**_Necrophilia_** presents us with the fusion of two genres, comedy and horror, giving it a very original and fun touch. Introducing us to an insightful black comedy with simple but witty dialogue. Relive the classic slasher genre alongside the current horror trend.
Although the plot is usually the same that we see frequently, which becomes very predictive, it does not lose at any moment the curiosity to know what is next. At one point, the continuity of the dialogues and scenes is lost, but the parody of why this is understood.
Without a doubt, it is a film that should be given the opportunity, to take it as a different but very funny proposal. I recommend it to anyone who enjoys horror parodies.

A small bird, with a deformed wing, cuts quite a solitary figure as it sits alone in a tree. Then it comes across a small chick, still half-covered in shell, and decides it needs help. Indeed, as the next fifteen minutes rolls along we see both of these birds begin to form a bond of really quite charming inter-dependence that comes to an head when lightning strikes their tree and they have to think fast! I enjoyed this engaging animation with it's subtly delivered message conveyed amidst some mischievous fun, a little bit of menace and lots of worm eating. It's possibly a little long, but it's still worth a watch.

This film kept surprising me. It starts out with an almost coming-of-age feel, with the boy arranging a hookup while his parents are out. The man arrives, fun sex ensues, the man's about to leave. The man has learned the boy lives with his parents, is not out to them, they are picking up his sister at the airport and will return, that the boy would not want to explain the man's presence. The man decides he wants to cum three times before he leaves. There is a strange pragmatism with which the boy deals with the situation, and we learn he has more life experience than first seemed.

I have a soft spot in my heart for movies about making movies.
Whether you go back to Fellini’s “8 1/2” or point to modern efforts such as “Adaptation” or “Seven Psychopaths,” I rarely grow tired of the meta-frameworks of the usually self-referential films. They serve as constant reminders that no matter the seriousness, toil and drama poured into cinema, there’s always room for levity.
That said, Argentinian writer-director Diego Rougier’s “Sal” hit me just the right way with its mix of Western iconography, gorgeous photography and limitless sardonicism.
To simply make the comparison between this darkly comic Western thriller and “No Country for Old Men” seems insufficient, even though the Best Picture winner immediately springs to mind while watching “Sal.” The influence of the Coen Bros. is steeped throughout this film, right from the opening caveat (a la “Fargo”) that the story is based on true events — a claim that seems dubious but in good fun.
Fele Martínez (best known from Alejandro Amenábar’s “Abre Los Ojos” and Pedro Almodóvar’s “Bad Education”) leads viewers between the world of aspiring screenwriter Sergio and the rough-and-tumble arena of revenge faced by Diego, a man for whom Sergio is mistaken after traveling to northern Chile to research his troubled script, a Western titled “Sal.”
The fabled Diego left some scores unsettled with the local jefe, Victor (Patricio Contreras), and his wife, Maria (Javiera Contadar, who also serves as producer), all of them Sergio must answer for, a mistaken identity case that reminds me of the fun and twisted “The Big Lebowski” at times.
Aiding Sergio in his quest to find a tantilizing story for his script (not to mention survive the torment of Victor and his gang) is the old man Vizcacha (Sergio Hernández), who himself has revenge on his mind vis a vis Victor.
While somewhat heavy-handed in its transitions between the supposed reality of Sergio’s script trip and the boots-and-belts drama of Diego, “Sal” never suffers for lack of humor, especially from Hernández’s mentor-hermit character and the comically irascible henchman Pascual (Luis Dubbo).
Equally compelling is the rich cinematography of David Bravo, whose camera movements and respect for natural light across scorched desert days and fire-lit nights help ground the main narrative while indulging in color and saturation tricks for dream sequences and cutaways to the plot of Sergio’s film-within-a-film.
While some viewers may find the transitions grating and tiresome, the humor, performances and overall production quality in “Sal” keep you invested and entertained.

When right-wing Chilean dictator Augusto Pinochet was ousted from office in 1990, five of his henchmen (fanatical military officers charged with doing the autocrat’s dirty work) were sentenced to incarceration for terms totaling hundreds of years at a special “prison” at the base of the Andes Mountains. The facility was far more comfortable than a typical penitentiary, where the now-aged egomaniacal inmates enjoyed comparatively more freedom and privileges than what typical prisoners experienced and where the guards were more like domestic servants than corrections officers. While the residents often complained about their accommodations – far less lavish than what they were accustomed to – they had it relatively easy given what they had done and were now being “punished” for. In fact, in many respects, they still called the shots, despite the presence of supposed state authorities overseeing their “confinement.” Director Felipe Carmona chronicles the unconventional circumstances of the inmates and staff in this fact-based account of their waning days “behind bars,” circa 2013. However, their story is anything but easy to follow, featuring a narrative that’s all over the map with little coherency connecting the various segments and story threads. Conflicting cinematic styles (including some that are almost surreal in nature and others that are downright silly, such as a sequence shot in the style of an old-time black-and-white silent movie), along with themes that seldom feel fully fleshed out, seriously bog down the overall flow of the story, leaving viewers more confused than enlightened by the time the credits roll. Admittedly, as a picture made for Chilean audiences, there likely are a number of nuanced elements whose significance becomes lost in translation, but, even setting that consideration aside, “Prison in the Andes” simply is not well assembled as a cogent cinematic offering. I’ve seen more than my share of Chilean movies over the years, including a variety of releases related to the Pinochet regime during its heyday and in the aftermath of its fall from power, but this muddled release definitely isn’t one of them.

