Visual stunning, this picture set in India is so grand and directed so well that you can watch it again and again. Indian films are usually Bollywood type but this has a special ring in the audience that it's got a twist. A girl falls for another girl because of the respect she has for her and learning and achievement that comes from her.
Streaming on Montageplay.com watch it there!

**_Surongo is a mixture of Money Heist and Farzi._**
Surongo tells the story of a man whose "gold digger" wife gave him a total mental breakdown because he had no money. The man started running after money and ultimately went for bank robbery.
To review the film, I am dividing it into three categories: acting, story/screenplay, and direction.
**Acting:**
_**Afran Nisho**_ did two things here. He played the main role, and he alone carried the whole cinema. Nisho deserves double payment for that.
**_Tama Mirza_** had the greatest opportunity to become a talkable character, but she missed that. I don't know how a director can finish the film without grooming another main character properly. She was the same as she was in her past films—no change whatsoever. In fact, her character doesn't change at all and does the same acting in every film.
**_Mostafa Monwar_** got a short screen time, and even in that short time, he disappointed me.
**Story/Screenplay:**
In one sentence, the story is fully predictable. The first half got only the base of the story (character's backgrounds, etc). Isn't that mean the second half will be the main story to connect all the dots together? Yes, it did connect all the dots, but after everyone successfully predicted the story.
Maybe the screenwriter didn't want us to forget the fact that Tama Mirza (Moyna) is a gold digger. That's why he tried to show the character Moyna digging gold whenever he could. Whenever the screenplay was getting boring, the screenwriter brought another gold-digging characteristic to let everyone know, "Yes, she is the one; she is the gold digger".
**_Rafi's direction:_**
Bangladeshi OTT brought Raihan Rafi to the industry, letting us watch his poorly made film or web series. But this time, Raihan Rafi tried not to mess up a single thing, and he was successful in that. Ignoring minor plot holes, it is a watchable film.
**_Other aspects:_**
Missed some important dialogue because of the BGM. Sometimes the BGM is too loud, and sometimes it's too low. It diverts the attention of the audience, as it did mine. The cinematography was good enough, but the color was a bit off. That yellowish tint in the entire film gave me a headache.
Lastly, is this film watchable? Yes, watchable. But is it enjoyable? That is the question. Yes, this film is enjoyable if you watch films occasionally, don't pressure your brain with film logic, and cannot predict the story.
**_Spoiler Here:_**
> The title of my review is simple. This film mixes Money Heist and Farzi together. Arfan Nisho digs a tunnel to steal some heavy money but ultimately burns it to ashes.

"Megher Kopat" is a cinematic masterpiece that beautifully captures the emotional depth and complexities of life. Directed by the talented Walid Ahmed, this film transports viewers into a world of poignant storytelling, vivid landscapes, and profound human experiences.
The narrative is rich, exploring the delicate balance between dreams and reality, hope and despair. The cinematography is breathtaking, capturing the beauty of nature in a way that complements the emotional tone of the film. Each scene feels like a visual poem, with careful attention to detail that draws you deeper into the story.
The performances in Megher Kopat are equally remarkable. The actors bring raw emotion to their roles, making the characters relatable and their struggles deeply moving. The film’s pacing is perfect, allowing viewers to fully absorb the gravity of each moment while keeping them engaged throughout.
What makes Megher Kopat stand out is its ability to make you reflect on life's hardships and triumphs. The film is not just a story but an experience—one that stays with you long after the credits roll. The music, another highlight, blends seamlessly with the narrative, enhancing the overall mood of the film.
In conclusion, Megher Kopat is a must-watch for anyone who appreciates cinema that goes beyond entertainment and touches the soul. It’s a film that resonates on both a personal and universal level, making it a truly unforgettable experience.

