FULL SPOILER-FREE REVIEW @ https://fandomwire.com/origin-venice-film-festival-review-a-must-see-educational-story/
"Origin brilliantly transposes the pillars of caste from Isabel Wilkerson's book to the big screen through an incredibly revealing, genuinely fascinating narrative, despite becoming clear that the source material is better suited to a documentary.
The exceptionally human performances of the entire cast, especially Aunjanue Ellis, compensate for some lack of balance between emotionally personal dialogues and weighty lectures. Impactful imagery and an extremely stirring score make the audiovisual experience even more captivating.
It's not without issues, but it's one of the most important stories to watch/read this century."
Rating: B

Great detective movie with interesting twist. Loved it.

Crowe is less lazy in this film. He moves around much more and... looks a little slimmer? Maybe it's just movie magic but all this potential cut weight is wasted as we're still stuck with almost 2 hours of run time. The twists aren't that amazing or necessary or whatever. It's fine. It's been done before...a little long.

I'd seen this film advertised at my local cinema but written it off as the description, in not giving anything away, sounded like Brideshead re-revisited. Then having heard some hype I couldn't see how it could be rated 15. But you know how in films, people would kiss, then suddenly be lying in bed smoking; as adults, we’ve been there, and we know they’ve just had sex, but how could a censor or anyone argue with what was actually shown. If you watch ‘The Good Place’ or ‘The Simpsons’, there are parts where you laugh along with the writers but you know it’ll go over kids’ heads. This was definitely a 15 in what it showed but I blushed at what was inferred. Having heard of ‘the bath scene’ or the ‘graveyard scene’, I was concerned, and more surprised by the 'vampire' scene and that the necrophilia actually occurred elsewhere. Or was that just my perverse adult imagination!

I'm disturbed. Outstandingly disturbed, mind you.
It is very out there as it features some uncomfortable moments, but that's never a bad thing if it's done right... and boy is it here. The film does an excellent job at making it all fit, which is actually quite impressive. Main plot-wise, it's not a hard one to predict... or at least not quite as unpredictable as the film possibly thinks it is based on the 'reveals' (?) at the end, but again: never a bad thing if done correctly. The main takeaway from all this is certainly the unsettling stuff.
This 2023 production also holds fantastic cast performances. Barry Keoghan is top notch, I've seen various people online rave about him as an actor but I hadn't really seen it until now. Jacob Elordi merits praise too, as does Rosamund Pike - another one I haven't previously been too keen on, though she is fun here. In fact, on paper it's an iffy cast to me. In reality, the cast are perfect. Credit also to Richard E. Grant, Alison Oliver and Archie Madekwe.
No doubt, 'Saltburn' is a great movie! A must-watch, I'd say. Emerald Fennell is two for two with me now, after I also highly enjoyed 'Promising Young Woman' (same rating, fwiw).

**It's been a long while since I stumbled upon a film that wasn't painfully predictable.**
What struck me the most was this bizarre yet fascinating connection I developed with a psychopath. It sounds odd, but the film masterfully reels you into this vortex of the character's emotions and psyche. And then, somewhere along the line, it cleverly severed this connection, leaving me... adrift.
However, what really resonated with me was the cinematography. The camera work, grading, lighting – everything seemed meticulously crafted to enhance the narrative and the mood of the film. There were moments where I was simply awe-struck by the beauty of a single shot.
Worth watching.

Black comedy / psychological drama of Amazon, directed and written by
Emerald Fennell (from the magnificent promising Young Woman and Barbie). This one is a bit tricky one to review without spoilers so if want to see the review stop right here.
It tells a story about the scholarship student Oliver Quick (Barry Keoghan) early in the 2000 that struggle to be accepted into the high class Oxford University. He manages to met Felix Catton (Jacob Elordi) a popular student and befriends it being closer and closer in friendship with him, till he shares his sad family story background. Then he is invited to be at vacations at Saltburn, an magnificent summer place in the fields of England where he meets the eccentric and decadent family of Felix, Rosamund Pike (Lady Elspeth Catton, Felix's mother), Richard E. Grant (as Sir James Catton, Felix's father), Alison Oliver (as Venetia Catton, Felix's sister) and Archie Madekwe (as Farleigh Start, Felix's annoying cousin).
With a solid production structure with cinematography by Linus Sandgren (I must highlight this one how it works adjusting to the mood of the unfolding story), edition by Victoria Boydell and music by
Anthony Willis, the movie have it greatest merit in an area that Fennel already showed before - the script.
Simplifying all things the story that have some sordid sex scenes and gives hints that Ollie isn't so nice in the head as he seems, it develops almost like Promising Young Woman, to a revelling ending of a serial killer and social alpinist in the last 30min of the movie. Not something that we wouldn't foresee by the attitudes of the protagonist and background of the director / writer but nice anyway. So much that seems that I enjoyed it more than most of the people I follow.
Guess that we maybe have another contender for Academy nomination of screenplay, director and acting here. A Solid 7.9 out of 10.0 / B+ here.