It takes real talent for a filmmaker to successfully combine elements from several different genres in one picture and make the finished product work, but that’s precisely what Mexican writer-director Issac Ezban has done in his latest offering. This post-Apocalyptic sci-fi saga fuses elements of classic horror, smart horror, high camp and zombie tales into an entertaining guilty pleasure that features moments of frightfulness and comedy, as well as heartwarming nods to tender family togetherness (albeit not in the most typical sense). In a world where things have fallen apart due to the effects of an inadequately tested vaccine used in treating the virus behind a global pandemic (a timely touch), those who have managed to stay unaffected have taken refuge in remote hideaways, trying to stave off the diseased monsters that now roam the landscape. Such is the case with three brothers (Mateo Ortega Casillas, Leonardo Cervantes, Farid Escalante Correa) who have holed up in a remote forest house that they found in their wanderings. But, despite their ardent efforts to survive, there are still monsters all about, including in the basement of their new home. “Párvulos” is thus their challenge-ridden tale to stay alive, one filled with terror, as well as unexpected laughs (including a music video parody montage) and a host of strangers who cross their paths, making everyday life perpetually interesting. The story is effectively brought to life with fine performances by the three young actors and inventive cinematography featuring an intriguing palette of black-and-white images tinged with bleak red and green accents, a suitable color scheme befitting the nature of the film and its setting. The use of red, of course, is integral to the ample blood and guts on display here, so sensitive viewers may want to take heed, although such gratuitousness is wholly appropriate for the tenor of the narrative, often enhancing the campy aspects of this story. Perhaps my only issue with this release is that its script sometimes meanders somewhat more than I’d like, with certain plot developments seemingly emerging out of left field – not that they’re ill-conceived, but their appearance feels a little more happenstance than expected. Still in all, this multi-genre offering is a ghoulishly fun romp with a macabre sense of humor, good scares and a few surprisingly heart-tugging moments. And, with a combination of qualities like that, what more could anyone ask for?

Many of us would probably look upon the traits of piety and ambition as a somewhat unlikely, perhaps even contradictory combination of qualities. The temptation to take questionable short-cuts on the path to spiritual fulfillment and maturity thus might be a little too great to remain true to one’s otherwise-authentic spiritual intentions. And that’s just what Rita López (Mónica Villa), an allegedly reverent aging parish custodian from a rural Argentine village, finds out for herself in writer-director Tomás Gómez Bustillo’s debut feature, an offbeat supernatural comedy-drama that defies easy categorization. The hard-working but underappreciated caretaker, who’s trapped in a childless, under-satisfying marriage to her needy husband, Norberto (Horacio Marassi), prays for a miracle to rectify her unrewarding circumstances, and she believes she finds it when she discovers what’s thought to be a long-missing statue of the Virgin Mary that disappeared mysteriously. But is it authentic? Rita’s not completely sure, but with a little cosmetic doctoring and begrudging assistance from her husband, she convinces herself that she’s made a legitimate find that genuinely qualifies as a miracle, one that can put her on a path to enlightenment, if not sainthood. However, her overly zealous fudging of the facts unwittingly launches her onto an incredible, unexpected, eye-opening, surrealistic odyssey that brings her face to face with her own truth and destiny. The film accomplishes this through a clever and inspired mix of gentle but inventive humor, touching moments and heartfelt revelations. This three-time 2023 Independent Spirit Award nominee is an odd but delicious little gem of a movie, one ably supported by its gorgeous cinematography, emotive background score and simple but whimsical special effects. Admittedly, several story elements could use some shoring up and greater development, along with brisker pacing in the opening 30 minutes. The film’s credits are also somewhat strangely placed, coming between the picture’s first and second acts rather than at the more typical beginning or end. Nevertheless, those who appreciate the unconventional are sure to relish this quirky offering, one that previously had a brief and limited theatrical run but is now thankfully available for streaming online. So give it a look. You just might find it to be an answer to your cinematic prayers.

A revenge killing in a remote Mexican town leaves the already motherless young "Sujo" (Kevin Aguilar) an orphan. Luckily for him, his aunt "Neme" (Yadira Pérez) rescues him from the same vengeful fate and brings him up determined that he will resist the temptations of the town that might lead him to follow in his father's footsteps. That's no easy task as his close friends soon end up involved with the local cartel and so she sends the now teenage lad to find work in the vastness of their capital. Here he (now Juan Jesús Varela) begins to yearn for an education, and befriends the teacher "Susan" (Sandra Lorenzano) but the visit of his childhood friend "Jai" (Alexis Varela) reminds him that it's going to be very difficult to cut the ties with his past. This is really quite a touching depiction of a life born into a society that's tight, loyal and violent. Depart from the established order of things and life soon becomes worthless, existence perilous and it's an entire family that can become a target. The young Aguilar sets up the characterisation really quite effectively as an innocent young boy caught up in a maelstrom of events that leaves him rudderless and alone before morphing into the older character whom Varela continues to develop delicately into a young man whose goals, conviction and innate decency might just help him break from the cycle of hopelessness. Pérez also delivers strongly playing on a combination of the practical and the mystical as she strives to keep the lad, and his friends, on a different track - despite the obvious temptations of the bright lights and the money they bring. His late father had a car. A fancy one, at that, and when the young man learns to drive it it might offer him a route out or a route in...? It's a slowly paced affair, this, but essentially it's about choices and brave ones at that. The status quo brings acceptance, brutality and normalcy; a new life requires unsettling changes and risks almost as great. There are no easy wins for this young man.