_Megher Kopat_ (English title: Love under the Clouds) is a poignant and emotionally charged film that delves deep into the complexities of familial bonds, social clashes, and personal identity. Directed by the visionary Walid Ahmed, this 2023 Bangladeshi film weaves an intricate tale that captivates from start to finish.
***Plot and Characters:** The film centers on Dhruvo, a young man from the countryside who relocates to the city in search of better opportunities. Raised by his mother, who struggles with an unresolved pain from her past, Dhruvo is haunted by a void he cannot fill. The plot thickens with the arrival of Miss Jara, whose presence introduces a new layer of conflict and emotion. Dhruvo’s journey through these challenges, including the complex relationships with his girlfriend Taniya and friend Saif, leads him to uncover hidden truths about his mother’s past. The film beautifully explores themes of love, loss, and the relentless pursuit of meaning amidst societal pressures.
**Technical Excellence:** Walid Ahmed’s direction is nothing short of masterful, guiding the narrative with a steady hand while allowing the emotional weight of the story to shine through. Afroza Momen’s screenplay and dialogue are sharp and evocative, while her story forms the heart of the film's emotional core. The cinematography by Hasan Jewel captures the essence of both the countryside and the city, creating a visual contrast that enhances the storytelling.
The film’s editing, skillfully handled by Shuvajeet Singha and Neel, ensures a seamless narrative flow, keeping viewers engaged throughout the 1 hour and 40-minute runtime. The music, composed by a talented team including Rupankar Bagchi, Walid Ahmed, Avishek Saha, and Nasif Oni, adds a layer of depth to the film, with standout performances by singers Javed Ali, Rupankar Bagchi, Anindya Chatterjee, Afroza Momen, and Dilruba Kamal.
**Awards and Recognition:** Megher Kopat has garnered significant acclaim on the international stage. It was the recipient of several prestigious awards at the Global Independent Film Festival of India 2023, including Best Foreign Film, the Raj Kapoor Award, and Best Director - Foreign for Walid Ahmed. The film was also selected for the Bangladesh Panorama at the 22nd Dhaka International Film Festival in 2024 and earned the Best Actress award at the Suchitra Sen International Bengali Film Festival 2024 in New York, USA.
**Conclusion:** Megher Kopat is a film that resonates deeply with its audience, offering a rich narrative filled with emotional intensity and cultural authenticity. It’s a cinematic journey that not only entertains but also compels viewers to reflect on the intricacies of human relationships and the enduring power of hope. Walid Ahmed's vision, combined with stellar performances and technical brilliance, makes Megher Kopat a must-watch for anyone interested in Bengali cinema.

One of the best movie in this sequence of movies. Must watch

A Cinephile's review of "Mujib: The Making of a Nation"
(No spilers)
Mujib's life story has all the elements that can make his biopic a cult classic. But sadly, the makers failed to get the best out of it. Idk why people are praising Arifin Shuvo's performance, where he just overreacted and exaggerated on tensed scenes. That felt like more of a SPOOF of Bangabandhu's real-life persona. I think the makers were confused about which audience they were making the film for (I assume all ages). But that backfired on them. They made just another forgettable film that will fade from people’s memories over time. I have seen Shyam Benegal's previous works, and they were fantastic, but this time he disappointed us. My suggestion and hope is that Mujib's biopic should be made with pure intention and responsibility, with a great screenplay, cinematography, a perfect cast, and proper research.

Watched _Hawa_ on the third day of it's release. Came out of the theatre and discussed the film with my friends. Then took a bike ride and went to a bank. Did my work in the bank and came home in a rickshaw. Took a bath. Then sat in front of the TV to watch Bangladesh's match. From leaving the theatre till watching the match, all I had in my head was ‘_HAW_A’ the film. Yes, **_I JUST CANNOT STOP THINKING ABOUT IT !!_**
_Hawa_ being one of the most hyped film before release in the history of Bangladeshi cinema, made me a bit nervous thinking, will it be able to live up to the expectations? It sure did. Hawa gave me one of my most satisfying theatre experience ever. I had better experience of watching a cinema in a theatre before, but never with a Bangladeshi cinema. That makes my today's 2 hours and 30 minutes of experience in the cinema hall more special.
The film started off with calmness. With stunning visuals that kept on serving my eyes as a treat. But I was proved wrong soon about the mindset I had set for the first half of the film. Most of the reviews described the first half as slow. That you need patience to go through the first half. Whereas I found the first half extremely enjoyable. Not only me, the whole theatre seemed to enjoy every bit of it. The lighter moments really clicked. The humor seemed so natural. Not just the laughs, the whole thing had a feel good vibe to it. Again the beautiful visuals helped a lot. But even though the story progressed at a slow pace, the director kept the audience engaged with enough elements.
The second half is where it all happens. If you could sit back and relax with your popcorn in the first half, well that was it. No scope for that in the second half. The second half is all very crazy. The film takes unexpected turns. Tragedy, agony, shocking events take place one after another. And an angle of Fantasy that mixes with the Bengali mythology takes the film to a whole new level.
_Talking about performances_, Chanchal Chowdhury is a legend. I know I’ve said these words before & I’ll say it again and again. Cause if I try to use a different word every time to describe the man’s brilliance, I’ll be out of words soon. Even if I sit with a dictionary. He nails every bit of it. Sariful Razz gives back to back stellar performances. Wouldn't be unjustifiable by any means if it is said that he is truly 'A Star In The Making'. Proves his range by two consecutive promising performances. Nazifa Tushi gets a challenging role and she surely took on the challenge. Portrayed 'Gulti' with so much conviction. In fact each and every actor played their role with sheer perfection. You couldn’t have asked for more. And everyone makes their presence felt on the screen. You can’t talk about this film without praising each and every member of the cast.
_The Director of the film_, Mejbaur Rahman Sumon is a person that you can put your trust on. And he didn’t disappoint. It’s a craft that has been created with so much of care and patience. And the final product has come out being so perfect. The film has it all to keep the audience hooked. The director deserves all the praise for the way he shaped and presented his story in front of the audience.
_In terms of other aspects_, Every time the film Hawa’s name will be taken one thing that will always be mentioned with it is Kamrul Hasan Khosru’s cinematography. The visuals of this film are so soothing. How many ways can you show the sea and still make it as beautiful as you can?! Well Kamrul Hasan Khosru did that. There’s no way you can feel monotonous with the visuals despite the whole film being taken place in the same location. The cinematography of this film is undoubtedly the best among all the films of this country and there’s no second thought about it.
Along with the cinematography, the background score truly stood out. Helped the cause of the story & blended so well with the visuals. The makeup, costume, color grading, CGI everything was praiseworthy. A film that was so well planned out & everyone was honest with their work. That’s why each and every sector’s good work caught the eye and blended so well to make this story come to life. You can talk about the story and make a comparison with other Bangladeshi films. But in terms of the production, there’s no chance for any debate. There’s no comparison. This one walks away as the superior.
_Finally_, Is Hawa one of the best films that this country has ever produced? Where does it rank among the all time greats? Well that’s a completely different debate. I don’t wanna go there. But one thing that will remain as a fact is that this film will always be an integral part of this country’s cinema. It’ll remain a part of the history. It’s an experience that we the people of Bangladesh have had so less of till now. It’s an experience that I personally will always rate so highly. It’ll always remain special, for the piece of art it is !!