**Overall** **Entertaining**
This movie was a refreshing experience. Well directed with tight plot. Leaving the viewer always wondering what’s going to happen next?
There are some potholes and forced nudity (incongruent), but the good plot makes up for these minor shortcomings.
Overall, I enjoyed this movie 7/10

Has a case of the samesies on the final chapter. I think we get it. I liked the people. Fun characters outside of you know who. Does anyone really say the vampire line? Great character reveal in the slurp. For me, the explanation station took away from the experience. Feels sloppier the more you see. But then you see it all. Giant slopfest.

Sometimes you come across a filmmaker whose works you just don’t like. And now, after two features in, I can honestly say that about writer-director Emerald Fennell. I didn’t care much for her debut outing, “Promising Young Woman” (2020), and I can say the same (and more) about her follow-up effort, “Saltburn.” This alleged thriller about a seemingly awkward but quietly sinister Oxford student (Barry Keoghan) who ingratiates himself into a family of wealthy English aristocrats features a story and characters about whom, quite frankly, I couldn’t care less. (Think “The Killing of a Sacred Deer” (2017) with a cast of eccentric old money cronies and a wolf in sheep’s clothing.) This assemblage of utterly reprehensible characters living utterly reprehensible lives and zealously adhering to utterly reprehensible values fails to engender viewer empathy, interest or even connection. Much of the narrative is predictable and glacially paced, incorporates sequences that are included for little more than forced shock value, features monodimensional and blatantly obvious (almost trite) character development, and frequently stumbles in attempts at humor that are wedged in largely for the sake of convenience or calculatedly timed comic relief. It’s the kind of picture that prompts regular looks at one’s watch to see how much more one must endure and delivers welcome sighs of relief when the end finally comes. What’s more, given the combined talent pool for this production, it’s a genuine shame to see the likes of Rosamund Pike, Carey Mulligan and Richard E. Grant relegated to supporting roles in which their abilities are sorely underused. And then there’s the excessively hammy performance of Keoghan, who’s quite obviously (and knowingly) acting and not disappearing into the bona fide portrayal of a character. In all, this offering feels like a picture that tries awfully hard to see how much it can get away with, especially when seeking to invoke dropped jaws among audience members, much as this director’s cinematic predecessor attempted to do. Save your money, and don’t waste your time on this vastly overrated release from a vastly overrated filmmaker.

I was quite nervous when I saw this. I was expecting a sort of hybrid of "Another Country" meets "Brideshead Revisited" as the story of "Ollie" (Barry Keoghan) and his aristocratic pal "Felix" (Jacob Elordi) unfolds. Both are at Oxford university, but the former man is very much a poor relation of his well-heeled contemporaries. One afternoon, though, he comes to the aid of "Felix" lending him his bike, and what now ensues is a friendship that sees the two gradually start to bond and for the latter to invite his new friend to his eponymous stately pile as a guest of his mother (Rosamund Pike) and father (Richard E. Grant). Tagging along throughout this experience is the slightly malevolent and jealous "Farleigh" (Archie Madekwe) as their summer vacillates from the hedonistic and enjoyable to the ghastly and tragic. It's a bit of a slow starter, but once we arrive at the ancestral pile the story starts to gather pace and "Ollie" proves to be quite adept at navigating - even manipulating - the frequently quite treacherous environment in which he finds himself. It is definitely too dialogue heavy, but Keoghan is good here and there is quite an effectively building degree of menace as we start to realise that maybe things aren't all quite what they seem. I found Madekwe also rather good as the odious hanger-on (only a posher one) and Carey Mulligan walks quite a characterful tightrope too. The photography and aesthetic of the film along with Anthony Willis's score all add a degree of richness to a story that isn't as derivative as I feared. I can't think it's a film I will remember in a few years, but it is well worth a watch as Mr Keoghan continues on his journey to what must be greater success.