Welcome to America, land of the free and home of the brave, a sanctuary for the world’s poor, tired and huddled masses. Or is it? That’s the question raised in this gripping, edgy debut feature from the writing-directing duo of Alejandro Rojas and Juan Sebastián Vasquez. When a Spanish couple (Alberto Ammann, Bruna Cusí) relocating to the US on legally obtained visas to begin a new life, they’re detained by authorities on arrival at the New York port of entry for intense questioning about matters of an undisclosed nature. With no explanation for the interrogation, they’re subjected to an increasingly intrusive line of questioning by two antagonistic agents (Ben Temple, Laura Gómez) who offer no rationale for their hostile scrutiny. It’s an exercise on par with an increasingly brutal fraternity hazing ritual, one aimed at ultimately trying to uncover some kind of allegedly illegal scheme driven by trumped-up speculation and the couple’s growing resistance to cooperate, especially when they seem to be guilty at best of failing to dot a few i’s and cross a few t’s. They become reluctant to answer highly personal questions, leading to circumstances that eventually threaten to tear apart the fabric of the duo’s obviously loving relationship. While it’s certainly reasonable to employ prudent security precautions in immigration and customs scenarios, is this kind of unduly malicious treatment really necessary, particularly when the couple ostensibly appears to be playing by all the rules? Is this the America we want, one driven by paranoia and pervasive suspicion? And, if so, then why would anyone want to come here in the first place, even when making a diligently concerted effort to follow all of the legally sanctioned protocols? This film sends a powerful message about these kinds of practices, especially given that some of them have actually been in place far longer than most American citizens are aware of. These issues are disturbingly brought to life by the film’s meticulously crafted writing, which keeps characters and viewers alike guessing about what’s playing out, combined by the superb performances of the four principals, who effectively convey the anguish and fright being wrought on screen. This Tubi TV offering is highly deserving of its three Independent Spirit Award nominations for best first feature, best first screenplay and best editing, even if it’s also the kind of picture that makes audiences uneasy – but, then, maybe that’s the point behind it, too, a goal at which it succeeds brilliantly.

"Non Negotiable" is a movie available on Netflix, but it is not in English, so there is a significant amount of dubbing in the music, film, and storyline. As I began watching, I anticipated a foreign film with depth, but the voiceovers seemed out of sync with the characters.
The script appeared poorly written, leading me to wonder if it was originally crafted in another country or if the dubbing was simply comical. The attempt to transform the film into something more than it was resulted in a chaotic narrative involving a poodle and a puppy, which ultimately made it a poorly executed and disappointing experience.
I would not recommend this film to anyone due to its lackluster writing and overall execution.

"Mary" and "Tom" arrive in New York from Ireland only to find that their uncle "Niall" isn't there to meet them. Indeed, the only acquaintance they do make make hanging around the docks is a small dog that she takes a bit of a shine to and names "Sparky". Concluding that he isn't likely to show up, they decide to take a punt and go to California and find him. Problem? Well the trains don't take punts - only dollars, so they have just an hour to raise the fare. Or... Well maybe they could just blend in with a group of travelling children and blag their way onto the train. It turns out that these kids are orphans too, being relocated to kindly families along the route. Except, perhaps, for the paralysed and wheelchair-bound "Nick" who isn't exactly top of anyone's adoption list. Between playing games with their new friends and avoiding the ticket inspector, they gradually make progress until disaster strikes. Disaster that puts them into the clutch of the deadly Cheyenne before befalling some even more ruthless bandits whose leader looks a lot like Lee Van Cleef, and who run a gold mine populated by slave labour. How to rescue themselves, their fellow miners, "Sparky", "Nick" and still find uncle "Niall" - well that's the fun part in this quickly paced and engaging big-eyed animation. It combines the intrepidness of the pioneering spirit with some good old fashioned wild west adventure scenarios and provides us with a little bit of "Temple of Doom" (1984) into the bargain. Apparently it's based on some real-life sibling experiences and readily passes ninety minutes raising the odd smile as we travel the breadth of a vast and untapped wilderness looking for a needle in a very large haystack.

In spite of a exciting trailer Apocalypse Z fails to deliver.
Perhaps the most immediately noticeable negative is the tiresome need to play politics. An anti-Russian sentiment is front and centre, throughout a large chunk of this film.
Looking beyond this, it takes far too long for what is essentially an action movie, akin to say "World War Z", to get off the ground. This film drags, at times, with sporadic moments of action, that never really amount to anything satisfying.
In summary, if more emphasis had been placed on crafting a compelling story rather than playing politics, this might have amounted to a decent film.Certainly the cast is strong and the acting's excellent but on its own, its simply not enough. A mediocre watch, at best.

