Community Reviews

This post was originally written in Dutch. You’ll find the original Dutch version below. 👇

The English translation was produced using the free version of DeepL.com. 😊

There are films you watch once and then they’re soon forgotten.

And then there are films you can watch again years later and, whilst watching them, you think: yes, this is exactly why I loved this film so much in the first place.

For me, Memoirs of a Geisha is exactly that sort of film.

It’s been years since I first saw this film.

But in the meantime, I’ve rewatched it at least 10 times.

And yet it still moves me every single time.

Usually, a compelling story is enough for me, but this film takes it a step further by creating an indescribable atmosphere.

The romance, the unattainable love, the mysterious world of the geishas, the beautiful clothes and the elegance of the women.

All of that combined enchants me time and time again.

And of course, there’s plenty of drama too. A great deal of drama, in fact.

But let’s dive into the story.

It begins with young Chiyo, a girl from a poor fishing village who is sold along with her sister.

Chiyo ends up in a geisha house and, from that moment on, her life takes a completely different turn.

After years of training, she blossoms into Sayuri, a respected and successful geisha.

Throughout the film, you follow her life, her struggle to hold her own in this world and, above all, her longing for one man: the Chairman.

He has held a special place in her heart ever since their first meeting.

And for me, that is precisely where much of the film’s appeal lies.

Because their love is, in fact, almost – or rather, absolutely – impossible from the very beginning.

There is a distance between them that remains ever-present.

Sayuri can admire him, long for him and love him, but at the same time he always seems to be just out of her reach.

And perhaps that is precisely what makes the romance so powerful.

It is not a simple love where two people meet and then live happily ever after.

For Sayuri, it is a love of longing, waiting, hope and, at times, sorrow.

What I also find so beautiful about Memoirs of a Geisha is the world in which the story is set.

The world of the geishas feels almost as if you’re being transported to another reality.

Everything seems to be done or chosen with the utmost care: the clothing, the make-up, the hairstyles, the movements, the dance and the way the women carry themselves.

There is an immense elegance to it.

The women move almost as if every step were part of a performance or choreography.

The kimonos are stunning.

The colours, patterns and details make the film feel almost constantly like a painting coming to life.

But beneath all that beauty lies a much harsher world.

For Sayuri’s life is not at all as fairy-tale-like as the stunning imagery might suggest.

Behind the beautiful clothes and graceful movements lie power, jealousy, rivalry, dependence and sacrifice.

Yes, that’s where the real drama comes in.

And I think that contrast is perhaps one of the film’s greatest strengths.

On the surface, everything is elegant and almost magical.

But beneath that lies a world in which women have very little control over their own lives.

And then, of course, there’s Hatsumomo.

What a character.

Gong Li plays her brilliantly.

Hatsumomo is jealous, manipulative and sometimes downright mean, but at the same time she’s also someone who’s trapped in the same world as Sayuri.

She causes quite a bit of drama and, to be honest, the film would be a lot less interesting without her.

But my favourite relationship is still the one between Sayuri and Mameha.

Michelle Yeoh plays Mameha, and I think she brings a wonderful presence to the film.

She is elegant, intelligent and much more composed than Hatsumomo.

She helps Sayuri understand how this world works and teaches her how to present herself.

And it is precisely the way Mameha guides Sayuri that makes her one of the most interesting characters to me.

What also strikes me time and time again is the music.

John Williams’ soundtrack suits the film incredibly well.

The music can be very gentle and romantic, yet at the same time it has a melancholic quality.

And that suits Sayuri perfectly.

Because despite all the beauty, there’s almost always a sense of longing present.

As if you know that happiness could slip through her fingers at any moment.

That feeling actually lingers throughout the whole film.

Is Memoirs of a Geisha just a romantic film? Wrong!

The film is brimming with loss, power, jealousy, war, survival and the choices people make when they have few other options.

But in the end, it’s Sayuri’s story that stays with me.

A little girl who loses her family and finds herself in a world she didn’t choose for herself.

Yet she still tries to find her way there and seek her own happiness and love.

And perhaps that’s why I still love watching this film after all these years.

By now, I know exactly what’s going to happen.

I know the story.

I know where the sadness lies.

I know how it ends.

And yet it works every single time.

Apparently, there are some films you don’t need to rediscover to enjoy them.

Sometimes it’s actually nice to return to a story you already know.

For me, Memoirs of a Geisha is one such film.

Slumped on the sofa, wrapped in a warm blanket, I let myself be carried away on waves of romance, drama, stunning imagery, the mysterious world of the geishas and, of course, that unattainable love.

And next to me, a box of tissues is at the ready, to wipe away the occasional tear.

A tear of sadness, emotion and enchantment.

Director: Rob Marshall

Release date: 2005

Genre: Drama / romance

Running time: 139 minutes

Language: English / Japanese

Based on the book: Memoirs of a Geisha by Arthur Golden

Age rating: 12 and over due to violence, fear and discrimination

Cast:

Zhang Ziyi – Sayuri

Suzuka Ohgo – young Chiyo

Ken Watanabe – The Chairman

Mako – Sakamoto

Michelle Yeoh – Mameha

Gong Li – Hatsumomo

Kōji Yakusho – Nobu

Trailer:

My final score:

🍿 Couch potato factor: ⭐⭐⭐⭐⭐

❤️ Romance: ⭐⭐⭐⭐⭐

😭 Emotional moments: ⭐⭐⭐⭐⭐

🎭 Drama: ⭐⭐⭐⭐⭐

👘 Atmosphere & costumes: ⭐⭐⭐⭐⭐

🎵 Soundtrack: ⭐⭐⭐⭐⭐

📱 Reached for my phone: ☆☆☆☆☆

😴 Fell asleep: ☆☆☆☆☆

🎬 Would I watch it again?: ⭐⭐⭐⭐⭐

My rating: 100/100

Thanks for popping by and taking the time to read my blog!

P.S. All the images in this blog are from: https://www.imdb.com/title/tt0397535/mediaindex/?ref_=mv_close

See you next time! 🎬🍿

Best wishes, Meraki7578

Translated with DeepL.com (free version)

Original Dutch Version:

Je hebt films die je één keer kijk en daarna zijn ze al snel weer verdwenen uit je gedachten.

En je hebt films die je jaren later gewoon weer opnieuw kunt kijken en waarvan je tijdens het kijken weer denkt: ja, dit is precies waarom ik deze film ook alweer zo mooi vond.

Precies zo’n film is Memoirs of a Geisha voor mij.

T'is al weer jaren geleden dat ik deze film voor het eerst heb gezien.

Maar in de tussentijd heb ik hem al zeker 10 keer opnieuw bekeken.

En toch grijpt hij me iedere keer weer.