In the mesmerizing thriller "Slingshot," viewers are taken on a gripping journey through the vast expanse of space and time. Casey Affleck stars as John, a character who finds himself trapped in the depths of space, leading to a series of unexpected twists and turns that keep audiences on the edge of their seats.
While the film may have moments that captivate and intrigue, there are also instances where the pace slows and boredom may creep in. However, as the third act unfolds, the movie truly takes flight, delivering an exhilarating and unforgettable experience that makes the initial dryness worth enduring.
Throughout the film, viewers are kept guessing and questioning the fates of characters like John, Nash, and Frank, creating a sense of anticipation and curiosity that drives the narrative forward. Lawrence Fishburne shines as the formidable antagonist, bringing a menacing intensity to his role that adds depth to the story. Meanwhile, Casey Affleck delivers a standout performance that solidifies his place as a talented actor.
While the first act may feel lackluster at times, "Slingshot" is a film that is best enjoyed through streaming platforms, rather than in theaters. It's a journey worth embarking on for those who appreciate a thought-provoking and immersive cinematic experience.

Sci-fi releases that attempt to do something more than the minimum of what’s typically expected of them are to be admired for their ambition and creativity. That’s especially true when they seek to fuse their subjects and storylines with material drawn from other genres. However, to achieve success at that, the filmmakers behind these projects need to be very precise and diligent in coming up with a mix that works, and, sadly, that’s where this offering fails – not by much, mind you, but just enough to characterize it as a well-intentioned near miss. The film follows the diverse, often-surreal experiences of an astronaut (Casey Affleck) on a daring, cutting-edge mission to the Saturnian moon Titan, one that’s to be reached via a gravitational slingshot effect around Jupiter that will propel the craft to its destination at an accelerated speed. That consideration aside, though, the journey is nevertheless a lengthy one, requiring the protagonist and his crew mates (Laurence Fishburne, Tomer Capone) to be placed in drug-induced hibernation for vast stretches of the trip, a tricky proposition given the potential side effects of these powerful substances. This blend of story elements thus sets up the characters for an odyssey (ironically, the name of their ship) fraught with strange dreams, hallucinations and other unexpected developments, particularly when the spacecraft is mysteriously damaged, placing completion of the mission in jeopardy and affecting the psychological stability of the crew. Matters become further complicated when our hero begins having visions of his romantic interest (and one of the ship’s designers) (Emily Beecham) aboard the craft. So what is exactly going on here? That’s what director Mikael Hafstrom seeks to explain, though it’s far from an easy task. While the picture has its moments of intelligence and even poetic insights, it nevertheless struggles with a narrative and screenplay that become a little too convoluted for their own good. The writing, unfortunately, isn’t completely capable of fulfilling its intent, often taking the long way around to connect the dots and involving material that could have used some cleaning up to attain its goal (such as (ironically enough) using some “slingshot” shortcuts to move the story along instead of getting bogged down in plodding, elaborate attempts at explanation). Some will also note the many thematic similarities between this offering and “Spaceman,” released earlier this year (though, admittedly, there are enough distinct tonal differences and plot devices to adequately distinguish the two films and keep them from being labeled copycats). And then rhere’s the production’s tendency to push the limits of appropriate on-screen violence, verging on becoming a little too gratuitous though never actually crossing the line of acceptability (despite coming precariously close on occasion). Regrettably, these shortcomings detract somewhat from some of the picture’s genuinely fine attributes, such as some gorgeous special effects, a simple but smart production design, solid performances and a catchy soundtrack. It’s truly a shame that those elements noted above don’t match the level of these qualities; had “Slingshot” done so, this would have been a stellar release in the same vein as offerings like “Solaris” (2002) and “2001: A Space Odyssey” (1968) instead of becoming a largely forgettable sci-fi also-ran, a destiny with which it’s ultimately likely to be saddled.

This reminded me a little of John Wayne's "Mc Q" (1974) only this time it's Dolph Lundgren who is the curmudgeonly old cop who bends the rules to suit the investigation. That's caused his bosses a bit of an headache, so they want to put that frankly rather odious "Johansen" out to pasture. A trip to Mexico is organised so he can retrieve and escort a vital witness in a double-murder case back to the USA. "Rosa" (Christina Villa) is no shrinking violet and the couple don't exactly hit it off, but gradually that all changes as the pair begin to realise that they are being played. By whom, though? That's the six million dollar question. I'm afraid the presence of Kelsey Grammer in anything (except maybe the early editions of "Cheers") never bodes well for me, and his mediocrity rather sums up this whole thing. It hasn't an original bone in it's body as it follows well established plot lines, constantly escaping from hellish scenarios against overwhelming odds and firepower. It's as if his dark sunglasses gave him a degree of immortality. Rapid healing powers at any rate. Duplicity, police corruption, betrayal - you name it and it's been squeezed into this bland and repetitive thriller that's very short on thrills. Television fodder at best, sorry.