"Kaya" (Isabel Gravitt) and her diving pals "Tessa" (Genneya Walton) and "Xander" (Koa Tom) find themselves stuck out at sea with two of them quite badly injured. Would you believe it, a boat is sailing nearby and the skipper spots them floating away with his binoculars and goes to the rescue. He's a curious sort of chap who doesn't seem remotely interested in his new charges, indeed he leaves the poor lad splayed on the deck! Next thing, both the girls are in the cargo hold and he (Alex Wraith) has arranged a rendezvous with a physician who has an altogether more sinister intention than they'd hoped for. It turns out these folks have swam into the midst of a people smuggling ring, and they are now $5k per head commodities - dead or alive. It's going to have to be up to the inventive "Kaya" to escape and see if she can call for help. Though pretty far-fetched, the story is quite tensely directed for about half an hour as a rather deadly little dimly lit cat and mouse game is played, but the acting is all pretty shocking, matched by some fairly banal dialogue and just a little too much serendipity. That said, though, it's nowhere near as bad as I was expecting when I saw the opening scenes and for a while towards the end it's decently menacing before things flare up nicely. You'll never remember it afterwards, indeed you might actually forget bits of it while you're watching it - but it's not the worst.

The atmosphere completely different from that nowadays. This was probably the first time for man to express his own feelings and sexual identity in public. So, it was something like a Big Bang for people who experienced fact that some of their kith are "such a weirdos".
If you compare understanding of people today and only about 2 decades ago you can see that struggle for freedom and equality always exists, but they're a bit different. I may say the sexual revolution has just started and, if you compare some movie from 2000th, 2020th and (probably) 2040th, you will see people are starting to be more aware of changing in global sexual situation and, what is more important, it won't be taboo topic in the future.
Kimberly Pierce made Teena Brandon being born-girl, living-boy. Teena was a very brave person, worth living more than "boys from gangs" without any drop of emotion and understanding others, in themselves.
Person is changing during his life. People are changing during universal time. This is part of so called evolution. Not necessary revolution!
Be who you are :)
..................................................................................................
THE BLUEST EYES IN TEXAS
The lonesome Texas sun was setting low
And in the rear view mirror I watched it go
I can still see the wind in her golden hair
I close my eyes for a moment, I'm still here
The bluest eyes in Texas
Are haunting me tonight
Like the stars that fill
The midnight sky
Her memory fills my mind
(Where did I go wrong)
Did I wait too long
Or can I make it right
The bluest eyes in Texas
Are haunting me tonight
Another town, another hotel room
Another dream that ended way too soon
Left me lonely way before the dawn
Searching for the strength to carry on
The bluest eyes in Texas
Are haunting me tonight
Like the stars that fill
The midnight sky
Her memory fills my mind
(Where did I go wrong)
Did I wait too long
Or can I make it right
The bluest eyes in Texas
Are haunting me tonight
For every heart you break
You pay a price
But I can't forget the tears
In her blue eyes
The bluest eyes in Texas
Are haunting me tonight
Like the stars that fill
The midnight sky
Her memory fills my mind
(Where did I go wrong)
Did I wait too long
How can I make it right
The bluest eyes in Texas
Are haunting me tonight
The bluest eyes in Texas
Are haunting me tonight
.................................................................................................
Review written by Asa_movies (Tanja)

You don't seem like you're from around here.
It's one of those films that any film lover has to see to judge for themselves. A critical darling and an award winner, it's a film of undoubted emotional power. It is based on the tragic case of Teena Brandon (Hilary Swank) who was raped and murdered in 1993, it would become one of the significant cases of hate crime in American history.
From the off Kimberly Peirce's film sets out its stall that we are in bleak territory, and so it proves. It dangles little shards of light, but constantly it proves uncompromising and unpleasant. There's a nagging irk that main characters are very thinly drawn, where motives are given short shrift, and this is bizarre given that the pic runs for nearly two hours. However, the performances of both Swank and Chloë Sevigny are outstanding, and Peirce handles the darkest scenes in the movie with a grace and tact that deserves applause.
A tale that needed to be told, even in truncated form, Boys Don't Cry is fine cinema making. 8/10

A very creative take of that missing generation Y, put together brilliantly by Joaquim Trier. It may be my new favorite of his films. The really great acting by Renate Reinsve and Anders Danielsen Lie were significant to the success of this film.

Told by way of a cleverly accumulating, chapterised, style this tells the tale of the restless "Julie" (Renate Reinsve) who having drifted, as many do, into a mundane and routine life with her loving boyfriend, decides that life has to be for the living and so sets off on a few life-adventures. I wonder if we are supposed to pick which of the men she aligns with over the following four years? They are different, they tick boxes with her, but maybe the whole point is that one size doesn't fit all and the perfection, or maybe just the satisfaction, she seeks is idealistic and naive. She tries her hand at most things in the search for a sense of fulfilment - but can that ever be truly reached if you have an restive nature? The acting is strong and very natural. As the twelve episodes develop, we see a distinct (if not necessarily positive) development in her character. Her boyfriends, the successful "Ansel" (Anders Danielsen Lie) and the handsome but flighty "Elvind" (Herbert Nordrum) gel well together on screen. Their character traits are explored by each other and by us simultaneously. We have to make our own judgements about their behaviour, too. When is cheating, well, not cheating? What is cheating? Nobody really knows what is going to happen - or, indeed, what anyone actually wants to happen! The ending let's it down a bit - a little melodrama that I found a little too convenient rather than touching; but all told this is an excellent observation of modern life and the choices and green devils it offers us all. Well worth a watch.

