, we are first thrust into the story aboard the USCSS Maginot , where the crew has been on a 65 year mission to specifically retrieve alien specimens and one of them is the famous "face-huggers" that create Xenomorphs inside of human bodies.

on board this research vessel, they have many samples of face-huggers as well as other extra-terrestrial species and they (the crew) already seem to have a pretty good knowledge of how they function and what makes them dangerous. They are not researching on them (or so it appears) on the ship itself and this doesn't make sense for a lot of reasons especially since we are told repeatedly in all the Alien films that a return to earth with any other-worldly items or species would be completely forbidden. Not only do they seem to be heading towards Earth to drop off these species with zero issues with customs, but they also seem blissfully unconcerned about the danger of doing so. They also communicate with Earth command on a regular basis before things go horribly awry as we always knew that it would.

This single thing, in episode one of this series, completely negates all the shock and awe horror that happens in the first two films that are set years AFTER this research vessel has collected the species.

As the episode goes on, the juvenile alien has grown up to a full fledged Xenomorph killing machine which is completely normal based on what we know from all the films including the first one since it has been well-established they "grow up" very rapidly. But since a lot of people witness this it would have made humanity very aware of the existence of the species, and how dangerous it is and again, negating everything that happens in the already existing films other than Prometheus.

I like the way that this is done. It is shown that the humans are sitting ducks like we would expect them to be in a contained environment like a spacecraft and I feel as though it is well-executed. The secret plot to get the specimen to earth is nothing new as that is the plan in most of the other films as well, but the problem I have with all of this is that it takes place BEFORE the timeline that shows humanity ever having contact with the Xenomorphs.

If they had simply not put it in the timeline before the original film, I would have no issue with it, but by putting it where they did in the timeline, they essentially destroy the entire timeline. There's a word for this, it is called "retconned" and it stands for "retroactive continuity"

a literary device in fictional story telling whereby facts and events established through the narrative itself are adjusted, ignored, supplemented, or contradicted by a subsequently published work that recontextualizes or breaks continuity with the former.

that nerdy enough for you? Well it makes me angry but well, this is Disney we are dealing with here (Disney owns Hulu and therefore FX) and if Disney has shown us anything over the past decade, they don't AF in the slightest sense about what they destroy with the things they produce.

We are presented on screen with an interesting story that could go on for a while about a corporate war that has 3 types of non-human but human looking entities: Cyborgs (altered humans), Synthetics (nonhuman AI entities), and Synths that have human consciousness downloaded into them.

This is actually something I am very interested in but yet again, it breaks the timeline of the original film since this tech was in relative infancy in the original film.

I do like the story, which appears to the the main focal point up to now about the Hybrids.

let me see if i can out-nerd you here with why it is that while I like the hybrids, I have a problem with them: They are too OP. Unlike the synths that we have seen in prior films, the hybrids are immensely strong and seemingly immune to damage. This is shown early on when "Wendy" jumps something crazy like 100 meters off of a cliff face and then lands with zero fall damage. Again, this is all fine and dandy but not when you place it a few years before the original Alien film where synthetics don't have any major advantages over humans other than not feeling pain.

We are being set up for an Alien vs Predator sort of situation but honestly, based on what we have seen so far of the hybrids, and what we already know about the Xenomorphs, the Xenomorphs wouldn't stand a chance against these things but I would imagine that Disney is planning on retconning that as well.

You will find out when you watch this (and I think you should) that there is definitely a Peter Pan sort of theme going on here and hence, the name of one of the main characters being "Wendy." However, we are shown clips from the actual Peter Pan animated feature somewhat regularly as well as Ice Age for some reason. Now don't get me wrong, I like both of these things but I have a difficult time believing that they would be culturally relevant in the year 2120, especially Ice Age whose association with what is going on with the film hasn't yet been established.

tl;dr

This series is in fact, good. It is a visual spectacle and has a lot going on in the story that is very interesting. The problem is that instead of making it its own thing taking place many years after events we have already seen in the original films, they instead plop it in front of the original Alien film in the timeline. This reason alone is something that just makes me really irritated since as you will see, putting them into the timeline completely negates all events that took place in all of the films. They didn't have to do this, so why did they? Is Disney just trying to destroy franchise timelines?

Despite my obvious nerdy gripes above, I still think you should watch this. Just know that if you are a fan of the films and prefer that timelines remain intact and respected, that you are going to get a bit annoyed at what happens.

If you wish to disagree with me or out-nerd me, I encourage you to do so. Educate me on why I am wrong

You can legally watch this show on Disney+, Hulu, and FX.