Meestal is een boeiend verhaal voor mij al voldoende, maar deze film doet er een schepje boven op door het creeeren van een onbeschrijflijke sfeer.

De romantiek, de onbereikbare liefde, de mysterieuze wereld van de geisha's, de mooie kleren en de elegantie van de vrouwen.

Dat allemaal bij elkaar betovert mij elke keer weer.

En natuurlijk zit er ook genoeg drama in. Heel veel drama zelfs.

Maar laten we het verhaal maar eens induiken.

Dit begint bij de jonge Chiyo, ze is een meisje uit een arm vissersdorpje dat samen met haar zus wordt verkocht.

Chiyo komt terecht in een geishahuis en haar leven gaat vanaf dat moment een compleet andere richting op.

Na jaren van training groeit ze uit tot Sayuri, een gerespecteerde en succesvolle geisha.

Gedurende de film volg je haar leven, haar strijd om zichzelf staande te houden in deze wereld en vooral haar verlangen naar één man: de Chairman.

Die sinds hun eerste ontmoeting een speciale plek in haar hart heeft.

En juist daar zit voor mij een groot deel van de aantrekkingskracht van de film.

Want hun liefde is eigenlijk vanaf het begin bijna, of wel absoluut onmogelijk.

Er is een afstand tussen hen die steeds aanwezig blijft.

Sayuri kan hem bewonderen, naar hem verlangen en van hem houden, maar tegelijkertijd lijkt hij voortdurend buiten haar bereik te liggen.

En misschien is dat juist wat de romantiek zo sterk maakt.

Het is geen simpele liefde waarbij twee mensen elkaar ontmoeten en vervolgens samen lang en gelukkig leven.

Voor Sayuri is het een liefde van verlangen, wachten, hoop en soms ook verdriet.

Wat ik daarnaast zo mooi vind aan Memoirs of a Geisha, is de wereld waarin het verhaal zich afspeelt.

De wereld van de geisha’s voelt bijna alsof je naar een andere werkelijkheid wordt meegenomen.

Alles lijkt met de groots mogelijke zorgvuldigheid te gebeuren of worden uitgezocht: de kleding, de make-up, de kapsels, de bewegingen, de dans en de manier waarop de vrouwen zich gedragen.

Er zit een enorme elegantie in.

De vrouwen bewegen bijna alsof iedere stap onderdeel is van een voorstelling of choreografie.

De kimono’s zijn prachtig.

De kleuren, patronen en details maken dat de film bijna voortdurend voelt als een schilderij dat tot leven komt.

Maar onder al die schoonheid zit tegelijkertijd een veel hardere wereld.

Want het leven van Sayuri is helemaal niet zo sprookjesachtig als de prachtige beelden misschien doen vermoeden.

Achter de mooie kleding en gracieuze bewegingen zitten macht, jaloezie, rivaliteit, afhankelijkheid en offers.

Ja daar komt de echte drama om de hoek kijken.

En dat contrast vind ik misschien wel één van de sterkste dingen aan de film.

Aan de buitenkant is alles elegant en bijna magisch.

Maar daaronder zit een wereld waarin vrouwen ontzettend weinig controle hebben over hun eigen leven.

En dan is er natuurlijk Hatsumomo.

Wat een personage.

Gong Li speelt haar fantastisch.

Hatsumomo is jaloers, manipulatief en soms ronduit gemeen, maar tegelijkertijd is ze ook iemand die gevangen zit in dezelfde wereld als Sayuri.

Ze zorgt voor behoorlijk wat drama en eerlijk gezegd zou de film een stuk minder interessant zijn zonder haar.

Maar mijn favoriete relatie blijft toch die tussen Sayuri en Mameha.

Michelle Yeoh speelt Mameha en ik vind haar een geweldige aanwezigheid in de film.

Ze is elegant, intelligent en veel meer beheerst dan Hatsumomo.

Ze helpt Sayuri om te begrijpen hoe deze wereld werkt en leert haar hoe ze zichzelf moet presenteren.

En juist de manier waarop Mameha Sayuri begeleidt, maakt haar voor mij één van de interessantste personages.

Wat mij ook iedere keer weer opvalt, is de muziek.

De soundtrack van John Williams past ontzettend goed bij de film.

De muziek kan heel zacht en romantisch zijn, maar heeft tegelijkertijd iets melancholisch.

En dat past perfect bij Sayuri.

Want ondanks alle schoonheid blijft er bijna voortdurend een gevoel van verlangen aanwezig.

Alsof je weet dat geluk ieder moment weer uit haar handen kan glippen.

Dat gevoel blijft eigenlijk de hele film aanwezig.

Memoirs of a Geisha alleen maar een romantische film? Fout!

De film puilt uit met verlies, macht, jaloezie, oorlog, overleven en de keuzes die mensen maken wanneer ze weinig andere mogelijkheden hebben.

Maar het verhaal van Sayuri is uiteindelijk het geen dat me bijblijft.

Een kleine meisje dat haar familie kwijt raakt, in een wereld terecht komt die ze niet zelf heeft gekozen.

Maar toch probeert daar haar weg te vinden en haar eigen geluk & liefde te zoeken.

En misschien is dat ook waarom ik deze film na al die jaren nog steeds graag kijk.

Ik weet inmiddels precies wat er gaat gebeuren.

Ik ken het verhaal.

Ik weet waar het verdriet zit.

Ik weet hoe het eindigt.

En toch werkt het iedere keer weer.

Sommige films hoef je blijkbaar niet opnieuw te ontdekken om ervan te kunnen genieten.

Soms is het juist fijn om terug te keren naar een verhaal dat je al kent.

Memoirs of a Geisha is voor mij zo’n film.

Onderuitgezakt op de bank, onder een warme deken laat ik me wegvoeren op de golven van romantiek, drama, prachtige beelden, de mysterieuze wereld van de geisha’s en natuurlijk die onbereikbare liefde.

En naast mij staat een doos tissues klaar, om af en toe een traantje weg te pinken.

Een traan van verdriet, ontroering, en betovering.

Director: Rob Marshall

Premiere: 2005

Genre: Drama / romantiek

Speelduur: 139 minuten

Taal: Engels / Japans

Gebaseerd op het boek: Memoirs of a Geisha van Arthur Golden

Kijkwijzer: 12 jaar en ouder wegens geweld, angst en discriminatie

Cast:

Zhang Ziyi – Sayuri

Suzuka Ohgo – jonge Chiyo

Ken Watanabe – The Chairman

Mako - Sakamoto

Michelle Yeoh – Mameha

Gong Li – Hatsumomo

Kōji Yakusho – Nobu

Trailer:

Mijn eindscore:

🍿 Bankhangfactor: ⭐⭐⭐⭐⭐

❤️ Romantiek: ⭐⭐⭐⭐⭐

😭 Emotionele momenten: ⭐⭐⭐⭐⭐

🎭 Drama: ⭐⭐⭐⭐⭐

👘 Sfeer & kostuums: ⭐⭐⭐⭐⭐

🎵 Soundtrack: ⭐⭐⭐⭐⭐

📱 Telefoon erbij gepakt: ☆☆☆☆☆

😴 In slaap gevallen: ☆☆☆☆☆

🎬 Zou ik hem nog een keer kijken?: ⭐⭐⭐⭐⭐

Mijn beoordeling: 100/100

Bedankt dat je langskwam en even de moeite nam om mijn blog te lezen!