Oh, poor Apu!
_Aparajito_ perfectly captures the bittersweet struggle of growing up, a universal experience we can all empathize with. The delicate balance between protecting loved ones and the irresistible urge to break free is at play. Young Apu, brimming with ambitious ideas fueled by his newfound ‘superior’ education, is confident he’s on the fast track to enlightenment. Meanwhile, though heartbroken, his mother clings to her pride as she watches him drift away. This poignant and, at times, exasperating dynamic is a powerful reminder that while we forge ahead, believing we know best, those we leave behind can only hope for a fleeting glance back.
The film is beautifully crafted, quietly profound, and visually poetic. Ray captures life’s tender, fleeting moments with a painterly eye, prompting the audience to reflect on their lives and the significance of these small gestures. It reminds us that sometimes the biggest drama unfolds in the smallest gestures.

Rating: 9.5 / 10
"If opportunity doesn't knock, build a door."
— Milton Berle
Owing to a banking failure typical of the post-independence India, Subrata(Anil Chatterjee) loses his job and must reconcile with the shortcomings of the situation, his insecurities as his wife Arati(Madhabi Mukherjee) becomes the sole breadwinner of the family.
Arati's story feels both intricately real and extremely personal as the narrative flows from the tantrums at home to the politics at the office, and she must learn to be adept at handing either of them as she gets to mingle with other classes and races of the society, breaking through her shyness in both her appearance and her speech.
The Big City (মহানগর) leaves us ruminating at the grappling for opportunities at the transience of hope and progress, regardless of race and gender, amongst a myriad of opportunities and the humdrum of the bustling citizens.
This work from Ray gains its mammoth significance as he makes the viewers truly manages to care for this simple family with a simple narrative, with a true sense of depth and detail, yet somehow remaining weightless and effortless in depicting the social evolution.
A true masterpiece.

At 35 minute its more of a long, short than a movie but it's engaging throughout and there's always a next level to find out what will happen to him. There are views of Spain in 1972 which is interesting. It's in Spanish but could essentially be a silent film. Worth 35 minutes of your time.