Decent watch, probably won't watch again, but can recommend for rom com fans.
This is a fine movie, but it is probably one of the most depressing romantic comedies I've ever seen.
This is a stacked cast with Emily Blunt and Jason Segal carrying most of the movie, with Chris Pratt and Alison Brie giving a significant support.
From the title alone, you can suppose a fair bit of life creating adversity as one person in a relationship often sacrifices for another, but ideally in even terms.
Part of the reason this is depressing is that it's a real "slice of life" film. Fortunately there were good comedic actors and writers that worked on this and added a significant amount of humor to this to make it watchable.
It does feel like it drags on for quite a while at points, and thinking back on it, the highlight for it was Alison Brie, which is always a bad sign for a movie that a pretty face was one of the more interesting things.
There is plenty of life lessons and social commentary built into it, but unless you're a big fan of romantic comedies in general, I'm not sure how much you're going to get out of this.

“The Bikeriders” offers a gritty and atmospheric portrayal of a Midwestern motorcycle club’s transformation over a decade, capturing both the allure and peril of a subculture defined by rebellion and camaraderie.
Written and directed by Jeff Nichols, the film delves into themes of loyalty, brotherhood, and the evolution of identity amidst a changing America, and features terrific performances from Jodie Comer, Austin Butler, and Tom Hardy. While not a true story, the movie is inspired by a 1963 photo essay and book by Danny Lyon, a photographer who spent time with the Chicago Outlaws riding club in an effort to document the life and times of the American biker. Nichols creates a fictional world inspired by a culture that was a very real part of the Sixties.
Set against the backdrop of a tumultuous era in American history, the film introduces bad boy Benny (Butler), a newcomer to a local motorcycle club called the Vandals. Led by the enigmatic Johnny (Hardy), the club initially serves as a sanctuary for misfits and outsiders seeking a sense of belonging in a world that seems to have left them behind. In other words, Benny fits right in. Most of the narrative revolves around his complex relationship with the strong-willed Kathy (Comer) and the tug of war that ensures between Benny’s allegiance to the club and his feelings for his old lady.
It’s a story of love, loyalty, identity, and brotherhood that’s filled with power struggles and eventual violence, and Nichols captures the heart of his narrative as the club and its members undergo a transformation that spans roughly a decade. The evolution of the characters can sometimes feel a little too predictable, but Nichols captures the spirit of the time with a sometimes-subtle (and sometimes not) exploration of the motorcycle club subculture and its various intricacies and complications.
One of the more surprising things I liked about this film is how it romanticizes masculinity in a way that’s reminiscent of classic Hollywood. Benny is a Brando type, with a rugged individualism that’s more muted than overpowered with a showy bravado. These are rugged, tough men, who abide by an unspoken code of brotherhood. It not only makes the characters more appealing, but it also adds to the authenticity.
Nichols visually captures the essence of his film’s setting too, immersing viewers in a world where leather-clad riders navigate the open road despite the turbulent dynamics within their own ranks. The production design and cinematography are a perfect fit, both working in tandem to enhance the gritty realism of the biker world and the allure of rebellion.
Anchored by solid performances and a nostalgic portrayal of American masculinity, “The Bikeriders” gives an effective and entertaining look at motorcycle culture.
By: Louisa Moore / SCREEN ZEALOTS

When I first saw the media for this show, I wondered why they were remaking Outsiders. Ponyboy is more of a stone cold killer in this.
Nostalgia...for a better time! When men could just hang out with men, wear leather, drink beer, do meth, rape women...technically not rape as the women consented by hanging out with the men, and ride bikes. Simpler times. This is the world of Bikeriders. Classic America.
It's well done. Acted. Good to see Michael Shannon. I enjoyed it but I don't know if I recommend it. Seems pointless. Maybe: Accept and don't be mean to the youth else they'll murder you when they take over. Bikes are cool.

The Bikeriders presents an interesting Shakespearean kind of tale, depicting the story of 'The Vandals' Motorcycle Club. The narrative captures the essence of motorcycle club culture, showcasing moments that resonate as authentic and familiar. Each scene featuring the club members is compelling, particularly those with Tom Hardy's Johnny and Austin Butler's Benny, whose performances are truly fantastic.
Tom Hardy and Austin Butler deliver standout performances that elevate the film. Hardy brings a raw intensity to Johnny, capturing the character's complexity and inner turmoil. For instance, scenes where Johnny grapples with leadership decisions reveal Hardy's ability to convey vulnerability beneath a tough exterior. Butler, on the other hand, exudes charisma as Benny, making his character's journey both engaging and poignant. His chemistry with Hardy is palpable, adding depth to their on-screen relationship.
However, Jodie Comer's character, Kathy, poses some challenges. While Comer’s acting is solid, the direction and certain choices surrounding her character are problematic. Kathy’s accent is particularly distracting, detracting from the immersion of her scenes. This is less noticeable during her interactions with the club members but becomes glaringly obvious in scenes where she talks to the photographer documenting the club. These segments, intended to provide narrative bridges or twists, feel awkwardly inserted and disrupt the flow of the story.
The decision to have Kathy narrate the story while speaking to the reporter, who is based on the real-life author of the book the film is adapted from, feels misplaced. It might have been more effective to narrate from the reporter's perspective or tell the story in a straightforward manner. For example, a linear narrative would have maintained continuity and made the time jumps less jarring. The disjointed structure often breaks the momentum, making it difficult to stay fully engaged with the plot.
Despite these issues, the core story of The Bikeriders remains compelling. The film captures the camaraderie, conflict, and emotional highs and lows of life within a motorcycle club. The writing, though disjointed due to the non-linear timeline, still conveys the drama and intensity of the characters' lives. A more linear approach could have enhanced the storytelling, providing a clearer and more cohesive narrative arc.
Overall, The Bikeriders is a film with a lot of potential, highlighted by outstanding performances from Tom Hardy and Austin Butler. Their portrayal of Johnny and Benny injects the film with energy and emotional depth. However, the film is hampered by narrative choices and distracting elements, such as Kathy’s accent and the fragmented timeline. While these issues don't entirely diminish the story's impact, they do detract from the overall experience. The film is worth watching for its strong character portrayals and the authentic depiction of motorcycle club culture, but it could have been more powerful with a more straightforward narrative approach.

