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    Jumper (2008)

    A man with teleporting abilities, living a carefree life, gets caught in an ancient war between Jumpers and Paladins.

    There is a lot of negativity surrounding this film. It was meant to be a franchise, but the box office results scratched the idea off the producers’ minds. From where I stand, Michael Rooker has been under-utilized. For a guy who usually does the villain in the story, it’s really great to see him as a washed-up yet filled with remorse dad who pays the price. I would definitely want to see more of him on the screen. Samuel Jackson is always great but could have been even greater as the fanatic Paladin. Reciting passages from the Bible, like in Pulp Fiction (1994), would have elevated his character to the sky.

    Jamie Bell is always at his best, so there is nothing much to say, which leaves us with Hayden Christensen and Rachel Bilson (who got engaged after the film). Once again, there could have been a strong story between them – and an even stronger subtext for the film – after what happened in their childhood years.

    To cut a long story short, production and budgetary issues watered down what could have been a brilliant story and film. That said, it definitely deserves a watch, as you’ll spend an entertaining hour and a half forgetting about your own problems. For this one, my round of applause goes to the visual and sound effects department. Spot on!

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    Scrooged (1988)

    A cold-hearted, spiteful TV executive, hell-bent on ruining everyone’s Christmas around him, is paid a visit by three ghosts on Christmas Eve.

    A modern adaptation of Charles Dickens’s “A Christmas Carol”. Funny, emotional, and didactic, Scrooged will make you laugh but also mist your eyes. You’ll love every second of it. Bill Murray goes over the top and exceeds everyone’s expectations. Karen Allen is a beauty and makes you smile every time she does. Alfre Woodard is amazing, as always. Danny Elfman was, is, and always will be the master of Christmas scores. And last but not least, the incredibly versatile Richard Donner orchestrates this brilliant film giving it the befitting, illustrious style it deserves. Shame that he and Murray didn’t work well together. A massive round of applause goes out to all cast and crew for making this film a classic for us to enjoy to this very day and encouraging us to… put a little love in our hearts!

    I take my hat off to Richard Donner and everyone in the production team where, in the most festive period of the year, in one of the most troubled years of South Africa, in their way, they offer their support against the atrocity of apartheid.

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    Interview with the Vampire: The Vampire Chronicles (1994)

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    An epic vampire chronicle, from the moment he turned to the moment he found salvation.

    I would dare to say it was the best, atmospheric, captivating vampire film ever made. Brad Pitt and Tom Cruise. Dazzling Cinematography. Oscar nominating Art Direction-Set Decoration and Original Score. A Kirsten Dunst to give you the chills. 22 wins and 25 nominations well earned. A Neil Jordan masterpiece.

    Imagine a human being finding eternity. What would they do? How would they spend their time? What human values would they keep, and what human values would they discard? Interview with the Vampire sees and justifies eternity through a creature of a night that, legend has it, outlives us all. Louis and Lestat stand for the bright and dark side of what we call the “soul”. Choose a side, travel around the world, and be guided through the centuries. Debunk the myths, explore philosophical questions, find God if you can, and look for the meaning of life – if there is any.

    In a fictitious world, evil, non-human beings exist and live forever, wondering through perpetuity, neither knowing nor caring about racism or homosexuality. In our real world, we, the distinguishably separated from the animals and humans, with our very short given time on this Earth, why can’t we do the same?

    The film is dedicated to the late River Phoenix.

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    Filth (2013)

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    A mentally unstable, crooked, alcoholic, drug addict cop stops at nothing to get the promotion he is so passionate about while fighting his inner demons.

    I’ll start this way… James McAvoy was not my cup of tea until The Last King of Scotland (2006). By far not! After X-Men: First Class, I started changing my mind. After Filth, I knew I couldn’t have been more wrong. Or, actually, I had been wrong that much once more. With Leonardo DiCaprio after Gangs of New York (2002). But then all of us men were. So, I apologise to both.

    James McAvoy in Filth gave the best performance of his life in 2013. And John S. Baird directed the best film of his career, even though Cass (2008) was pretty amazing. Filth will make you laugh and cry, and it will make you laugh and cry again and again until you don’t know how to feel anymore about anyone. Based on the novel by Irvine Welsh, Filth is one of the best Scottish films since Trainspotting (1996), yet another novel by Irvine Welsh. Changing genre every five minutes, Filth is a dramatically funny, surrealistically twisted cinematic journey through the paranoia of a corrupted, deranged, bipolar cop that will drive you bonkers. It’s worth mentioning that Jim Broadbent, in the hallucinatory world, is scarily hilarious.