**_“A pale horse! Its rider was named Death, and Hades followed close behind him”_**
After a young woman in Portugal (María Elena Arpón) has a horrifying experience at some mysterious ruins by a remote graveyard, her two friends try to find out what happened to her (Lone Fleming and César Burner). Big mistake.
A Portuguese/Spanish production, “Tombs of the Blind Dead” (1972) was originally called “The Night of the Blind Terror” (translated from Spanish). It spawned three sequels in the next three years: “Return of the Blind Dead,” “The Ghost Galleon” and “Night of the Seagulls.” “The Ghost Galleon” is the only other one I’ve seen, which is wisely a standalone flick.
This is slightly superior. The story is interesting, but it basically rips off plot elements of the Dracula story, just replace Harker with Virginia and the undead Count with the Templar mummies. The structure also brings to mind “Psycho” and obviously so. Nevertheless, the Iberian locations are great, the characters interesting, the women lovely, the antagonists creepy and the locomotive a nice addition.
Unfortunately, I lost a little respect for the flick when the train conductor's assistant tries to help a distraught female get on the train. You’ll see what I mean. Then there’s the issue of the horses. I guess you’re not supposed to overthink things.
While watching the skeletal Templars riding horses, I couldn’t help think of the apes on horses in “Planet of the Apes.” Some distributors thought the same thing and so reedited the film, releasing it as “Revenge from Planet Ape,” to take advantage of the popularity of that franchise in the 70s. It played at various theaters in America and even Guam.
It runs 1 hours, 41 minutes, with an edited American version called “The Blind Dead” butchering it to 1 hour, 23 minutes. It was shot in Portugal (Lisbon & places nearby: Palmela, Setúbal, Sesimbra and Estoril) and Spain (Monastery of Pelayos in Madrid).
GRADE: B-

It's fair to say that "Virginia" (María Elena Arpón) isn't the sharpest tool in the box when she gets fed up with the flirting of her travelling companions "Roger" (César Burner) and "Betty" (Lone Fleming) and abandons their slowly moving Portuguese train in the middle of nowhere. Fortunately, she stumbles upon what looks like a ruined monastery and having built a pretty impressive fire from a few twigs, settles down in her sleeping bag for a good night's sleep. No chance. Barely have her eyes closed than things are going bump in the night. The bodies of the condemned Knights Templar buried on the site resurrect themselves and are are thirsty! Feeling a little guilty next day, her two friends try to trace her movements but are ill-equipped for what they find - especially when their horses take flight. Soon the police, some local smugglers and a comically staged cat-fight provide a little entertainment as these wraith like versions of Richard the Lionheart continue to wreak havoc... It's actually quite fun, this film. By no means can it be called good and the acting (and writing) is pretty woeful, but it does make use of it's creepy monastic surroundings quite well, with loads of creaking and dimly lit passageways. There's some fun to be had in a mannequin factory (they don't react too well to fire) too, and there's loads of hysterical screaming - from both sexes. It's way too long with far too much padding, but it's still quite an entertaining horror that can make you laugh.

"La noche del teror ciego", tells the story of a legion of evil warriors who lived through the 13th century, known as the Templar Knights. These warriors wanted to live forever and the way to achieve that, was by drinking human blood and offering sacrifices to Satan. So The Templar Knights would gladly torture and use innocent maidens for their rituals and please their master. However, their atrocious deeds come to an end, when the Holy Inquisition decides to punish them, by hanging them in public. Several centuries later, in the 1970s, two girls named Virginia and Betty go on a trip together with a guy named Roger. After a pathetic soap opera incident, Virginia gets jealous of her friends and jumps off the train. Landing on a strange place, she finds shelter in some kind of forsaken fortress in ruins. Unfortunately, that place is also a shelter for some hideously frightening creatures that become alive during the nightfall until dawn. Those creatures are, in fact, the Templar Knights, who come back to life as zombies every night.
Director Armando de Ossorio didn't try to please a blood-thirsty audience that wanted brutal killings for an hour and a half. For the contrary, the body count may be humble, but "La noche del terror ciego" takes the zombie subgenre to a different level, in which the creatures are more dark, mysterious and frightening than gory and brutal. If you are a zombie lover, you're probably going to love this film and if you are not, you might be pleasantly surprised by this.
I have read on the message boards that there were a lot of gore lovers dissatisfied by the lack of blood and guts, but I think this film contains a pretty well-brought-up amount. My favorite scene in the entire movie is one in which one of the girls is trying to hide from the zombies. Since the zombies are blind, the girl stays in the same room with them and the only thing she can do to remain undetected, is staying absolutely quiet. But since she's so afraid and tense, her heart starts beating more and more quickly and all of a sudden, we see a close-up of her chest, pointing out that she's on the verge of either fainting or running for her life. The living dead knights hear those heartbeats and turn to the poor girl, who has no choice but finally running away in fear, trying to avoid the nightmarish creatures. This was perhaps one of the most atmospheric situations I have ever seen in a zombie flick. To be honest, most of the chasing sequences were practically faultless, but that one in particular had to be remarked. Reading the message boards, I also came across some people who also complained about a few unresolved questions like: "How could the zombies hear?", "Where did they get the horses?" "How come they were so strong if they were only skeletons?". The answer to all those questions could be: "this is a horror movie about living dead creatures and it's really not supposed to be realistic". To be honest, I think the zombies were more believable than the pointless lesbian story between the two girls, which didn't serve a purpose to the story. Then again, most couples in horror movies make no sense, anyway.