It’s a bit light on story, but ‘The Bikeriders’ is a film I enjoyed.
The stellar cast list is probably the main reason, because everyone onscreen do great work. Austin Butler and Jodie Comer are the obvious standouts as leads, both are good value throughout; even if the latter’s accent is slightly grating at a few moments. Tom Hardy is, as always, terrific too, while it was awesome to see Norman Reedus appear.
As noted, I do think there’s just barely enough there for a movie - it is a plot that is stretched as far as it could possibly be. It is all shot well and all that, the bikes look and sound ace. I also like how the film wraps up. All in all, it’s very good and most certainly worth a watch.

Danny (Mike Faist) is a would-be journalist who is interviewing Kathy (Jodie Comer) who is married to Benny (Austin Butler) who is a member of the "Valdals". They are a motor cycle club run by Johnny (Tom Hardy) with an almost masonic approach to looking out for each other. She takes us back to how they met, and of her nervousness about mixing with this outwardly aggressive fraternity, but as she gets to know them and they her, she begins to understand they are no threat, and that in many ways are all the family the others will have/need. As time moves on, though, the "Vandals" become a victim of their own success and a proliferation of chapels emerges, introducing a younger more venal and violent element to challenge the existing status quo. Using the stresses and strains of their relationship as a bedrock for the chronology, we follow the ups and downs of this disparate gang and their leader. Sadly, this isn't really a film that catches fire. It's based on real characters, and upon the book written by Danny Lyon, but "The Wild One" (1953) it isn't. It's often as if we are just a small fly on the wall observing their day to day routines and dependencies, but we never really get to know the characters. Comer does fine, but she really serves as little better than the narrator rather than an impassioned character increasingly concerned for her husband's wellbeing. There's also precious little dialogue from either Butler or Hardy and the rigid structure of the drama makes it quite hard to empathise with any of them, really. There is also a dearth of action here. For all the bikes, leather and testosterone we are left with just one or two scenes that raise the pulse a little - and they have been well exploited already in the trailing for the film. It's a good looking film but after all the hype, I was a bit disappointed with it's shallowness.