It took me some time to watch Better Man after it hit theaters because honestly I felt it was too much for me at the moment, there was so much hype around it that made me cringe and then my expectations would be too high and honestly I wasnt expecting much from another music biopic, specially one about Robbie Williams who I never really cared about growing up but this movie completly suprised me. The whole CGI monkey thing sounds ridiculous on paper, like some weird marketing gimmick that would ruin the entire experience but somehow it actually works and makes the story feel more real than most traditional biopics I have watched recently after all is one of those highly unlikely type of movie to succed. Michael Gracie who directed The Greatest Showman decided to take this massive creative risk, having Williams do the chimpanzee throughout the entire movie because thats how he sees himself, as this performing monkey dancing for everyone elses entertainment, yeah that sounds like a bit of twisted idea but lets not get dark here. The movie starts with young Robbie in working class Stoke on Trent, dealing with a father who abandons the family to chase his own failed dreams of stardom, leaving behind this conflicted message that you either make it big or your nobody, which messes with the kids head from day one. His relationship with his grandmother becomes the emotional center of the early scenes, shes this sweet supportive woman who believes in him no matter what and Alison Steadman just nails this role perfectly, you can feel the love between them. When Robbies dad Peter comes back into the picture after hearing about Take That success, it creates this painful dynamic where the kid is desperate for approval from someone who only shows up when theres something in it for him, Steve Pemberton plays the father as this selfish dreamer who never really grew up himself.

• IMDB: https://www.imdb.com/title/tt14260836/
• Platform: Paramount+

Rottentomatoes Rating

Source

The Take That years get handled really well here, showing how five teenagers suddenly become this massive phenomenon without really understanding what hit them, Gary Barlow describe as the talented songwriter who gets most of the creative control and money while Robbie feels like an side wing even though he was the one with all the charisma and stage presence, the showman giving it all but not getting back as much from the group. From the idea that Robbie Williams is showing as the character he identified himself with you arlready know the movie is kindas dark and shows that same side from thast boy band life, all the gay clubs they performed at before finding their female audience, the pressure from management and how Robbie started using drugs and alcohol to cope with feeling like he didnt belong anywhere, I can only imagine how frustrating must be for as guy of his age at that time, because of this and other personal reasons they finally kick him out of the band, you can see how devastating it is for someone whose entire identity was built around being part of this group but also how it becomes the push he needs to prove everyone wrong about his talent, potentially and most specially how he can be better than the boy band, just by himself all alone as a solo guy. The CGI monkey works especially well during these emotional moments because it lets you see vulnerability that might feel too raw with a human actor, basically they could shape those emotions they way they wanted so not heavy acting was needed, when Robbie breaks down after leaving Take That, the ape face somehow makes it more universal and heartbreaking at the same time.

His solo career brings new success but also bigger problems, the movie shows how fame at that level is basically impossible to handle without serious support systems and Robbies addiction issues spiral completely out of control, it has to be a team effor trying to control a young talent so he doesnt go off rails, we talking millions into the pocket of someone who have never expirience such fame and money with a very dark background, parents and mentors is not enough. The relationship with Nicole Appleton from All Saints gets a great exploration at the same time showing how two people struggling with their own demons try to find love but ultimately cant save each other from themselves, especially when her management forces her to terminate their pregnancy which sends Robbie even deeper into drugs and self destruction. The way they handle his suicide attempts feels no sugar coat but also without being exploitative, using that underwater sequence where hes literally drowning while fans take pictures instead of helping him, its a perfect metaphor for how isolating fame can be even when your surrounded by people. There is this aspect of the movie that I actually enjoy and they kinda put down a bit the hole musical thing, although it was inevitable, it was the recovery journey of Robbie that becomes about learning to forgive himself and others, particularly his father who shows up again once Robbie becomes successful as a solo artist, leading to this complicated relationship where love and resentment get all tangled up together and thats just natural human nature. The movie ends with this beautiful moment where Robbie brings his dad on stage to sing My Way together, finally giving the old man the spotlight he always wanted while also showing that Robbies grown enough to share his success instead of hoarding it thats the real reward.

What really makes this movie special is how creative the musical numbers are and most of the time fkn hilarious at how convinient they might be like the time they singing "Rock Dj" and you got this five old lady show up in electic scooters, the constant wardrobe changes, they use these elaborate sequences to show different periods of Robbies life, Rock DJ scene in Regent Street that took forever to film but looks absolutely incredible, with hundreds of dancers and this amazing one shot feel that makes you forget your watching a biopic, Im not a musical guy but damn it felt just like a music video back in the day from MTv. The Angels was a bit different when you understand its about his relationship with his grandma and dealing with grief, suddenly this song everyone knows becomes something way more personal and meaningful. The movie also does this thing where Robbies inner demons literally appear as other versions of himself throughout the concerts, showing how self doubt and negative self talk can take over your brain even when thousands of people are screaming your name. The production design is fantastic too, every era feels very realistic to their own time from the 90s boy band costumes to the early 2000s solo artist looks, and the monkey CGI although you know it is and it does look fake I dont know why for some reason it doesnt feel distracting, its probably because before hand you know its just a metaphor and not that they trying to bring a monkey to life, it actually enhances the emotional side of every scene, they do capture Williams mannerisms and energy so perfectly that you forget theres a real person under all that digital fur.