**_Sort of “Psycho” at a finishing school in the late 1800s_**
During the Victorian Era, a new student (Cristina Galbó) is brought to boarding school for “difficult” girls in France, run by a strict headmistress (Lilli Palmer). Teresa has to deal with the mean girl in charge (Mary Maude) while befriending the teenage son of the headmistress (John Moulder-Brown). The situation takes a turn for the worse as girls go missing.
A Spanish production, “The House That Screamed” debuted in Spain at the end of 1969 titled “La residencia” and didn’t make it to North America until 1971. It is a psychological youth drama that eventually throws in bits of horror.
No, it's not an exact copy of “Psycho”; it has its uniqueness, but the similarities are there. So, it's an early slasher, but with less focus on kills and more on psychological drama/mystery. "Lust for a Vampire" came out a year later and had a similar milieu, just with the vampire angle. “Suspiria” was obviously inspired by it.
Fans of "Lust for a Vampire," "Picnic at Hanging Rock," “Suspiria,” “The Woods” and “The Moth Diaries” should appreciate “The House That Screamed” since it’s _the_ template. It features the first ever close-up slow-motion murder in the history of Spanish cinema and was the highest-grossing film there at the time.
The movie runs 1 hours, 38 minutes, and was shot in Madrid with exteriors of the school done 288 miles north of there at Palacio de Sobrellano in Comillas, Spain, which is on the Bay of Biscay.
GRADE: B-/B

**_Perhaps the greatest film about killer slugs ever made_**
In a town north of the Finger Lakes in New York, mutated black slugs start preying on the populace. Michael Garfield plays the health inspector who sounds the alarm, but is ridiculed by authorities.
"Slugs" (1988) comes in the tradition of creature features from thirty years earlier about some kind of weird threat to an American town and how the inhabitants have to rise to the challenge to survive, such as “The Blob” and “Earth vs. the Spider.” This one, based on a book, uses a menace similar to “Squirm” (1976) with the cause of the havoc akin to “Prophecy” (1979) and “The Being” (1983). A Spanish production shot in the USA, the director is known for the slasher “Pieces” (1982).
While pretty obscure, I felt “Slugs” delivered the goods for this genre. It creates a good sense of the average town in the Northeast/Midwest. Michael Garfield is great as the masculine protagonist, along with his likable pal from sanitation (Philip MacHale). Meanwhile Kris Mann as Bobby is reminiscent of Dave Mustaine of Megadeth.
Highlights on the feminine front include Karen Landberg (opening scene), Kim Terry (Kim), Kari Rose (Donna) and Tammy Reger (Pam).
The film runs 1 hour, 31 minutes, and was shot in Lyons, which is located in north-central New York, a dozen miles north of the Finger Lakes.
GRADE: B/B-

Bigas Luna's 1993 film Huevos de oro ("Golden Balls/Eggs", a title punning on both the goose that laid the golden eggs and a tough guy's balls of steel) depicts the rise and fall of Benito Gonzalez (Javier Bardem), a young Spanish construction worker who becomes an affluent real estate developer on the Mediterranean coast.
After being jilted by his first girlfriend (Elisa Tovati), who leaves him for his best friend, Benito develops a mania for building the tallest building in Benidorm, which may be seen as little more than an enormous phallic symbol flaunting his manhood. Obsessed with this big construction project, his lust for his next woman, Claudia (Maribel Verdú) takes second place to having her sleep with potential investors to win them over. Benito then marries a banker's daughter, Marta (Maria de Medeiros) to have access to her father's funds. Benito lives a life of sexual excess and enormous consumption of food, especially the Alicante sweet known as torrón. Like some of the work of Almodovar, Bigas Luna clearly likes riffing on Spanish stereotypes and regional differences.
Ultimately, however, Benito's hubris leads to his downfall. This protagonist is certainly an odious guy, but -- though I won't spoil the ending -- the depths to which he is ultimately sunk inspire a perverse sympathy in the viewer. Years went by between my first viewing of this film and the second, but in the interim I would often look back on this film's plot and ending scenes, thinking of how sad it was to lose everything and end up that way.
Huevos de oro isn't an especially deep film, but that dramatic arc, hewing very close to classical notions of tragedy, is impressive and I'd say this film is worth a watch.