This light on action abomination, posing as an action movie, is dumber than a bag of bricklayers. They actually shoe horn in him being a bricklayer, who brings his brick tools on cia missions, and he actually gets to use his trowel to find some secrete crap in a wall, oops, i mean, spoiler alert. Oh, and he really loves jazz, cause hes sophisticated, despite being a dumb fuck bricklayer. Contrived would be generous. Shakey-cam cut-frenzy horse shit action, check, chauvinistic writing for the lady, check, 80 percent of the movie shot reverse shot conversations in a nondescript room, check. Production levels are around the low tier network tv show area, think seal team and that sort of trash.

Woooooooow. Cheap, cheap, cheap thrills. Bricklayer does this one knee slide at one point - kick ass. Kate shoots through him at guy speeding away on motor bike, Bricklayer doesn't even flinch. Bricklayer rules. Amazing. Thanks, team.

Basic but serviceable action flick with the usual cast of cliched US "good guys" vs your standard fare villains.This films not going to set the world on fire but its not dreadful, either. Pacing is decent and acting is okay.
In summary, if you like the occasional simple, exposition driven action flick, this is worth a look.

The Last Stop in Yuma County is kinda stupid.
The cast is fine. The acting is... fine? The script is kinda dumb. Travis is walking around with a handgun sticking out of the back of his pants for the majority of the movie yet absolutely no one notices at any point. I understand that in a situation like the one presented here people can do silly things, silly things that will get them killed, but this movie just takes it a step further than it needed to go.
I have a problem with people acting overly stupid in movies and there's just too much of that here.
By the end, you kinda just want most of these characters to die due to how stupid they are and even when it happens, it's not satisfying.
I was kinda sleepy when I watched this so maybe I'm being overly harsh but the feeling I had by the time the credits rolled was "I just wasted my !@#$ing time watching this when I could have been sleeping."
P.S.: Richard Drake can be a sleazy mother!@#$er. I feel like he was wasted on this script.

'Marching Powder' is exactly what one would expect from a Danny Dyer (and Nick Love) movie. I'm a little split on how I feel about it though. Most of the comedy is quite lazy and forced, though a couple of jokes did get a chuckle out of me; e.g. Dagenham.
The fourth wall breaking is questionable, it kinda works for a few moments but is mostly ill-fitting and cringey. On the other hand, there is surprisingly one touching scene; it involves Kenny Boy on the blower, I genuinely felt it in the feels - very unexpected for a movie of this sort.
As for the cast, Dyer is mostly good in the lead role; far from perfect, but he gives largely what you'd anticipate. Stephanie Leonidas does well, while Calum MacNab is initially iffy as the aforementioned Kenny but ends up being one of the better aspects of this 2025 release.
All things considered, I think I do have to file this one under 'average' - rather than 'good'. It's somewhat of a close call granted, but I do believe that the cons outweigh the pros. The deciding factor is the plot, which basically finishes as it starts; barely any progress is made.

Hats off to Danny Dyer for at least putting his heart and soul into this, but as a piece of cinema it’s poor, stereotypical and derivative of just about every other film he has been in - and a few that he hasn’t. “Jack” is having a bit of a mid-life crisis as he realises that he’s nearer the end than the beginning and hasn’t much to show for it. His wife “Dani” (Stephanie Leonidas) reckons he’s a waste of space and his daily regimen of lager and sniff isn’t likely to change that anytime soon. A bit of routine football hooliganism sees him in front of a magistrate who gives him six weeks to get himself sorted out, else he is going to prison. Can he wean himself off his old habits and try to be a better person/husband/dad? Maybe Nick Love thinks that a constant stream of expletives makes for a good watch, but this was just puerile. There’s not an hint of subtlety, no depth to the characterisation and without a doubt, the best bits are in the trails. “Jack” is a thug with few likeable qualities, and the strength of the drama between him and his wife is thrown completely under the bus when an incident with their son (Arty Dyer) should have put an end to the whole thing, but somehow just gets forgotten as what passes for a plot marches on. The whole thing has a 1980s look to it - attitudinally and aesthetically, and the occasional witty asides to the camera soon wear thin as we are presented with a slew of folks you’d cross the road to avoid. There is some humour in the script, but nowhere near enough to sustain this for what seemed like a lot longer than 90 minutes. A definite victory for hype over substance, powdery or otherwise. Sorry.