P.S. Alle afbeeldingen in deze blog komen van: https://www.imdb.com/title/tt0397535/mediaindex/?ref_=mv_close

Tot de volgende keer! 🎬🍿

Groetjes, Meraki7578

Rating: 100/100

I was having a rough day, nothing so serious just the usual weather shift, and my immune system giving up so easily. So decided to watch something of comedic nature. Most of the time, I prefer to watch something gloomy, because why not? Those movies work best for me, but hey, change is good. And I was right about it.

First minute in, and I laughed. "I wanna thank you for going to bat for me last week." Not once, not twice, but thrice. Lol. Seriously, the language can be offensive; it surely is. But it says "18+" and I am way over from that necessity.

One thing before I move forward. I have no idea what I am going to about the my usual and most favorite - the analysis part, as this is my first comedy genre write up. So let us see how it turns out.

The Plot.

The story revolves around Griswold Family. Rusty, the main character, is now a grown up man, and a pilot. He has a beautiful wife - Debbie, who really cares for him, and two sons, James and Kevin. James is a big brother, kind of bookish and nerdy character. Kevin, on the other hand, is quite the opposite, a bully. And maybe a spoiled child. The character of him really not the type we people usually love. And it proves that little kid really nailed his character. But he was the oxygen of the movie.

(This picture alone describes every character/)

Source

So, in order to bring his family closer, Rusty decides to recreate a family vacation which he remembers from his childhood.

A road trip to Walley World.

This is where the real Dhamaal (meaning adventorous fun, as it seems like a Hollywood version of it) begins. But we have a problem - actually problems - Rusty does not know how to plan or work according to plan.

They set off in their strangely looking and functioning rented car. And the trip turns out to be a wild experience. From one bizarre moment to another, from uncomfortable and embarrasing situations to literal humiliation. For instance, the Chug Run part where Debbie competes and proves to be a baddie of her era, and what happened next is just humiliation. Or the truck part, that lady dying. And there is my favorite of all: GPS man speaking i.e. shouting in Korean.

(Underrated scene)

Source

Every thing he tries for his family turns out to be the worst.

Eventually after all the great adventure they get successful in reaching the Walley World. The last fighting scene was fun too, at least Rusty along with his family really enjoyed their real nature.

The Analysis Part.

Okay, I am not going to say that it is a masterpiece. It is just a good movie, with some language stuff and funny scenes. Is it family-friendly? Well it depends for the most part. Maybe GenZ will like it more, or maybe not. But I did enjoy it for the most part. I really had a good laugh.

Then there are few lessons, not deeply rooted. But I doubt anything goes without teaching us something.

Most important one is: the family bond.

This is not a typical family. Everyone has their different tastes, yet they all somehow try to be supportive towards each other, especially Rusty, just in bit awkward and unusual way. There are ups and downs, just like any family out there. But the best thing is to do is to accept those and reach out a sort of agreement. For the most part, they all are just trying to escape from it. Until, they just let it all out. THis letting out thing is necessary, otherwise consider yourself a robot and nothing else. When we talk about family; we have to accept each other being each other.

"And you have never stopped trying." - Debbie to Rusty.

The movie has a happy ending. And those words are enough to prove that they love each other. Rusty may have some rusty approaches toward the things, but he never give up trying. That trying part makes him a supportive husband and a father. The lesson is there to learn to enjoy and live with imperfection. Personally, I think the term "perfect" is flawed. Because nothing is perfect; nothing will ever be. Exclude this flaw term, and you will live a good life.

In the end, it is okay to enjoy some ridiculous nature. Some silly nature, let yourself be embarassed. Because, it is the journey, and of course, the destination as well that matters. Those ridiculous and silly moments will always stay with you. A boring and usual trip will just be a trip. The embarassing moments will remain with you, even when you are in the restroom.

Peace 🕊️

Rating: 70/100

I saw a movie review of this particular movie on Facebook, and it wowed me. Little did I know that it was just overhyped. Not as if the movie isn't interesting; it was skit overhyped, though. I even felt really happy when I saw Ma Dong-seok in the movie. He acted as a former boxing coach who later became a physical health education teacher in a girl's school. But before that, I had very high expectations of the movie. This guy is someone I love so much, and because of that, I had high expectations of the movie. And like I said earlier, it wasn't as if the movie were not interesting; of course it is. I guess I just expected too much.

Now, Ma Dong-seok acted as Gi-cheol in this particular movie; he was a boxing coach who later became a teacher in a school. Upon resumption of work, he saw that it wasn't that easy, as the relationships between teachers and students aren't that good. Especially him; more like the students didn't accept him. But that aside, the first thing that caught his attention upon resumption is the poster of a missing schoolgirl. But guess what, aside from the friend of this missing school girl and her grandma, nobody else was that concerned about it. Everyone felt she eloped, she disappeared and that she will definitely come back.

Yoo-jin, who happens to be friends with this missing girl called Soo-yeon, still wouldn't accept it. She kept doing all she could to find her friend. While everyone believed that Soo-yeon ran away, Yoo-jin refused to accept it and kept her search going. And it was in the quest of searching for her that Gi-cheol, the new and their new physical health education teacher, got involved in it.

As time goes on and they begin to dig further, they find out that some powerful people are the ones in charge of her disappearance, and they'd earlier tried reporting to the police, which didn't work because the police took her and are a part of it. And even though Gi-cheol initially didn't want to meddle in it, he has no option but to later got involved just so to uncover the truth and as well protect Yoo-jin.

It wasn't an easy one, though, as they're against top officials and powerful people who seem to be untouchable and can do and undo things.

Like I said earlier, I gave this movie a watch because of Gi-cheol (Ma Dong-seok). And the role he's being given is one that very well suits him, like he's just the perfect fit for it. Considering his body build, his physique, and all of that, it just had to be him. And he did deliver just that the movie or the story line isn't one that suits him so well. I mean there should have been more of actions, disturbances, chaos, fights and all, that's why he knows to do best.

And I love how he got into his role as someone who just wants to work, earn a living, live a very quiet life, and try as much as possible to stay out of trouble. But then, he can't keep mute forever, especially when he sees that the police took him and seem unbothered and have been compromised. And Yoo-jin, I love her; she's a very good friend who would go any length for a friend. Very stubborn, resilient, and all. She kept doing everything on her own, putting herself in danger even when nobody was there to help.