    McAvoy’s psychedelic performance here will prepare you for his cringing performance in Split (2016) and the upcoming Glass (2019). See how it all started…

    Fun fact: Trainspotting and Filth potentially coexist in the same universe.

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    Game Night (2018)

    A game night between a group of friends goes awry when one of the participants gets kidnapped by gangsters.

    It is exactly what you expect from a Jason Bateman comedy: foul language, surreal characters, brilliant chemistry between the actors, non-realistic yet comedic and graphic twists and turns, and shameless jokes. And, as there are a lot of game references, a really clever and befitting idea is the use of a “tilt-shift” lens, which gives the aerial shots the miniaturised look of the board game “Game of Life.”

    You loved The Switch (2010), Horrible Bosses (2011), Bad Words (2013), and the like? You’ll love Game Night too.

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    Franklyn (2008)

    Loss and despair connect four troubled souls in two intermingled, alternate realities.

    I have spoken of underrated films before, but Franklyn definitely gets the cake. I watched it almost ten years ago, and so much I wanted to talk about it with someone who had watched it as well. But no one had. And to this very day, hardly anyone still has.

    With exceptional intellectual ability, Gerald McMorrow is the artistic mind behind the camera who writes and directs something as unique as Franklyn. Despair, escalating to delusion, paranoia, and schizophrenia, all fester the human mind and soul, shape people’s fate, and twist (?) the concept of religion. In front of the camera, Eva Green, Ryan Phillippe, Sam Riley, Bernard Hill, and the late Susannah York will hold you spellbound with their performances.

    I want to share two strong elements in the film: the perception’s immense power and the father’s unconditional love.

    Franklyn is art. And like any other form of art, it examines the world through its own prism. I guess it is up to us to examine our world through our own life’s prism.

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    Mail Order Monster (2018)

    A little girl is trying to cope after having lost her mom while dealing with life itself, bullies, and her father with his new girlfriend by putting together… a robot.

    A low-budget, indie, PG film that Jax Productions and Stay Relevant Productions managed to bring to life with respect to family values. Loss, grief, rejection, love, and self-reflection have been responsible for causing all of us sleepless nights throughout the course of our lives. And Paulina Lagudi, with skill, imagination, and artistic temperament, produces, writes, and directs a heartfelt story on nights like that.

    Josh Hopkins does a brilliant job as a dad trying to do his best, and it’s really nice to see the always mesmerising Charisma Carpenter as the “woman next door” relying solely on her acting. Last but definitely not least, look out for the incredible Madison Horcher and Emma Rayne Lyle, who, given the opportunity, will be two of the most sought-after actresses of their age.

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    Bad Times at the El Royale (2018)

    Drew Goddard, ladies and gentlemen! Drew Goddard… From Buffy the Vampire Slayer (1996), to Alias (2001), to Lost (2004), to Daredevil (2015), Drew has contributed and made an impact on the TV series most of us grew up with and loved. But his talent is not restricted to TV. He wrote and produced The Martian (2015) for the big screen and got his first Oscar nomination. Before that, and I deliberately left this one for the end, he wrote and directed The Cabin in the Woods (2012). An absolute experience – a separate review will follow soon! So, what’s so special about El Royale?

    Directing, editing, cinematography, and soundtrack all work together confluently to bring the script’s crime, drama, and mystery to life. Dazzling and meticulous mise-en-scene accurately portraying the 1960s, rhythmically edited to a wonderful soundtrack, unfolding numerous vantage points, intricate timelines, and diverse, complex characters who play an integral part in the puzzle’s missing pieces.

    I’m not done yet. Jeff Bridges, Cynthia Erivo, Dakota Johnson, John Hamm, Cailee Spaeny, Lewis Offerman, and, last but not least, Chris Hemsworth shine on camera, creating unfathomable chemistry between them. Given the chance, I would happily do the lamppost.

    El Royale raises mysterious, fictional questions amalgamating with history, providing some answers yet leaving you with different (and maybe more) questions. Shut your phones, pay attention to the details, and above all, get sucked into this beautiful cinematic experience!

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    Bonded by Blood (2010)

    The third film on the Essex Boys murders after the Essex Boys (2000) and the Rise of the Footsoldier (2007). And it is absolutely brilliant! Gruesome violence, prison, dodgy deals, backstabbings, drugs, guns, vulgar language, and Vincent Regan, Tamer Hassan, Kierston Wareing, and Adam Deacon performing magic on camera. A brilliant year for Michael Socha as well, who jumped from this one to Shank (2010) and This Is England ’86 (2010).

    According to many (beyond my area of expertise), Essex wasn’t like this in the ’90s, which was held against the production design. Also, the massive script liberties annoyed certain people as it allegedly deviated from what really happened (which is still uncertain anyway).