For those unfamiliar with the term “aporia,” it refers to a state of puzzlement or bewilderment, especially in philosophical and ethical discourse. And, in the case of this latest effort from writer-director Jared Moshé, it’s equally applicable to the essence of this film’s existence. This romantic sci-fi saga of a nurse, Sophie (Judy Greer), who loses her engineer/physicist husband, Mal (Edi Gathegi), to a drunk driver follows the efforts to bring him back to life with the assistance of her late spouse’s best friend, Jabir (Payman Maadi), a fellow scientist with whom he was working on a time machine. Unfortunately, the device doesn’t function as intended, but it is nevertheless capable of sending a deadly subatomic particle through time whose impact is capable of killing someone – in this case, the proposed target being the motorist who killed Mal. The prospect poses a daunting ethical dilemma, but Sophie agrees to it, and she soon finds herself back in the company of her husband. But changing the past carries consequences, many of them unforeseen and difficult to deal with. The film presents an intriguing premise, to be sure, but one not unlike what was previously examined in “The Butterfly Effect” (2004). What’s more, this offering is plagued by a number of issues, such as needlessly slow pacing, insightful but overlong ethical debates and a stunningly unsophisticated temporal device that looks like one of Rube Goldberg’s comical contraptions. The biggest problem by far, though, is one of narrative credibility – not from a scientific standpoint but from a moral one: It’s hard to believe that these three supposedly intelligent individuals can be so casual and cavalier when it comes to their ethics and morals. I find it unfathomable how a supposedly compassionate caregiver like a nurse could so willingly go along with a harebrained plan to willfully kill someone for self-serving purposes; it’s a hallow, contrived and patently unbelievable story arc. And, when efforts to make up for this transgression surface, the plot truly starts to go off the rails. Indeed, the logic behind this tale truly needs to be rethought and reworked, because, as it stands now, it genuinely leaves philosophically minded viewers in a deep state of aporia, especially when it comes to figuring out why they bought a ticket to watch it in the first place.

For those with a love for 'The Exorcist', but haven't read up on much of the behind-the-scenes details, this documentary will provide great stories and fascinating moments from the man who put it all together. But 'Leap of Faith: William Friedkin on The Exorcist' isn't just an analysis of Friedkin's finest work, or an uncovering of his influences and processes. It's a fascinating, no smoke and mirrors insight, honest portrait that allows a legendary director to not only explain his magnum opus, but who he is as an artist and as a man.
- Jake Watt
Read Jake's full article...
https://www.maketheswitch.com.au/article/review-leap-of-faith-william-friedkin-on-the-exorcist-an-utterly-fascinating-chat-with-a-legend-of-cinema

"Clarence" (LaKeith Stanfield) and brother "Elijah" (RJ Cyler) come off worst in a chariot race with Mary Magdalene (Teyana Taylor) and that lets us know that he is now in hock to the nasty "Jedediah the Terrible" (Eric Kofi Abrefa) for a great deal of money. It quite literally is his money or his life. He has a relationship, of sorts, with "Varinia" who might be able to intercede with her menacing brother on his behalf, but meantime "Clarence" hits on an idea of his own. He is aware of the buzz in the community around the impending arrival of the Messiah, indeed his twin brother "Thomas" is an apostle (with a silent t). How hard can it be to fake some tricks to convince the gullible population that he can cure the sick or raise the dead? Up until now, this all has a rather "Monty Python" meets "Ben Hur" feel to it. It's amiable and well enough paced. Sadly, though, slightly more sincere and half-baked religious elements begin to kick in to the characters a little too earnestly, and the comedic elements are increasingly supplanted by a rather bitty narrative that sees the hitherto quite entertaining "Clarence" begin to take himself just a little too seriously and the entire enterprise stalls. Omar Sy delivers well as Barabbas - though I think maybe he ought to have been called Achilles; Benedict Cumberbatch looks more like Robert Powell than he does and the best scene by far comes from Alfre Woodard's lively interpretation of the Virgin Mary. It has it's moments, but is a bit of a mess of a film that starts off engagingly but is far too long and just sort of peters out.