Better Man succeeds where most music biopics fail, and not just musicals but over all biocpics such a hard type of movie to pull of considering the history of the character but because they go through the music collection that Robbie has it identify with every X amount of years that go by in between, also because it focuses on the human story instead of just hitting all the greatest hits, also the familiar songsare used to tell us something deeper about Williams as a person rather than just recreating concert footage. The movie is brutally honest about addiction, family dysfunction and the price of fame without ever feeling like its lecturing you or trying to make excuses for bad behavior. Robbie Williams involvement in the project clearly helped because this feels like his actual story rather than some sanitized Hollywood version, all the mess and contradictions are still there. The supporting cast does excellent work especially the women in Robbies life who all bring different energy to their roles, from his supportive mother to his complicated romantic relationships to his beloved grandmother who anchors his emotional world. For a biopic is not so short movie at all with 2 hours and 15 minutes it never feels too long because every scene serves the larger story, even the quieter moments between the big musical numbers help build this complete picture of someone struggling to figure out who he is underneath all the fame and expectation. This is definitely one of the better music biopics in recent years, it takes real risks with the monkey concept and somehow makes it work, creating something that feels both familiar and completely original at the same time, when was the last time in a biopic the main character gets describe either through another person or in this case a monkey, totally recomend it even if your not a Robbie Williams fan or a musical fan, you going to have a lot of fun and laugh.

#skiptvads, #inleo, #hive, #robbie, #williams, #biopic, #monkey, #cgi, #takethat, #addiction, #music, #recovery, #fame, #family, #angels, #performance, #manchester, #gracie, #musical, #honest, #creative, #emotional, #nan, #father, #solo, #career, #demons, #redemption

Posted Using INLEO

Times have changed, and today it’s hard to imagine anyone selling a kidney to secure a tent spot outside the cinema just to be first in line for the premiere of a new Star Wars film. Today, such a film is viewed much like any other major Hollywood blockbuster, and it seems increasingly likely that genuine excitement within geek circles would now be sparked more by a new Marvel or even DC Universe release than by another Star Wars instalment. This shift is largely due to Disney acquiring the franchise from George Lucas, meaning the new Star Wars films must be viewed within the context of industrially produced film series where accounting imperatives and playing it safe to appease the broadest audience take precedence over any artistic vision or originality. This isn’t necessarily a bad thing, as evidenced by The Force Awakens, the first part of the new post-Lucas trilogy, in which producer and director J.J. Abrams played it safe by largely repeating the formula of the original 1970s trilogy, thereby avoiding the pitfalls that ruined Lucas’s prequels. However, for the second instalment of this new trilogy, Disney inexplicably opted for a radically different approach. Rian Johnson, a name highly regarded among sci-fi fans for Looper, was chosen to direct The Last Jedi. Disney entrusted him not only with directing but also with writing the screenplay—an unusual degree of creative freedom for a project meant to be a commercial safe bet for a faceless, middle-of-the-road corporation. This, along with inevitable comparisons to The Empire Strikes Back, often cited as the best film in the saga, set exceptionally high expectations, which experience and common sense suggest were unlikely to be met.

The plot begins almost at the same moment where the first film ended: the First Order, the organisation representing the successors of the infamous Empire, continues to consolidate power across the galaxy, with the Resistance—the rebel army striving to restore the Republic—as its only obstacle. Rey (Daisy Ridley), a young woman who joined the Resistance, has come to the planet Ahch-To to persuade Luke Skywalker (Mark Hamill), the legendary Jedi Knight who defeated the Empire thirty years ago, to rejoin the fight. To her dismay, Skywalker, who has been hiding there for six years, shows no enthusiasm for returning to action or training Rey, who possesses the Force, in Jedi arts. Meanwhile, Rey’s comrades, led by Skywalker’s sister, General Leia Organa (Carrie Fisher), face far greater challenges, as they are pursued by the First Order’s fleet commanded by Kylo Ren (Adam Driver), Leia’s son and Skywalker’s former apprentice who has embraced the dark side. The tiny rebel fleet manages to retreat from its base at great cost, but the First Order tracks them relentlessly, seemingly having mastered the technology to follow ships through hyperspace. A desperate chase ensues, with the rebels’ dwindling fuel reserves pointing toward only one possible outcome. A group of rebel fighters, including Finn (David Boyega), Poe Dameron (Oscar Isaac), and mechanic Rose Tico (Kellie Marie Tran), decide on a desperate plan to infiltrate the First Order’s command ship and sabotage the tracking device. To do so, they need a code-breaking expert, believed to be found on the gambling planet Canto Bight.