    For all its quirks and foibles, Bonded by Blood is very enjoyable, and for its budget, it gives you one hell of a ride.

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    Scum (1979)

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    Welcome to THE most famous unnamed British Borstal of the ’70s, known today as “Young Offender’s Institution”.

    Based on the – banned from BBC – homonym TV film Scum ( 1977), Alan Clarke remade his own film two years later, which was characterized as one of the most controversial films of the ’80s. And became a cult. No music whatsoever, no glamourized violence, stronger inmates victimizing weaker inmates, racism, gruesome suicides, and more punchlines than anyone can memorize send a shockwave to the British system.

    I say no more. Scum is a must-see and the beginning of the brilliant career of beloved actor Ray Winstone. I would say “enjoy,” but it is not enjoyable.

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    Miracle on 34th Street (1994)

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    Christmas Version:

    An old man who fits the profile of Santa Claus becomes a symbol for a company, family, and nation.

    Richard Attenborough, Elizabeth Perkins, Dylan McDermott, and Mara Wilson give great performances in a film for the whole family. Legendary John Hughes, behind the production, and director Les Mayfield remake the 1947 version of the homonym film with humour, fantasy, great photography, camera work, and editing. Gather the family and enjoy!

    Non-Christmas Version:

    An old chap found on the street, who has not been vetted whatsoever and officially claims he is Santa is trusted by a family, a major company, and a nation to be near kids.

    My, oh, my… Folks gather around! A major company whose CEO’s last name is “Cole” hires a guy for its representative, Santa Claus, who looks like the 1930s Santa Claus, property of Coca-Cola—”Coke.” And all of us worldwide, to this very day, religiously, still pass the same torch from generation to generation.

    But our generation is evolutionary! We keep walking while texting towards the third decade of the 21st century with our wireless headphones on because seeing and listening in life is for the backwards-looking.

    Merry – Coca Cola’s – Christmas!

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    The Appearance (2018)

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    When I read the logline, I said: “This is not another Nun (2018), is it”? I didn’t create this blog to slate films. Sometimes, though, there is only so much one can do. Anyhow, I dug a bit deeper and said: “Why don’t I give it a shot”? And I did. So, this is how it goes: A medieval monk is found brutally murdered in a remote monastery, and the Church sends an Inquisitor to investigate it.

    This low-budget, one-location film shows right off the bat that it is good value for money. Brilliant camera work and photography, minimum editing mistakes, and convincing acting synthesise a horror/thriller that raises questions such as “Is she a witch? “Has she made a pact with the devil? “Whodunnit? “Are the Church’s representatives so… (fill in the blank accordingly)?”

    For its money, the cast and crew deserve a resounding “congratulations”! Very meticulously made film. But (thankfully, much later than The Nun) The Appearance, unfortunately, doesn’t escape and falls into the pit of ambiguity and cliche. I got the idea that there was this indecisiveness on how the film needs to end and why. But I got sucked into the story, nevertheless.

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    A Prayer Before Dawn (2017)

    Dynamite!!! A film that doesn’t beautify violence and criminality. A true story that doesn’t glorify bad choices yet creates a hero through them. Through real mud, blood, piss, and shit, A Prayer Before Dawn tells the real story of British boxer Billy Moore who rose from it like Phoenix. Incarcerated in one of Thailand’s most infamous prisons, Billy Moore found the courage to reflect on his life, learn from mistakes in the worst possible manner, and literally punch his way out of there.

    Shot with real Thai ex-inmates, (deliberately) occasionally subtitled, A Prayer Before Dawn breaks all Hollywood taboos. There are no easy ways out – actually, there is no way out – shockingly violent, hellish scenes that pass on the fear and agony that Moore had to endure and masterfully crafted realistic, ostensibly non-choreographed fights. Moore, trained by the natives, showed them how it’s done in a close-to-dying status.

    Practising muay thai myself for almost twenty years, I have the deepest respect for Billy Moore, who teaches, other than the martial art itself, life lessons on perseverance, human values, weaknesses and strengths, physical and emotional torture, regret, acknowledgement, paying back society, and more. I take my hat off to you, Billy.

    Last but not least, I applaud Joe Cole for his astounding performance. Look forward to seeing him in more brilliant films like this one.

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    A-X-L (2018)

    I’ll be quick, and as this is a PG film, I’ll be lenient too…

    Writing an “original” script nowadays is hard enough. Directing it in an “original” way is even harder. Oliver Daly, writer/director of the short film Miles (2015), pens the script and directs its feature version, A-X-L. A kid and (not) his robotic dog’s adventure can be pretty much summarized as E.T. the Extra-Terrestrial (1982) meets Transformers (2007).