But then again, the movie isn't that deep. I could figure out those who were suspicious easily. Like, I just knew this person and this person were involved. And as I rightly guessed, they were. In short, the movie revealed a lot of things too quickly. That is not to say that it is not an interesting one.

But Gi-cheol and Yoo-jin killed it for me...

🌹

Images are screenshots taken from the movie.

Thanks a lot for taking your time to read through, kindly do well to stop by my blog @marsdave for more exclusive and amazing content.

❣️❣️❣️

Rating: 80/100

There's something peculiar about the way we remember the past, or rather, the way we choose to remember it. For those who actually lived through the 1970s in America, the decade often registers as a gloomy, depressing stretch—oil crises, political scandal, economic stagnation, and a general sense that the party of the 1960s had well and truly ended. Yet somehow, for today's audiences, the seventies have transformed into something rather different: a sun-dappled era of wide lapels, open-top cars, and apparently endless fun. This rose-tinted perspective finds perhaps its most potent expression in Paul Thomas Anderson's 2021 period drama Licorice Pizza, a film that bathes its setting in such warm, golden light that you'd be forgiven for thinking the decade had been nothing but a long California afternoon.

Anderson sets his story in the San Fernando Valley during the closing months of 1973, following two young people who stumble into an unlikely romance. Gary Valentine, played by Cooper Hoffman, is a fifteen-year-old child actor with the confidence of someone twice his age—undeterred by his youth, he pursues both a business career and Alana Kane, an aspiring actress ten years his senior. Their paths cross at Gary's school, where Alana has arrived as a photographer's assistant. Gary flirts with her immediately and shamelessly; though she rebuffs him at first, Alana eventually agrees to chaperone him during an acting gig in New York. Her personal life grows complicated when she dates Lance Brannigan (Skyler Gisondo), an actor slightly closer to her own age, but that relationship collapses after Lance declares himself an atheist during a dinner with Alana's Jewish family—a moment played for awkward comedy that reveals the cultural fault lines of the era.

What follows is a series of loosely connected misadventures. Alana throws herself into helping Gary with his waterbed business, which leads her to ride pillion on a motorcycle with ageing Hollywood star Jack Holden (Sean Penn), assist with a waterbed delivery to the terrifying home of producer Jon Peters (Bradley Cooper), and later volunteer for the mayoral campaign of LA councilman Joel Wachs (Ben Safdie). Throughout these episodes, Alana remains unaware of Wachs's closely guarded personal secret—a detail that adds a poignant undercurrent to her earnest political idealism.

Licorice Pizza isn't a particularly deep or insightful film in the traditional sense. But it is, without question, the most personal work Anderson has ever committed to celluloid. The character of Gary Valentine was based directly on the director's childhood friend Gary Goetzman, now a film producer, who—just like his fictional counterpart—started a waterbed company and dealt in pinball machines during his teenage years. This biographical connection gives the film an authenticity that transcends its period trappings; Anderson isn't merely reconstructing an era, he's reconstructing specific memories of people he actually knew.

The character of Alana Kane, meanwhile, was written specifically for Alana Haim, the musician best known as part of the pop-rock band Haim. Anderson had previously directed several music videos for the group and clearly saw something in her that he wanted to capture on film. This marked Haim's acting debut, and Anderson went so far as to cast her actual sisters—Este and Danielle—and her real parents as her on-screen family, blurring the line between fiction and reality in ways that lend the film an almost documentary-like intimacy.

The supporting cast is something of a mixed bag. Jon Peters, the real-life producer famous for his flamboyant personality and his relationship with Barbra Streisand at the height of her fame—he was also the inspiration for Warren Beatty's character in the New Hollywood classic Shampoo—agreed to let Anderson depict him on screen. Bradley Cooper seizes this opportunity with obvious relish, playing Peters as a comically arrogant, sinister, and genuinely dangerous figure who seems perpetually on the verge of violence. It's one of the film's most memorable performances.

Sean Penn fares less well as Jack Holden, an actor obviously modelled on William Holden who even references the star's 1950s hit The Bridges at Toko-Ri. The performance feels somewhat mannered, never quite achieving the lived-in quality of Cooper's work. Tom Waits, appearing as film director Rex Blau, makes similarly little impression—a shame given the musician's usually magnetic screen presence.

The real discoveries here are the two leads. Alana Haim, despite lacking conventional Hollywood glamour, radiates a specific kind of charm and innocence that makes the audience genuinely root for her to end up with Gary, despite the age gap that would make many viewers uncomfortable in different circumstances. There's something refreshingly unpolished about her performance—she hasn't yet learned the tricks that trained actors deploy, and that rawness serves the character perfectly.

Cooper Hoffman, son of the late Philip Seymour Hoffman—who collaborated with Anderson on some of his most significant films including Boogie Nights and The Master—carries his father's legacy with remarkable ease. He was deservedly nominated for a Golden Globe for this work, and one hopes this performance opens doors for him rather than casting a long shadow he's expected to live under.

Where Licorice Pizza truly excels is in its recreation of Los Angeles half a century ago. Anderson and his production team have clearly lavished attention on every detail, from the fashion and the music that drifts through the background to the more specific historical texture. The film references the 1973 oil shock and petrol shortages—details that give the film a strangely contemporary resonance, given our own energy anxieties. These aren't merely decorative touches; they ground the nostalgia in something recognisably real.

The film bears obvious comparison to Quentin Tarantino's Once Upon a Time in Hollywood, which takes place just a few years earlier in a similar milieu and employs a similar strategy of weaving real personalities into fictional narratives. Both films share a deep affection for Los Angeles and its peculiar mythology. Yet Tarantino's work feels more focused, more purposeful in its narrative construction. Anderson's film, by contrast, suffers from an episodic structure that contributes to an excessive running time and a reliance on Hollywood lore that may leave average viewers scratching their heads. Some of the humour, particularly when dealing with ethnic or racial stereotypes, doesn't land as well as Anderson presumably intended.

Still, Anderson maintains strong directorial discipline throughout. The film looks gorgeous—shot on 35mm film, it has a texture that digital simply cannot replicate. More importantly, Anderson maintains a fundamentally positive view of his characters, extending them sympathy and understanding that's increasingly difficult to find among contemporary Hollywood filmmakers, who often default to cynicism and irony.

Licorice Pizza is slow, perhaps overlong, and occasionally frustrating in its refusal to conform to conventional narrative expectations. Yet it remains a solid piece of work that should satisfy anyone with a fondness for period drama or a particular nostalgia for 1970s California. Anderson has made films that are more ambitious, more technically accomplished, and more emotionally devastating. But he's rarely made one that feels this personal, this affectionate, this unwilling to judge its characters for their poor decisions and questionable judgement. In today’s world of cinema dominated by franchise properties and algorithm-friendly storytelling, there's something quietly radical about a film that simply wants to spend time with interesting people in a specific place that no longer exists.