Johnson’s strongest reference point while creating this film was clearly The Empire Strikes Back, widely considered the boldest and finest entry in the saga—a film where childish hero fantasy gives way to something closer to real life, a darker and far more serious story where good guys get beaten up and the routine happy ending is replaced by a cliffhanger fitting such a narrative. Johnson, however, decided to go even further, sacrificing the very mythology of the entire saga in his attempt to give The Last Jedi an even darker character. Thus, its former protagonist—once the ultimate authority and flawless optimist who even managed to redeem a villain like Darth Vader—is transformed into a grumpy, weary, and depressed old man, ultimately revealed to possibly bear responsibility for the catastrophe that revived evil in the galaxy and destroyed his life’s work. Audiences will therefore be unpleasantly surprised, just like Rey, the nominal protagonist and Skywalker’s presumed heir, who spends much of the film stranded on a rock in the middle of the ocean watching the aged Jedi Knight amusing himself by herding giant sea creatures. In these scenes, it’s not difficult to recognise echoes of The Empire’s sequences where Yoda trains young Luke on the swampy planet Dagobah—but equally, given the tragic lack of humour and charisma in the elderly Luke, it’s easy to conclude that The Last Jedi falls short of its predecessor.

It seems Johnson was somewhat aware he couldn’t surpass The Empire, so one of the main plot motives became an attempt to turn a new page, even at the cost of not only discarding but also revisionistically undermining the past. Thus, the Jedi—and everything they did and believed in—are declared a failure, and this verdict comes from a character who, within the Star Wars universe, should represent the highest moral authority. Even the rebel Resistance is portrayed as a bunch of incompetent fools, losers, and idiots; General Leia fails to assert authority even over her own small band of followers, who choose the worst possible moment to stage a mutiny. Poe Dameron, meanwhile, comes across as someone who thinks he’s swallowed all the wisdom in the universe, ready at any moment to defy direct orders rather than heed common sense, and because of this, almost brings utter ruin to the rebels. His comrades Finn and Rose fare somewhat better during their adventure on Canto Bight, but one of them will still make a completely nonsensical gesture in the final act that nearly finishes off what Poe Dameron began destroying.

On the other hand, The Last Jedi does have a few positive aspects. Chief among them is the character of Kylo Ren, who is far more complex and convincing, giving Adam Driver, unlike in The Force Awakens, much greater opportunity to showcase his acting talent. The script also attempts to portray the First Order as more interesting than in the first film, primarily through Kylo’s relationship with Supreme Leader Snoke, portrayed beneath a grotesque mask and CGI by the ever-reliable Andy Serkis. The main villain also serves as the catalyst for a rather unexpected twist, establishing a compelling dynamic with Rey as his counterpart, to whom he feels a deep psychic and emotional connection. Unfortunately, the potentials Johnson discovered remain unexploited, and this is precisely why The Last Jedi failed to become the new Empire.

The new Star Wars film, rather than relying on plot or characters, boasts top-notch special effects and considerable effort invested in creating several striking alien worlds and numerous interesting extraterrestrial species. The scenes on Canto Bight (featuring Dubrovnik in several shots) present an interesting homage to Cloud City from The Empire, much like the icy planet Crait evokes many memories of Hoth from the same film. However, the effort put into set design, costume design, and special effects is, in some cases, seriously compromised by a disregard for the laws of physics—such as a space battle where enemy craft are attacked with bombs resembling those dropped during the Second World War using gravity. Far more attention, as well as bile from hardcore fans online, was drawn by the scene where General Leia’s character flies through space like Mary Poppins, making The Last Jedi difficult to take seriously. While this film deserves praise for attempting to be different, such praise cannot hide the fact that the attempt was largely unsuccessful. This conclusion, to which Mark Hamill has publicly aligned himself alongside hordes of angry fans, suggested that Disney, if it had wished to avoid further complications, would play it safe in the next sequel—and such playing it safe would not necessarily always be a bad thing.

RATING: 3/10 (+)

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

Blog in Croatian https://draxblog.com Blog in English https://draxreview.wordpress.com/ InLeo blog https://inleo.io/@drax.leo

LeoDex: https://leodex.io/?ref=drax Hiveonboard: https://hiveonboard.com?ref=drax InLeo: https://inleo.io/signup?referral=drax.leo Rising Star game: https://www.risingstargame.com?referrer=drax 1Inch: https://1inch.exchange/#/r/0x83823d8CCB74F828148258BB4457642124b1328e

BTC donations: 1EWxiMiP6iiG9rger3NuUSd6HByaxQWafG ETH donations: 0xB305F144323b99e6f8b1d66f5D7DE78B498C32A7 BCH donations: qpvxw0jax79lhmvlgcldkzpqanf03r9cjv8y6gtmk9