**_Brilliantly shot, excellently written_**
> **_Alissa Wilkinson_**: _Do you think of_ First Reformed _as an apocalyptic film?_
> **_Paul Schrader_**: _It depends on what you call "the apocalypse". I think we are seeing the last century of homo sapiens. I don't see a scenario in which homo sapiens emerge from this century in our present form. Now, that's not the end of the world. That's just the end of a species, which evolution has taken to its dead end. All of its intelligence is not enabling it to survive. So, there will be some modification in the world. We may be on the cusp of a_ _new evolutionary step. But if you're optimistic about the world as it now is, you're just simply not paying attention._
> > [...]
> _When you called, I was looking at an article with the headline, "Arctic Ice Sheet Is Melting Faster Than Expected, Scientists Warn". None of these things are slowing down. They're all going faster._
> **_Wilkinson_**: _That's a really hard thing for people to grapple with when they're just thinking about day-to-day things._
> **_Schrader_**: _We live in a world of denial. Before, choosing hope was kind of an option. Now it’s almost a requirement._
> **_Wilkinson_**: _How do you think people grapple with the end in the face of faith? Can you have faith and hope and the certainty that something is going down in the near future?_
> **_Schrader_**: _I don't know. I'm 72, so honestly, it's not really my problem. I can't imagine what it would be like to be 22._
> **Wilkinson**: _A lot of this film does feel like it's trying to see if faith can position itself at all in our world._
> **_Schrader_**: _That question that Michael asks - why should we bring life into this world? - is not a question people were asking 50 years ago._
- "Paul Schrader on _First Reformed_: "This is a troubling film about a troubled person"" (Alissa Wilkinson); _Vox_ (June 18, 2018)
Most reviews I've seen of _First Reforme_d have praised it as Paul Schrader's best work since either _Taxi Driver_ (1976) or _Raging Bull_ (1980). And whilst I think that's an oversimplification, unjustly ignoring such strong screenplays as _The Last Temptation of Christ_ (1988) and _Bringing Out the Dead_ (1999), and very unjustly ignoring such superb directorial work as _Affliction_ (1997) and _Auto Focus_ (2002), there can be little doubt that First Reformed is easily his best film of the last fifteen years or so. Which wouldn't be hard when you consider films like _The Canyons_ (2013), _Dying of the Light_ (2014), and _Dog Eat Dog_ (2016).
The film tells a deceptively simple story - Reverend Ernst Toller (Ethan Hawke) is the parish priest of a small congregation in the Snowbridge suburb of New York. A former military chaplain, Toller is struggling with the death of his son, Joseph, who he encouraged to enlist, and who was killed several months into his first tour in Iraq. As a result, Toller's marriage fell apart, with his wife blaming him for Joseph's death. As the film begins, Toller's spiritual crisis is already well under way. He's drinking too much, doesn't show much interest in his official duties, doesn't seem bothered that his congregation has dwindled to about ten people, and has taken to recording his thoughts in a journal which he plans to keep for one year, and then destroy. After Sunday mass, Toller is approached by Mary (Amanda Seyfried), one of his parishioners, who is worried about her husband, Michael (Philip Ettinger). A radical environmentalist who has just been released from prison in Canada, Michael has developed extreme nihilistic views, and wants Mary to abort their unborn child because he doesn't think anyone has the right to bring a child into a dying world. Although initially reluctant to get involved, Mary persuades Toller to counsel Michael. Meanwhile, the 250th anniversary of the First Reformed church from which Toller works is fast approaching, with a huge service to be attended by both the governor and mayor.
The above plot summary takes up roughly the first twenty minutes or so of the film, almost up to the end of the first act. At that point, it looks as if the narrative is heading in the direction of following Toller as he sets about changing Michael's extreme worldview. But that's not where it goes at all, instead focusing almost exclusively on the disintegration of Toller's faith, and the development of his own nihilistic outlook. Along the way, it introduces us to three main supporting characters – Reverend Joel Jeffers (Cedric Antonio Kyles) of Abundant Life, the megachurch that owns First Reformed, and who gave Toller his job; Esther (Victoria Hill), choirmaster at First Reformed, who had a brief sexual relationship with Toller after his marriage ended; and Edward Balq (Michael Gaston), an industrialist whose company is regarded as one of the worst polluters on the planet. As Toller wrestles with his conscience, he comes into conflict with all three in various ways. At the same time, Mary remains virtually the only remnant of hope in his life, as they continue to grow close.
The most striking thing to me about _First Reformed_ is that it is brilliantly shot in Academy ratio (1.37:1), and as a result, everything is boxed in, suggesting little room for movement, with very little empty space in the frame. Coupled with this, Schrader is remarkably consistent in composing perfectly symmetrical shots (the opening scene is a good example). Together, the small frame and the symmetrical compositions give one the impression of looking at a confessional, with the priest on one side and the confessor on the other. As Toller's journal entries occur throughout the film in the form of voiceover, this aesthetic replication of a confessional is enhanced even further - although Toller is not the priest hearing the confession, he is the one confessing.
In line with this, _First Reformed_ is not an easy film to watch. It's central themes are suffering, loss of faith, nihilism, and environmental catastrophe, and the way the film is shot, with the added intimacy of the journal, make it seems as if the audience is suffering right alongside Toller; we're drawn completely into his world, and even his mind, in a way very few films achieve. Schrader allows the content to brilliantly dictate the form, with the two becoming so intertwined as to be virtually indistinguishable from one another - a concept most filmmakers don't seem to even understand, let alone have the ability to accomplish. Interestingly this is the second film in the last twelve months to use Academy ratio for explicit narrative reasons, the other being David Lowery's superb _A Ghost Story_ (2017).
Of course, Schrader is as cine-literate as they come, and doesn't make films in isolation (for example, there are at least three explicit visual references to _Taxi Driver_), and looking at First Reformed in relation to his career would require a full article-length study to itself. However, the film in his _oeuvre_ of which I was most reminded was, strangely enough, _Dominion: Prequel to the Exorcist_ (2005), which is not especially good, but which does share many of the same narrative beats and thematic concerns - a lost priest whose experiences of the darker side of humanity has led to him questioning his faith; a crisis of conscience; a righteous cause to which he totally gives himself over; an indifferent God watching everything unfold; an unimaginable sacrifice; hope offered in the form of an innocent. _First Reformed_ is a lot better, and a lot more morally complex, but there's certainly a thematic consistency.
However, that is not to say _First Reformed_ is perfect. There are parts where it is extraordinarily clunky. For example, there's the wake where a group of environmentalists start singing an awful cappella version of Neil Young's activist song, "Who's Gonna Stand up?", or the scene where Mary and Toller take (figurative) flight through the power of holding hands (in a scene that reminded me of Joel Coen's _The Big Lebowski_ (1998) far more than I would imagine was intended, and got quite a few laughs at the screening I attended).
Additionally, although I've seen many reviews talking about how thought-provoking the environmentalist side of the story is, for me it never really coalesced into anything inherently coherent. Obviously, Toller is a man ready to fall apart when the movie begins, and Michael's concerns about the future of the planet serve as the catalyst for that. However, rather than the film presenting this as nothing more than the backdrop against which Toller's crisis takes place, and thus purposely rendering it unimportant in and of itself, Schrader seems to be trying to genuinely shoehorn in a call-to-action. Which is fairly out of place. And, to be honest, the photograph of the emaciated polar bear is far more disturbing and resonant than any of the facts and figures the film occasionally tosses out.
I'm also not 100% convinced the black comedy worked. There aren't that many instances of it, but when they come, they are so black as to be easily missed. Probably the best example is when Toller is showing a group of children around First Reformed, and telling them how it was a stop on the Underground Railroad, showing them a secret basement in which the runaway slaves would hide. However, instead of simply giving them a quick history lesson, he ends up staring into the basement and giving a graphic description of what it must have been like hiding in the dark, scared and tired, with no room to move. There's a few moments like this, but I didn't think they really sat well with the ultra-realism on display elsewhere.
But they're minor faults, and all things considered, this is a high-quality film. Will it be in contention come awards season? Possibly. Schrader has always had a fraught relationship with the Academy (hard to believe he's never even been nominated for an Oscar), but this is the kind of serious subject matter that voters usually lap up. I certainly wouldn't be surprised to see Hawke get some acting nods, possibly Seyfried too. Irrespective of that (and we all know the amount of Oscar nominations a film gets has very little to do with its quality), this is a strong film made by a skilled artist about a subject matter for which he clearly feels deeply.