RATING: 6/10 (++)

IMDb link

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English Version

One of the movies I’ve enjoyed watching this year has been Moana. It brings a different style to the animated films we’ve seen before, giving each character a distinct personality in a positive way. I really liked how they crafted every detail of the scenes. To be honest, when I watched this movie, I didn’t have high hopes that it would be any good, since it follows up on something I’d had high expectations for, but it was worth every minute. First, I’d like to talk about the movie itself: it was directed by Thomas Kail and released on July 8, 2026. I was really eager to watch it and share my thoughts. What I liked was the casting of the actor playing the demigod (Dwayne Johnson). Before the movie came out, I imagined he’d be perfect for the role—or maybe Jason Momoa; he has the style and the tattoos.

The film’s atmosphere and settings were spectacular. I saw quite a resemblance between the animation and the supposed reality of the film. The island featured in the movie made a powerful impression thanks to its details. As for the songs and dances, I liked that they didn’t gloss over them—it added a Hawaiian touch—and the animals they included were key to following the plot as it unfolded.

Although the story is full of a girl’s rebellious spirit and her desire to save the world, it conveys thought-provoking messages—such as saving something everyone had already given up on, and recovering everything that had been lost over time. Even though she didn’t have her parents’ blessing, her efforts bore fruit and led to the results she wanted; she delivered powerful messages of strength and resilience in the face of such a situation.

Something else I liked was that it added a touch of humanity and felt less fictional in some scenes. It had its implausible moments, but it was understood that it stemmed from an animated storyline. Personally, I really enjoyed it with my nephews and my family; we made popcorn and watched it on the big screen at home—it was incredible.

Thanks for stopping by my channel, and thank you so much for all your support.

Versión Español

Una de las películas que me ha gustado mirar este año ha sido Moana, le da un estilo diferente a la película animada que ya habíamos visto, le da personalidad a cada personaje y de buena manera, me ha gustado como implementaron las escenas en cada detalle. Les soy sincera cuando mire está película tenía pocas esperanzas que fuera buena ya que hace transición de algo que tenías una expectativa grande, pero valió la pena cada minuto. Primeramente me gustaría hablar de la película, tuvo como director a Thomas Kail y fue estrenada el 8 de julio de 2026, yo andaba con muchas ansias de mirarla y dar mi opinión. Lo que me gustó fue la referencia del actor que hace el semi Dios (Dwayne Johnson), antes que lanzarán está película imaginé que podría ser el perfecto para el papel o Jason Momoa, tiene el estilo y los tatuajes.

El ambiente de la película y los escenarios fueron grandiosos, vi bastante semejanza en la animación y en la supuesta realidad de la película, la isla utilizada en esta película dió una entrada contundente por los detalles, con respecto a los cantos y bailes, me gustó que no lo obviaran le dió un toque hawaiano y los animales que incluyeron fueron claves para seguir la trama como venía.

Aunque abunda la rebeldía de una chica y las ganas de salvar el mundo, da mensajes de reflexión como salvar algo que todos ya daban por perdido, recuperar todo lo que se venía perdiendo con el tiempo, a pesar que no salió con la bendición de sus padres dio buenos frutos y resultados en obtener o que queria, dió mensaje contundentes de fortaleza y resistencia ante tal situación.

Algo que también me gustó fue que le dió algo de humanización y no tan ficticia en algunos escenarios, tenía sus momentos no creíbles pero se sobre entendía que ya venía de una trama animada. En lo personal la disfrute mucho con mis sobrinos y mi familia, hicimos palomitas y la vimos en pantalla grande en casa, estuvo increíble.

Gracias por pasarte por mi canal, muchas gracias por todo el apoyo.

source of the image used source

translator used Deepl

Rating: 100/100

Rating: 80/100

Good evening, blog friends; here I am back in this wonderful community. Today I’m reviewing a beautiful yet controversial film I stumbled upon by pure chance on Disney+. The movie is titled Notes on a Scandal, and I’ll tell you a bit about the plot now. The main narrator is Barbara, a highly experienced teacher working at a school in a rough neighborhood. Barbara is rigid, stern, solitary, very cynical, and even a bit mean—traits that become apparent right from the start when she describes the school environment with harsh, biting comments. Things change when a new art teacher arrives—a breath of fresh air for the neighborhood school. Besides being very attractive and having an eclectic style, the new teacher, Sheba, possesses a sweet, understanding nature that seems ill-suited to the school's rough atmosphere; she comes across as somewhat naive and bohemian, immediately clashing with the harsh reality of a school filled with troubled kids. During an incident where poor Sheba is on the verge of losing her composure, Barbara—who views herself as an authority figure at the school—steps in to help, asserting herself far more forcefully than the young, inexperienced teacher could. Grateful for the help and expertise, Sheba begins treating Barbara with kindness; she chats with her in the cafeteria and the staff room, and even invites her to dinner. Barbara takes these gestures very seriously, developing a sort of morbid obsession with the woman she considers her new friend—a young, fresh, and eccentric friend whom she partly views with disgust, yet is also incredibly...

Buenas noches, amigos del blog; aquí estoy de vuelta en esta maravillosa comunidad. Hoy voy a comentar una película hermosa y polémica con la que me topé por pura casualidad en Disney+. La cinta se titula Notes on a Scandal (Diario de un escándalo) y me gustaría contarles un poco sobre la trama. La narradora principal es Barbara, una profesora de gran experiencia que trabaja en una escuela situada en un barrio desfavorecido. Barbara es rígida, severa, solitaria, muy cínica e incluso un tanto cruel; rasgos que se hacen evidentes desde el principio, cuando describe el ambiente escolar con comentarios duros y mordaces. La situación cambia con la llegada de una nueva profesora de arte, quien supone un soplo de aire fresco para la escuela del barrio. Además de ser muy atractiva y tener un estilo ecléctico, Sheba posee un carácter dulce y comprensivo que parece desentonar con la atmósfera áspera del centro; transmite una imagen algo ingenua y bohemia, chocando de inmediato con la dura realidad de una escuela llena de alumnos problemáticos. Durante un incidente en el que la pobre Sheba está a punto de perder los nervios, Barbara —que se considera una figura de autoridad en la escuela— interviene para ayudar, imponiéndose con mucha más firmeza de la que la joven e inexperta profesora podría haber logrado. Agradecida por la ayuda y la experiencia demostrada, Sheba empieza a tratar a Barbara con amabilidad; conversa con ella en la cafetería y en la sala de profesores, e incluso la invita a cenar. Barbara se toma muy en serio estos gestos y desarrolla una especie de obsesión enfermiza por la mujer a la que considera su nueva amiga: una amiga joven, vital y excéntrica que, en parte, le provoca rechazo, pero por la que también siente una atracción irresistible.