_The Beast Within_ is a film about a family struggling with a dark secret first and a horror movie second. The film prioritizes an unsettling environment and powerful performances over a high body count and full-on creature reveal. It’s a worthwhile watch if you enjoy films with a slow buildup, but may leave those hankering for straightforward bloody horror hungry and drooling for more.
**Full review:** https://bit.ly/MoonCurse

With “I Used to Be Funny,” writer / director Ally Pankiw intertwines mystery and emotional depth to create a compelling narrative in her dark dramedy about a missing teenage girl and her friendship with a stand-up comedian with a debilitating case of PTSD. By exploring the various complexities of trauma, recovery, and healing in a refreshing, honest way, the film is poignant and feels highly personal. This is a story of emotional suffering, fractured relationships, and the long-term process of reclaiming happiness and a sense of identity.
Revealing too much of the plot will spoil the film, so this review will be as vague as possible.
Sam (Rachel Sennott) is an aspiring comedian who works as an au pair for Brooke (Olga Petsa). Told in flashbacks over a span of the last two years, the story begins with a news report that Brooke has gone missing. Sam, who is suffering from a traumatic event, decides to join in the search for the girl she used to nanny. Blending the past and present, it becomes clear why these two women are dealing with emotional wounds in their own unique way.
This is the perfect vehicle for Sennott to showcase her range as an actor, and she delivers a powerful performance. she captures the complexity of her character with nuance, blending drama with a touch of comedy when her situation becomes too much to bear.
While her story isn’t on its own very original, Pankiw is an outstanding storyteller, shifting seamlessly between the past and present. The dual timeline keeps the narrative unpredictable and surprising, which will keep you engaged during the film’s slower moments (it could use some tightening overall). The challenging subject matter can feel upsetting and heartbreaking, but it’s also so important to see stories that highlight essential aspects of the female experience. Sam and Brooke have a loving yet complicated relationship, and Pankiw explores this friendship with a heart-wrenching candor.
“I Used to Be Funny” isn’t a film that’s easy to watch, but it gives a highly realistic portrayal of the slow and agonizing healing process after living through a traumatic experience.
By: Louisa Moore / SCREEN ZEALOTS

The problem with this pretty straightforward reimagining of "Rosemary's Baby" (1968) is that in the intervening half century, the story has been told and retold to such an extent that this really hasn't much potency any more. Julia Garner's "Terry" is a would-be dancer on Broadway who takes quite a terrible tumble that puts her out of action and sees her struggling to find work - or an home. That latter problem is solved when the elderly and kindly "Castavet" couple invite her to use an empty apartment in their building - the "Bamford". Intent on resurrecting her career, she is pursuing fellow-resident and producer "Marchand" (Jim Sturgess) with whom she starts to become romantically entangled. A night she barely recalls then some sudden bouts of sickness leads us all to an inevitable conclusion but something isn't sitting right for "Terry". The increasingly claustrophobic atmosphere in the building, the changing attitudes of her hosts "Minnie" (Dianne Wiest) and "Roman" (Kevin McNally) and a sense that something truly evil is afoot soon sends her into a spiral of paranoiac behaviour that pushes her to the brink! None of the acting is really up to much here nor is the writing and the all-important sense of menace is really quite weakly played out as the whole thing underwhelms. Sure, it's difficult to watch a remake and not anticipate what's going or supposed to happen, but all that really does here is beg the question - why make this at all? Wiest probably takes the acting plaudits - she does exude a certain sense of the downright manipulative, but the rest are going through the motions in a disappointing and procedural fashion. It's all perfectly watchable, but I probably wouldn't bother if I were you - if it ain't broke...

Loved this movie. It's connected to "Rosemary's Baby" and shows us what happened before. Movie's great. If you loved "Rosemary's Baby", you will love this too. Also, no liberal propaganda and BS, which is another plus.