I don't believe I've ever seen a film shot so deliberately. Almost every single angle is framed with precision and intent. Like a Wes Anderson film sapped of any and all whimsy. Many shots linger in a style not often found outside of horror films, in the scenes they intend to deliver the audience a scare that its characters do not see.
_Final rating:★★★ - I liked it. Would personally recommend you give it a go._

I did not have many expectations for _Three Thousand Years of Longing_, but after leaving the theater it left me longing for more. I do not think any individual part of this film was inherently bad. The performances by Idris Elba and Tilda Swinton were captivating and their on-screen chemistry was amazing. The flash backs to the characters' lives were very fascinating. I really enjoyed exploring the lives of ancient civilizations in the eyes of George Miller. The overarching plot was decent, nothing spectacular. But the collection of all these different elements together just felt like a jumbled mess. The movie never gets in a groove and always feels like it is stumbling its way to the finish line. I felt the opening sequence was incredibly rushed and the audience does not really get to form a connection with Alithea before she unleashes the Djinn, and from there on the audience is whipped back and forth from flashback to present day and it feels incredibly disjointed. The jumbled up second act, deflates any type of momentum going into the third making it fall flat on its head. All this compiled together made a somewhat emotional and touching ending feel hollow and lackluster. Overall, as a collection of short stories this movie was a good time, but really does not belong together in a jumbled-up mess of a plot.
**Score:** _53%_ |
**Verdict:** _Average_

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"Three Thousand Years of Longing is one of the most ambitious films of the year.
Relying on the genuinely charming, mesmerizing performances of Idris Elba and Tilda Swinton, George Miller approaches a famous cautionary tale through a distinctive form of storytelling, focusing on flashbacks narrated by the male protagonist. The multiple stories of the past aren't always fascinating, partially due to the chosen narrative method, which becomes repetitive despite enriching some of the core themes.
The immersive, atmospheric visuals elevate the overall piece with significant impact, making this a cinematic experience to leave any viewer contemplating life, desire, loneliness, and happiness."
Rating: B+

"Alithea" (Tilda Swinton) is a solitary scholar who travels to Istanbul to address a conference on the relative merits of myth v science. At the seminar, she starts to hallucinate and the seed is sown that perhaps the mystical is not so far-fetched as we might think! A visit to the Grand Bazaar sees her acquire a small blue bottle that, when attacked rather unceremoniously with an electric toothbrush, spills it's contents into her hotel room. A giant, hairy-legged Djinn (Idris Elba). In keeping with tradition, he offers her three wishes - but she is sceptical. Easy come, easy goes thinks she - and as the couple chat, she discovers just how he became incarcerated in this, his third, bottle. His are tales of love, lust, greed, power and sadness and he depicts them to her of his life of some thousands of years. He also declares just why it is so important that she actually makes her wishes; for without those he can never attain his freedom. It's good fun this film. An anthology of scenarios that entertain and amuse with a worldly and generous effort from the sagely Swinton who gradually falls in love with her now normal-sized companion. The dynamic between the two stars is engaging and effective, the latter delivering a charming contribution to a simple story of the problems of a series of unrequited loves over the centuries that will probably never find a straightforward solution! It's a quirky film, that moves along quickly and I really quite enjoyed it.

For me, this has to be the best film featuring the late Anton Yelchin.
RIP

When the long-hidden wreck of the battleship "USS Charlotte" is discovered, it proves a must-explore opportunity for a visiting collection of erstwhile college students. Initially, "Noah" (Jack Parr) isn't keen on taking them all, but when he discovers that his local bar-owning mate "Levi" (Julian Sands) is $36k in the hole, he teases the the cash from the arrogant ass that is "Brett" (Alexander Arnold) and so down they go. Initially, all goes well enough but you have to remember that a battleship is a large construction with loads of corridors, ladders, portholes and especially with this one - rust. As this entitled and hungover bunch of travellers enter deeper into the infrastructure, they also meet a problem a little more menacing. Sharks like it down there too, and they are hungry for some rubbery frat sandwiches. What with a maze of collapsing ironworks, the odd dead body and now these marauding man/woman eating fish, we are set for quite an underwater adventure full of squealing and screaming with acting and dialogue that had me wanting to sign up for my local adopt-an-elasmobranch society. The photography works quite well and it does generate a little tension, but the rest of it just hammy comic book stuff where the cast deserve all the chewing they get. the sparingly featured Julian Sands must have fancied a free holiday somewhere warm, else he had a tax bill to settle - otherwise this is entirely forgettable fayre that we've all seen before and won't need to see again. Perhaps it should have been entitled "The Last Gasp"?