If you watched and know the style of Jeymes Samuel as writer and director you know what to expect (The Harder they Fall, They Die by Down).
It tells the story of a man that is a con artist that aims to be a new Messiah, in the age of Jesus (and alongside him - 3 days behind), but not a classical Jesus or a new correct etiology one, but one in a black Jerusalem.
It have some interesting messages more to end, shows Romans as the whites, and do not mention proper Jews - it also doesn't choose to what it aims as a movie, comedy or drama putting some comic sequences and references of Marijuana (that was used already in that time, a certain thing, accidental or not).
LaKeith Stanfield is the star of the movie and does well his role and multiplicity of his character. But this isn't enough to make this a good movie.
To me a score of 6.0 out of 10.0 / B-, almost C+.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/the-book-of-clarence-bfi-london-film-festival-review-hilarious-thought-provoking-biblical-satire/
"The Book of Clarence certifies Jeymes Samuel as a do-it-all in filmmaking. Whether through his stylized direction, thought-provoking satirical screenplay, or bold soundtrack, the filmmaker once again delivers a highly original, genuinely hilarious blend of genres and tones, and a captivating spiritual exploration of the protagonist.
Fortunate as well to have an absolutely superb cast with LaKeith Stanfield commanding the troops, delivering an impressively all-round performance. It lacks better tonal balance and more unpredictability, the latter being destroyed by an unnecessary opening sequence.
Glad to know it will be released on the big screen, which is where I definitely recommend everyone to go and experience this piece of guaranteed entertainment."
Rating: B+

For many at-risk youth, there comes a turning point where they can head off in one direction or another, each with vastly different long-term outcomes. For South Bronx graffiti artist Kadir Grayson (Asante Blackk) – a gifted illustrator with real talent who’s desperately struggling to find himself and reconcile his grief for the loss of his younger brother – that comes when he falls in with the wrong crowd and fails at proving himself in an unsuccessful attempt at holding up a aging but streetwise transit worker, Luis Torres (Luis Guzmán). Instead of filing charges against the confused young man, Luis takes Kadir under his wing to help him straighten out his life before it’s too late. It’s an uplifting and heartwarming tale, albeit somewhat clichéd and predictable at times, especially when it comes to the overlong wait for certain all-too-entirely expected revelations to surface. Nevertheless, director Aristotle Torres’s debut feature provides viewers with more than its share of time-honored wisdom and hope for those who could easily end up following a different and more destructive course. The fine performances of Blackk and Guzmán convincingly sell the material, which is presented with compelling cinematography and film editing, though the sound quality can stand some improvement, particularly in the opening half-hour, when the dialogue becomes almost unintelligible at times. Still, there’s much to be said for the insights served up in this intergenerational coming of age drama, proving that there’s always a possibility to set things right, even when they seem to be headed in an irretrievable downward spiral. And that’s a “story” that’s more than just a street name.

Good movie. No propaganda, no BS. Story's good and good acting with good actors as well. I enjoyed watching this movie.

I love thrillers and horrors and mysteries but I had no interest in watching this movie because it looked like trash. However, Ask Me Anything's thought-provoking Discussion spurred my interest.
As I feared though, this movie is indeed trash, not because the antagonist is a psychopath who mirrors the bigoted, anti-VAX, anti-establishment, pro-Trump lunatics who preach daily about their right to bear arms, share their racist views and hate on women like a bunch of toxic, self-hating, closeted gay men, but because the movie is simply boring.
We've always had psychopaths whining about how they're The Reel Victims™ in movies. It's not hard to make a lunatic compelling, even one as nonsensical as the one portrayed here. This movie simply fails to do it. There's nothing "decent" here except maybe the premise, which ain't exactly original.
If you're looking for a decent movie set in one location, try The Last Stop in Yuma County (2024). It was less trash than this. If you're looking for a fun political movie where a centrist gives a far-left loony their comeuppance, check out The Hunt (2020). I gave it an 8/10, while one of TMDB's many resident bigots gave it a whole 10/10, which goes to show that bigots are only whiny snowflakes when they're forced to look in a mirror. They're actually quite fine with political movies that support their delusional conspiracy theories.
It's sad that movie reviews are now a political battlefield where we complain about human beings as though they're not real. "When in Rome", I suppose. I'm sure there's a corrupt politician out there somewhere enjoying our little nonsensical squabbles.

The oddly titled, Monsters of California, feels like a B grade X Files meets Close Encounters, mash up.
Its not a bad little film. Its story is basic but works and its cast really make an effort to deliver, on their performances. This is just as well as it clearly has budgetary limitations, that prevent it from taking this production to the next level.
In summary, I enjoyed this in spite of its limited budget and script. The effort put in by the cast is commendable and does pay off. Worth a look.

Oh boy, so cheesy and dull it is not even funny, the director has a loooong carreer of 'made for kids' flix, which explains this actually.