    It’s a decent story, offering nothing much to its development or its characters with more holes than a Swiss cheese that a kid would scratch its head. I know women who would die to find out how, after 48 hours of running around, the makeup stays intact and the hair straight as an arrow. And I’ll sound like a broken record again, but… Producers… don’t hire only underwear models.

    David S. Goyer has been a brilliant writer and producer for the past three decades and still is. I guess hit-and-miss is part of every job.

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    Brawl in Cell Block 99 (2017)

    Remember the “Wedding Crashers” (2005)? “The Break-Up” (2006)? “Couples Retreat” (2009)? Forget about them! And forget about that Vince too! Writer/Director S. Craig Zahler knocks on Vince Vaughn’s door:

    S: Hey, pal! Fancy making you look like tough as nails? Kick ass like it has never been kicked before?

    V: Oh… WOW… How?

    S: Right, check this story, yeah? You were a boxer, now you are a mule, and you get arrested. What happens next is a helluva new level of improbability that no one will give two s@£$% as you’ll be bashin’ heads in, smashin’ bones, ripping jaws, and more, with bare hands. What you sayin’, bro?

    V. Uhmm… Give me a couple of days to talk about it with Ben (Stiller) while playing dodgeball.

    OK… maybe it’s not exactly how it happened. What happened, though, prior to filming, was Vince Vaughn training for three months as a boxer, putting on fifteen pounds of muscle. And I kid you not, the final cut is an impressively choreographed, R-rated, constant, bloody, brutal brawl that will keep you entertained for over two hours.

    Vince Vaughn is an equally brilliant comedian as he is a tragedian. He delivered an astounding performance in True Detective (2015) and does the same here. On the other hand, the writer/director of Bone Tomahawk (2015) is an expert in raw violence, and I, for one, am really looking forward to Dragged Across Concrete (2018).

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    Contratiempo (2016)

    A young, successful businessman teams up with a lawyer who comes to his rescue only three hours before charges are pressed for murdering his mistress.

    This is what you are getting into:

    • Twist after twist after twist in a story where truths and lies are deceitful and interchangeable!
    • Numerous vantage points raise “what happened” and “whodunnit” questions from the beginning till the end.
    • Missing parts of an intricate puzzle that its pieces are scattered over an uneven canvas.

    Contratiempo (The Invisible Guest) is a labyrinthine and meticulously crafted journey seeking the truth. Writer/Director Oriol Paulo, following the mind-bending success of El Cuerpo (2012), sets the foundation, slowly and carefully builds up and unfolds tension, and finishes with a hair-raising, jaw-dropping third act to remember. Take your hats off to acting, photography, and music. Absolutely blazing!!!

    I’m not giving anything away. Get comfy, grab a cuppa/coffee/booze/whatever floats your boat, turn the lights off, put your phone on silent, and… Shhh! It started.

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    Searching (2018)

    A parent’s greatest fear!

    Having seen his wife lose the battle with cancer, a man does everything in his power to find his missing daughter.

    From a storytelling point of view, Searching is spot on. The right pace, believable dialogue, attention to detail, and twists and turns keep you on the edge of your seat. Then, John Cho’s performance is outstanding. You feel his agony and pain throughout the film.

    From a technical point of view, I prefer the “hand-held” kind of shooting, especially in dramatic situations like this one. Adds a lot more… “depth”. Searching is the new sub-genre of films called “Computer-Screen”. Following the path of similar films like Megan is Missing (2011) and Unfriended (2014), Searching resurfaces the power but also the vulnerabilities of the internet and social media. What’s more, the true naivety in human nature. I hope, at least, watching films like this one, people start thinking twice before the “knight in shining armour” shows up out of the blue online, promising compassion, money, happiness or whatever else the internet predators promise.

    The “Computer-Screen” sub-genre reminds me of the “Found Footage”, which started off really well, showing tremendous potential, but it was then beaten to death in horrors and sci-fi films that were vomiting, and the camera shake made you vomit some more. Just for the sake of “Oh! People like it. Let’s apply it everywhere”. I’ve spoken before about some producers so… Hopefully, with this kind of film, they’ll be more careful even though I sincerely doubt it.

    Enjoy Searching before certain people smell its success like flies around s#@%.

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    Kin (2018)

    Mysterious humanoid entities, a vindictive gang, and the authorities are after a young man who just came out of prison and his little brother, who is in possession of a hyper-advanced weapon.