“Uma” (Radhika Apte) lives in a small tin box of an home with her new husband “Gopal” (Ashok Pathan). She hasn’t a clue how to cook their food and neither seem to have much appetite to consummate their nuptials, so the relationship is distant and she has a bit of a temper which the rather subdued gent tends to run away from (and drink). Luckily, she manages to befriend her neighbour “Sheetah” (Chhaya Kadam) and they share stories about how useless men are whilst she struggles with the boredom of life. She eventually decides to get a job as a cleaner which breaks up the inanity a little, but she also starts to find herself drawn more and more to the animal kingdom. A passing encounter with a goat, then a bird, starts to see her question her almost vampiric behaviour. When an even more curiously tragic incident occurs, the story becomes increasingly surreal and the lines between truth and fiction become almost macabrely blurred. Apte is quite entertaining here as her aggressive and slightly stand-offish character becomes more eccentrically engaging and Pathak also delivers quite well as the hapless husband, but I found the story all too weak and repetitive for too long before the last ten minutes or so finally raise some more interesting aspects of superstition, perhaps even witchcraft, and shines a light a little on the vagaries of her tight knit community who are quick to make snap judgements. Though it’s not graphic, it’s not for the squeamish and it’s those few scenes where most of the dark comedy kicks in, but again there weren’t really enough of them to sustain this. It has it’s moments and is worth a watch for “Uma” wandering lonely as a goatherd through the city beating a mop and pail, but it will look just as good on the telly.

I love zombie movies-I try to watch as many as I can, and I don't mind if they feature unknown actors. Unfortunately, that also means I'm often disappointed. But Silent Zone turned out to be a pleasant surprise.
I expected another low-budget B-movie filled with cool action scenes, gory zombies, minimal plot, and cliché characters. Instead, I got a film that blends action-horror with genuine drama. The characters are multidimensional, and there were a few plot twists that genuinely surprised me (no spoilers here!).
It's a slow-burn in parts but builds great tension and delivers solid emotional moments alongside the action. If you're a fan of the genre, I definitely recommend giving Silent Zone a chance.

We start with a fairly traumatic car accident that goes some way in explaining just why, many years later, the sheep farming “Michael” (Christopher Abbott) is living with his immobile dad (Colm Meaney) and living a fairly unfulfilled life. Their neighbour calls to advise that a couple of his rams have been found dead on their farm and so when he goes to investigate, we meet “Caroline” (Nora-Jane Noone) who used to be his girlfriend before she left him for “Gary” (Paul Ready) and they had son “Jack” (Barry Keoghan). With no evidence of the corpses, he heads to the market to buy replacements only to find that his neighbours haven’t been straight with him and that there’s quite enough history here to ensure that “Michael” keeps his mouth shut. Meantime, things aren’t proving much better for the couple next door as their farm is struggling to pay it’s way and when their young son comes up with an unilateral scheme with his thuggish cousin “Lee” (Aaron Heffernan) to raise, rather brutally, some extra cash then things turn violent and dangerous now with just about every element of trust out the window! This isn’t a mystery for the squeamish as it highlights some of the real difficulties faced by hill farmers facing financial difficulties trying to make their inhospitable land pay. The story itself here is a bit of a mess, and though it does gradually start to make a little sense towards the end, for the most part it seems a little too thinly stretched and reliant on the time-shifting chronology to tell us an under-characterised story from differing perspectives as the threads rather far-fetchedly come together at the end. It’s a fine looking film offering an authentic look at a barely better than subsistence form of life populated by folks suspicious of newcomers and of each other, but I couldn’t help but feel this needed a much firmer hand on the storytelling front and Keoghan just too old for the part. Abbott delivers well, and it’s still worth a watch - but television in due course ought to be fine.

More racist, unfunny slop from the company who prevented a father from putting Spiderman on his four-year-old son's grave.
This time with luminance at around 20%, so if you move your TV down to the basement and turn off all lights, you can sort of make out what's going on.
But why would you? It's boring and racist.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/alexander-and-the-terrible-road-trip-review/
"Alexander and the Terrible, Horrible, No Good, Very Bad Road Trip leaves a feeling of déjà vu but remains a fun enough adventure to please its target audience, without any element that makes it stand out in the vast streaming offering.
For those who appreciate the original movie and don’t mind embarking on a similar journey but with a more Latino-Hispanic flavor, the recommendation is simple: buckle up and enjoy the ride.
For the others, it might be better to look for a different destination."
Rating: B-

Unwatchable.
This is one of those new Hollywood releases where HDR means they hire a blind guy to do the mastering and let the luminance max out at ten percent.
When it's daytime in the beginning, you can make things out - it's like watching something at night through sunglasses - but once it gets to be nighttime, it's just darkness.
Avoid, save your money, cancel your subscription.