FULL SPOILER-FREE REVIEW @ https://www.firstshowing.net/2023/review-david-yates-pain-hustlers-lacks-a-more-careful-treatment/
"Pain Hustlers fulfills the basic requirement of explaining the harrowing true story effectively, but given its star leads and skillful director at the helm, it could have and probably should have been much better.
While Emily Blunt and Chris Evans deliver strong performances, director David Yates falters in his tonal balance, treating the deaths of many innocent victims with an uncomfortable lightness that may leave viewers, especially American's familiar with this story, feeling it's insensitive or irresponsible.
Thematically, the tragic consequences of obsessing over wealth leading to the detriment of other's lives are well-depicted, but the overall lack of originality and extended runtime make the whole thing a mixed experience."
Rating: C+

Perhaps Adam Driver thought his "House of Gucci" (2021) role would better qualify him to play the eponymous and visionary Italian motor sport impresario, but what we really end up with here is more in the vein of the recent Bradley Cooper "Maestro". Sure, there are some great re-enactments of the races - though maybe not at the beginning with Driver's faced superimposed into a car like you'd put a kid's face on a birthday card. The bulk of the rest of this is more a treatment of his tempestuous marriage with Laura (an uncharacteristically flat Penélope Cruz) and how he juggles his family - and their past tragedies - with his second family with Lina (Shailene Woodley) and son Piero (Giuseppe Festinese) about whom his wife knows nothing! The business is struggling. The production car manufacture is no longer paying for the racing cars and with bankruptcy looming, Enzo must put all of his eggs into the one basket that is the thousand mile endurance Mille Miglia and hope to win and generate extra sales. It's this last half hour that brings the film to life. You can almost smell the fumes of the engines as the cars race the narrow and treacherous roads of rural, post war, Italy. There's also an indication of the honour amongst the drivers and an awareness of the respect that they have for each other - especially as we know fatality and disaster are frequently in that cockpit too. At it's best, it's an intense and well photographed almost documentary style of film, but there's too much pointless, meandering, melodrama with a leading man who just hasn't a charismatic bone in his body. Although I didn't hate it, it was way too much about a flawed marriage and not about the engineering that made me care.

FULL SPOILER-FREE REVIEW @ https://fandomwire.com/ferrari-venice-film-festival-review-penelope-cruz-drives-an-uneven-biopic/
"Ferrari has the potential to be a memorable biopic but lacks a more thoughtful emotional focus in its performance-driven character study. Adam Driver is excellent, but Penélope Cruz clearly stands out with an emotionally devastating performance.
The dialogues between the main couple are the highlights of a globally abrupt film that deals with the deaths of people outside the family nucleus in a manner that is too fleeting and insignificant, in addition to overdramatizing a particular subplot.
Competent racing sequences. It fulfills the basic purpose of telling the story of a complex man whose life is much sadder than one can imagine."
Rating: B-

Seeking justice in high-profile court cases is a common theme in films about the judicial system, one that’s frequently characterized by a hefty dose of inherent nobility and the presentation of high-minded arguments aimed at attaining rulings that many would see as foregone conclusions. But what happens when a case involves opponents who each zealously believe that their view is the “correct” one? Such is the case in director Kristi Jacobson’s new HBO documentary about the legal team that prosecuted a group of ultra-right-wing white supremacist protestors on conspiracy charges to incite violence against counter-protestors in Charlottesville, VA, in August 2017, an incident that resulted in one death, multiple injuries and civil unrest. Convinced that the Trump Administration’s Justice Department would do little to investigate this conflict, the prosecuting attorneys decided to file a civil suit to seek liability damages against the apparently well-organized, intricately connected group of 24 defendants. The film unflinchingly exposes the often-raw racist, anti-Semitic and homophobic ugliness of those behind this event through shockingly offensive audio and video clips (sensitive viewers beware), as well as their deftly polished efforts at spinning their stories as mere exercises of their First Amendment rights to free speech. By contrast, the picture also skillfully shows how the prosecution meticulously built its case against these defendants, all the while seeking to contend with their strident denials of their actions and intents, their attempts at bullying plaintiffs’ witnesses during cross-examination, their less-than-subtle efforts at using the judicial forum as a soap box for their social and political views, and the distracting restrictions of trying to conduct a case during the middle of a pandemic. And, in the midst of all this, the filmmaker capably and sensitively shows the personal impact this case had on its nine defendants, thereby attempting to make this offering about more than just the courtroom proceedings. However, despite the picture’s definite strengths in these areas, the overall project nevertheless feels like it’s missing something, at times coming across as somewhat “clinical,” even rote, in its approach. At the same time, though, it also sends a loud and clear message about the potential dangers of organized events like this, given that right-wing individuals and groups have cited the Charlottesville incident in their communications as a template that might be (and already have been) used elsewhere. Indeed, electronic media like the internet, social media and cell phones have undoubtedly provided us with many benefits, but they have also made it easier for widely separated insurgents to talk to one another and plan comparable initiatives that are anything but random coincidences – events that are far from “accidents.”