Barbara also finds Sheba’s family odd—with a much older husband, three unruly children (one of whom has Down syndrome), and a somewhat unconventional lifestyle. Yet, while she views Sheba’s relatives as bizarre and absurd, she judges Sheba by a different standard, becoming hopelessly fascinated by her. Everything changes, however, when she discovers Sheba’s dark secret: an affair with a fifteen-year-old student. Barbara coolly decides to exploit the situation to bind her friend to her unconditionally; yet, her loyalty soon morphs into blackmail, driven by a constant need for attention and an intense obsession with everything concerning Sheba—whom Barbara wants entirely for herself. Meanwhile, Sheba is a conflicted, fickle, and ambiguous woman; she knows she is doing wrong but cannot stop, because that young boy is the only person who makes her feel alive, sensual, and truly a woman again. I won’t say any more to avoid spoilers, but it is an excellent film. It explores the relationship between the veteran teacher and the newcomer—and the strange bonds shared by two such different people—as well as Sheba’s scandalous affair with a student and the character of Barbara herself: her obsession, her spiteful nature, and her twisted love. The film offers no moral lessons; instead, it reveals just how fragile morality can be, much like the bonds of friendship and love. It features two powerful female leads who defy the stereotypes of the docile, submissive, "good" woman, presenting instead complex individuals grappling with their own weaknesses and dark sides.

Barbara también percibe a la familia de Sheba como algo peculiar: un marido mucho mayor, tres hijos revoltosos (uno de ellos con síndrome de Down) y un estilo de vida poco convencional. Sin embargo, aunque considera a los allegados de Sheba como seres extraños y absurdos, juzga a Sheba bajo un rasero distinto, sintiéndose irremediablemente fascinada por ella. Todo cambia, no obstante, cuando descubre el oscuro secreto de Sheba: una aventura con un alumno de quince años. Barbara decide fríamente aprovechar la situación para vincular a su amiga a ella de forma incondicional; pero su lealtad pronto se transforma en chantaje, impulsada por una necesidad constante de atención y una intensa obsesión por todo lo relacionado con Sheba, a quien Barbara quiere poseer por completo. Por su parte, Sheba es una mujer llena de conflictos, voluble y ambigua; sabe que está actuando mal pero no puede detenerse, ya que ese joven es la única persona que la hace sentirse viva, sensual y verdaderamente mujer de nuevo. No diré más para evitar destripar la trama, pero es una película excelente. Explora la relación entre la veterana profesora y la recién llegada —así como los extraños vínculos que unen a dos personas tan distintas—, además del escandaloso romance de Sheba con el alumno y la propia personalidad de Barbara: su obsesión, su naturaleza rencorosa y su amor retorcido. La película no ofrece lecciones morales; más bien, revela cuán frágil puede ser la moralidad, al igual que los lazos de amistad y amor. Presenta a dos poderosas protagonistas femeninas que desafían los estereotipos de la mujer dócil, sumisa y «buena», mostrando en su lugar a individuos complejos que luchan contra sus propias debilidades y sus facetas más oscuras.

Pictures taken from the under source, translation with deepl. Pictures source (https://www.imdb.com/it/title/tt0465551/)

Rating: 80/100

‎Kung Fu Hustle is one of those movies with action scenes that are very impressive and can definitely draw your attention if you love action films. ‎

‎The kung fu fighting in this movie is well organised, and the fighters’ abilities are highly impressive. The actor who played Sing acted his part very skilfully. ‎ ‎Sing was a small-time criminal who dreamed of joining the Axe Gang. From the beginning of the story, he wanted to learn because he had wanted to become a fighter since he was young. The Axe Gang happened to be one of the scariest gangs in the city. Bone, his friend, tried to act tough and collect money from other people. However, they were not dangerous people; they were only pretending to be. ‎

‎Their actions literally led them into danger. When they tried to help people in a fight, those people were not as helpless as they had thought. This led to a fight that revealed who they truly were. ‎ ‎The Beast involved in the fight was very skilful and powerful. He defeated Sing and injured him very badly. That fight became a transformation that made Sing more powerful and skilful. ‎

‎Sing also remembered a girl from his childhood. When she was very young, he tried to save her from some people who were bullying her, but he could not help. The bullies beat him up and took away the martial arts manual he had bought. Sing always thought about this experience, and it made him more interested in becoming a criminal instead. ‎ ‎Sing had great potential, and his fighting abilities were very different. The interesting part was that he eventually helped the city. ‎ ‎The final fight was something else, and the fighting scene was my favourite part. In this last fight, the action was more serious as Sing and the Beast continued fighting. ‎

‎The Beast started acting and sounding like a frog, which gave him the ability to jump and hit anything with his head. He used his skills to take Sing high into the sky before sending him falling back with fire from the sky and massive power. Sing used this power to defeat the Beast. ‎ ‎The power Sing used at the end of the fight was more than just kung fu; it was absolutely amazing, and it made the movie even more skilful.And the funny part in the movie make it more interesting. ‎

‎I loved the skills the other fighters used. They tried their best and were able to defend themselves. The movie was interesting to me, and I decided to rate it 85. ‎ ‎All images are downloaded from IMDb ‎

Rating: 85/100

The second episode of 3% made The Process feel much more personal.

Fernando's medical examination was probably the moment that stayed with me the most. What should have been a routine step turns into something much more complicated, and I liked how the episode used his situation to show that even a supposed opportunity can come with uncomfortable choices.

Then we get the coin puzzle. I really enjoyed this test because the challenge isn't only finding the logical solution — it's dealing with everyone else while the pressure keeps rising. Trust is already becoming a very scarce resource.

Meanwhile, Aline's investigation into Ezequiel adds another layer to the story. Clearly, The Process has secrets beyond what the candidates are seeing.

Two episodes in, I'm getting more interested in the characters and especially in the psychology behind each test.

My rating: 85/100 ⭐

Images: Images from IMDb Source: IMDb — 3%, S1E2, “Chapter 02: Coins” https://www.imdb.com/title/tt6140624/

Rating: 85/100

Originally posted through scrobble.life/tv.

En esta comedia negra de terror, un padre y su hija atropellan accidentalmente a un unicornio mágico mientras se dirigen al exclusivo refugio de un magnate.

🔍 El fotograma inicial (de qué se trata)

El fotograma inicial es básicamente, un padre divorciado, una hija que no le dirige la palabra y un viaje incómodo hacia la mansión de un magnate. Ahora suma un unicornio reventado contra el capó del automóvil. Esa es la premisa de Death of a Unicorn (2025), la comedia negra que enfrenta a Paul Rudd y Jenna Ortega contra una familia de ricos dispuesta a todo por exprimir el cadáver mágico que les ha caído del cielo.

La criatura resulta que cura cualquier enfermedad. Y donde hay cura, hay mercado. Y donde hay mercado, hay codicia sin límites.

El director convierte ese punto de partida en un cóctel de gore, carcajadas incómodas y crítica aguda; una fábula sangrienta sobre quién se queda con los recursos del mundo y quién paga el precio. Ágil, gamberra y sorprendentemente efectiva.

🔍 The opening frame (what it's about)

The opening frame is this, a divorced father, a daughter who won't speak to him, and an uncomfortable trip to a tycoon's mansion. Now add a unicorn smashed against the hood of the car. That is the premise of Death of a Unicorn (2025), the dark comedy that pits Paul Rudd and Jenna Ortega against a wealthy family willing to do anything to squeeze the magical corpse that has fallen from the sky.

The creature, it turns out, cures any disease. And where there is a cure, there is a market. And where there is a market, there is boundless greed.

The director turns that starting point into a cocktail of gore, uncomfortable laughter, and sharp criticism; a bloody fable about who gets to keep the world's resources and who pays the price. Agile, cheeky, and surprisingly effective.

🎥 La razón para apagar el teléfono y mirar la pantalla

Te diría, apaga tu teléfono, sírvete algo y dale al play si te atraen las películas extrañas, irreverentes y con el humor negro por definición. Death of a Unicorn mezcla terror fantástico, criaturas monstruosas y sátira social alrededor de una premisa tan absurda que solo puede funcionar. O fracasar estrepitosamente.

El otro gran imán está en sus protagonistas, Paul Rudd y Jenna Ortega como padre e hija, en una dinámica torpe, incómoda y extrañamente tierna. No es el dúo que uno imaginaría para una masacre con cuernos, y precisamente ahí reside la gracia.

Conviene entrar sin expectativas de trascendencia. La película no busca ser profunda ni realista; busca ser sangrienta, excéntrica y entretenida. Y lo consigue a base de momentos incómodos, comedia macabra y un espectáculo visual que no avisa, solamente pasa.

¿Para quién no es?

Si lo tuyo es el drama cuidadosamente construido, el guion milimétrico o la reflexión existencial, mejor reserva el asiento para otra cinta.

El encanto aquí está en la idea descabellada, la carcajada oscura y el exceso. Sutileza, más bien poca. Diversión garantizada, y mucha.

🎥 The reason to turn off your phone and look at the screen

I'd tell you: turn off your phone, pour yourself something, and hit play if you're drawn to strange, irreverent films with dark humor by definition. Death of a Unicorn mixes fantasy horror, monstrous creatures, and social satire around a premise so absurd that it can only work. Or fail spectacularly.

The other great magnet is its protagonists, Paul Rudd and Jenna Ortega as father and daughter, in a clumsy, uncomfortable, and strangely tender dynamic. It's not the duo you'd imagine for a massacre with horns, and that's precisely where the charm lies.

It's best to go in without expectations of transcendence. The film doesn't seek to be deep or realistic; it seeks to be bloody, eccentric, and entertaining. And it achieves it through uncomfortable moments, macabre comedy, and a visual spectacle that doesn't warn you: it just happens.

Who is it not for?

If your thing is carefully constructed drama, millimeter-precise scripting, or existential reflection, better save your ticket for another theater.

The charm here lies in the outlandish idea, the dark laugh, and excess. Subtlety, rather scarce. Guaranteed fun, plenty.

🎶🔊 Y el "Hype" Sonoro …

DOA – St. Vincent

Traditional Treatment Options – Dan Romer y Giosuè Greco

The Davos Guest List – Dan Romer y Giosuè Greco

Estas canciones no salen de mi cabeza. ¿Cuál agregarías tú? Nos vemos abajo.

These songs won't leave my head. Which one would you add? See you below.

💡 Lo que Todos Pasaron por Alto

Lo que la película esconde debajo del cuerno

Empecemos por el engaño geográfico; las Montañas Rocosas que uno cree ver son, en realidad, bosques y mansiones húngaras.

Allí se rodó todo, desde julio de 2023; la producción, independiente y respaldada por A24, pudo avanzar incluso durante la huelga de actores gracias a una exención sindical.

Lo segundo que sorprende es que el unicornio existía. O, al menos, existía a medias.

Marionetas manejadas por titiriteros (Ortega recuerda un cuerno moviéndose junto al coche en plena noche) se combinaron con el trabajo digital de Zoic Studios.

Rudd conservó fotos del proceso artesanal, ojos pintados a mano, pelaje cosido, pezuñas moldeadas.

Y el diseño final no tiene nada de tierno. Scharfman pidió referencias de lobos y caballos locales, rescató grabados medievales y construyó una bestia que él mismo compara con los velociraptores de Spielberg.

La sangre que esa bestia derrama tampoco es convencional. Violácea, brillante, cargada de partículas que se pegaban a la piel y al vestuario como si fueran escarcha tóxica.

Esa lógica material se extiende al resto del filme. La mansión Leopold es un catálogo de lujo frío y ceremonial; Elliot y Ridley, con su ropa de estar por casa, desentonan desde el primer plano. No hace falta diálogo para entender quién tiene el poder.

Y en las paredes cuelgan tapices que no son solo decorado; Scharfman creció obsesionado con La caza del unicornio de los Cloisters, y esa herencia medieval atraviesa la película hasta los créditos, donde un tapiz narra los sucesos como si fueran una hazaña.

Quedan dos detalles para el espectador atento, los detectores de criaturas suenan igual que los de Aliens, y la relación del director con los unicornios no viene de la ternura infantil, sino del asombro ante lo sagrado y lo terrible de los bestiarios antiguos.

Todo eso apunta a una misma idea; la película no solo satiriza a los multimillonarios. Satiriza el reflejo colectivo de empaquetar lo extraordinario, ponerle precio y venderlo. El unicornio debería ser un misterio. Aquí es una patente. Y esa es la verdadera violencia.

💡 What everyone overlooked

What the film hides beneath the horn

Let's start with the geographical deception: the Rocky Mountains you think you see are, in reality, Hungarian forests and mansions. Everything was shot there, starting in July 2023; the production, independent and backed by A24, was able to move forward even during the actors' strike thanks to a union exemption.

The second surprising thing is that the unicorn existed. Or, at least, it half existed.

Puppets handled by puppeteers (Ortega recalls a horn moving next to the car in the middle of the night) were combined with the digital work of Zoic Studios.

Rudd kept photos of the artisan process, hand-painted eyes, sewn fur, molded hooves.

And the final design is anything but tender. Scharfman asked for references of local wolves and horses, rescued medieval engravings, and built a beast that he himself compares to Spielberg's velociraptors.

The blood that beast spills is also unconventional. Purplish, bright, loaded with particles that stuck to skin and costumes as if they were toxic frost.

That material logic extends to the rest of the film. The Leopold mansion is a catalog of cold, ceremonial luxury; Elliot and Ridley, in their loungewear, clash from the very first shot. No dialogue is needed to understand who holds the power.

And on the walls hang tapestries that are not just decoration, Scharfman grew up obsessed with The Hunt of the Unicorn at the Cloisters, and that medieval heritage runs through the film all the way to the credits, where a tapestry narrates the events as if they were a feat.

Two details remain for the attentive viewer: the creature detectors sound just like the ones in Aliens, and the director's relationship with unicorns doesn't come from childhood tenderness, but from awe at the sacred and the terrible in ancient bestiaries.

All of this points to the same idea: the film doesn't just satirize billionaires. It satirizes the collective reflex of packaging the extraordinary, putting a price on it, and selling it. The unicorn should be a mystery. Here it's a patent. And that is the true violence.

💬 ¿Vale la Pena el Ticket? (Opinión)

Death of a Unicorn es una película que no debería funcionar y, sin embargo, funciona.

Comedia negra, terror, fantasía y sátira social conviven aquí sin que ninguna termine de fagocitar a la otra.

No es la mezcla más limpia del mundo, pero sí una de las más refrescantes que han llegado a la cartelera reciente y a mis ojos.

Lo mejor que tiene es el tono. Sangrienta, absurda, deliberadamente pasada de vueltas.

Paul Rudd y Jenna Ortega sostienen ese equilibrio con una química que no se fuerza; se puede pedir un padre torpe, hija harta, ambos atrapados en una situación que están obligados a sobrellevar.

Gracias a ellos, incluso las escenas más disparatadas se siguen con una sonrisa cómplice en vez de un gesto de incredulidad.

Visualmente también hay hallazgos. El diseño del unicornio (más bestia que mascota) y la atmósfera de la mansión Leopold generan imágenes que se quedan pegadas.

La película sabe ser incómoda sin perder la ironía, y eso no es fácil.

¿El pero? Por momentos se enamora tanto de su premisa y de sus set pieces extravagantes que descuida a los personajes secundarios. Hay ideas que piden una segunda capa, un desarrollo extra, y se quedan en la superficie. No arruina la experiencia, pero deja la sensación de que había película para veinte minutos más de guion.

💬 Is it worth the ticket? (Opinion)

Death of a Unicorn is a film that shouldn't work and yet it does.

Dark comedy, horror, fantasy, and social satire coexist here without any of them ending up devouring the others.

It's not the cleanest mix in the world, but it is one of the most refreshing to reach theaters recently and, in my eyes, one of the most refreshing overall.

The best thing it has is its tone. Bloody, absurd, deliberately over the top.

Paul Rudd and Jenna Ortega sustain that balance with a chemistry that isn't forced; you can ask for a clumsy father, a fed-up daughter, both trapped in a situation they are forced to endure.

Thanks to them, even the most outlandish scenes are watched with a complicit smile instead of a gesture of disbelief.

Visually there are also discoveries. The unicorn design (more beast than pet) and the atmosphere of the Leopold mansion generate images that stick with you.

The film knows how to be uncomfortable without losing irony, and that is not easy.

The "but"? At times it falls so in love with its premise and its extravagant set pieces that it neglects the secondary characters. There are ideas that ask for a second layer, extra development, and they stay on the surface. It doesn't ruin the experience, but it leaves the feeling that there was film for twenty more minutes of script.

Calificación / Rating

💡 💡 💡 💡 💡,9

Trailer / Tráiler:

Rating: 59/100

Mr. Roth, it's time to change your approach to your movies.

1

“Mom, can we have a hostel at home?”

“We already have a hostel at home.”

Hostel at home (Ice Cream Man).

If you are 38 years old and still watch cartoons (yes, I'm talking about you, CaptainRosomak), then you have probably come across a so-called Halloween episode at some point. They appear quite often, and the more recognizable the franchise, the more elaborate the “scariness” tends to be. In newer animated shows, for example The Amazing World of Gumball or Adventure Time, we have been given essentially the same concept: something turns the inhabitants into zombies, and only the main characters can somehow save the world.

Eli Roth seems to have gotten a little lost somewhere along the way. You can see that his beginnings were more niche and aimed at viewers who knew exactly what they were getting into. Over time, however, he seems to have become too influenced by Hollywood and started making movies that have very little to do with horror and are instead more like cartoons with a horror coating.

Maybe I'll start with what actually worked, because, to my surprise, there are some positive aspects to this thing.

The biggest advantage is the young cast. You can see that the kids are having fun with their roles. They don't take anything too seriously and fire off dry jokes — so dry that I actually had to get something to drink — but it works. You watch them with sympathy, almost as if you were watching a cartoon that had suddenly brought its characters to life for one episode.

Of course, there is a lot of nonsense in this movie, and the closer we get to the finale, the more I started wondering why the filmmaker decided to combine this laid-back movie with gore — unfortunately, gore that often doesn't work very well.

The concept itself, as we already know, is fairly overused and inspired by the Pied Piper of Hamelin (yes, one of the characters actually has Hamlin as his last name).

The movie offers a rather peculiar take on revenge through a grotesque and macabre lens. The titular character arrives in town to make every child happy by giving them a serving of ice cream.

And if the movie had consistently leaned into that kind of grotesque tone, you could probably overlook a lot of its problems. But it is extremely uneven. One moment we get a serious scene, only for the movie to follow it up with some ridiculous gore that adds absolutely nothing to the whole thing.

Everything might have worked if it weren't for those kids and their intolerance to ice cream.

Yes, the main theme is eating ice cream and how the town changes afterward. However, the director apparently had to think very hard about how to make the protagonists immune to the suggestion, so he came up with all sorts of complicated solutions.

Unfortunately, the finale gets lost — and it gets lost so badly that even the characters don't seem to know what they are supposed to do. We get an explanation of the entire conspiracy and an ending that is probably the least satisfying part of the movie. There is, admittedly, a reference to A Nightmare on Elm Street, but it is filmed so poorly that it is difficult to even compare the two.

This could have been a good movie. The young protagonists tried to keep things light, but everything else somehow falls short, including the titular Ice Cream Man, who has some unfinished business with the residents.

I hope the director stops playing around with Hollywood and goes back to making cheap horror movies, because that's when things seemed to work for him. The bigger the budget, the worse the script and the worse the execution.

30/100 — that's the score I can give this movie.

Oh, and I didn't even mention that the movie contains quite a lot of shots generated using AI, which unfortunately makes the overall experience even worse.

Rating: 30/100