    With a heavy heart, I inform you that Kin is a solid film. So why’s that, uh? Because it tanked! And we won’t see more of it! Homage to The Terminator (1984) and Aliens (1986) (both by James Cameron), Kin flies entirely under the radar and massively underdevelops at the box office. Really shame! I would love to have watched it at the cinema as both the visual and sound effects are imposing, but I was totally oblivious to its existence. Well, I guess it would be better if it weren’t for the critics once more. You know what… I’ve lost count of how many times I’ve spoken about it.

    And if you are wondering, “What are you doing then?” I’m telling you that I may be reviewing films, but it is their intentions that I criticise and I’m after. And Kin, even though flawed, it has noble intentions. It is an action/sci-fi PG-13 flick with a relatable subplot, decent action sequences, an unoriginal yet entertaining sci-fi concept, and a whole cast and crew that believes in it and gives it their all. And that includes Mogwai’s brilliant soundtrack.

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    What Happened to Monday (2017)

    Seven identical sisters are being hunted down in an overpopulated world where all families are limited to one child.

    Noomi Rapace brilliantly portrays all seven identical sisters in this action flick that, overall, looks like Orphan Black (2013) meets Minority Report (2002) meets The Matrix (1999). Tommy Wirkola, an expert in the comedy/horror genre [Dead Snow (2009)], takes What Happened to Monday more seriously, creating an interesting sci-fi which, interestingly enough, IMDb doesn’t classify as “sci-fi”.

    Regardless of the semantics, Netflix hit the nail on the head by buying the copyrights for this dystopian thriller. Despite its minor flaws, impossibilities, and a fair number of negative reviews, it manages to entertain and raise certain ethical, social, and political questions that, when all motives are revealed, will make you think twice about who to cast your stone at.

    Well done to the whole international cast and crew who managed to pull it off and bring out a Philip K. Dick and Isaac Asimov-like world.

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    First Reformed (2017)

    Tormented by his own past, a minister of a local congregation on the outskirts of New York counsels a young couple with deeply unsettling results for everyone.

    Paul Shrader, writer of Taxi Driver (1976), Raging Bull (1980), and more, comes back with yet another provocative film he also directs. First Reformed is not for the average viewer. It is for the patient and the one with the sheer will to understand that actions trigger incalculable reactions, whether on the planet or in the human psyche. Very slow-paced with no intention of impressing or pleasing anyone, “First Reformed”, becomes judge, jury, and executioner, standing up for the environment and God opposite religion and mankind. A character-driven story with directing that clearly defines the editing pace and acting that shows you without telling you. And the few times it does, it shocks!

    Rationalising it might not be the best way to approach it, as, other than the aforementioned, First Reformed puts sanity under the microscope and subliminally scrutinises how, unbeknownst to us, everything is connected.

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    Mandy (2018)

    Producer Elijah Wood sets up a meeting with director Panos Cosmatos and actor Nicolas Cage and they wonder: How do we pitch Mandy? They scratch their heads for a while, and then it hits them: I Spit on Your Grave (1978) meets Hellraiser (1987) – OK, that didn’t happen.

    A hippie cult and their demon rider attack a couple in their secluded cabin in the woods, savagely killing the wife and forcing the husband to watch. And all hell breaks loose…

    A psychedelic journey to a sinister world of surrealism makes acting chameleon Nicolas Cage go absolutely berzerk and pull every beloved face from Vampire’s Kiss (1988) to Ghost Rider (2007). Linus Roach is right behind him, giving it all! On the other hand, Panos Cosmatos offers a “Grindhouse” experience, including his favourite trademarks: High film grain, characters on LSD speaking slowly and in a strange manner, campfires…

    One could analyze its sequences separately and write essays on them. But that is boring, and you don’t care. There are certain films or directors (say, David Lynch) that must be watched and either left alone or processed internally. Analysis ruins it. Enjoy the experience. As for people who are hell-bent on pathologically giving negative reviews, maybe it would be best not to judge a film and rate it according to how they would have wanted it to be made. Maybe they should accept the diversity of cinematic schools of thought and realize how malleable visual storytelling can be.

    Received a five-minute standing ovation at Cannes.

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    Headshot (2016)

    Indonesian film school teaches action! Weaker than The Raid (2011) and The Raid 2 (2014), yet Headshot manages to impress with its realistic action. Still gory, phenomenal fighting sequences, still bloody killings, still men and women who just don’t go down, still Timo Tjahjanto, Iko Uwais, Sunny Pang, Julie Estelle. You can’t go wrong.

    A man who has washed ashore with amnesia is trying to figure out who he is and what has happened to him while his past is hell-bent on wiping him out. The R-rated, Indonesian version of The Bourne Identity (2002) will not fail you and will prepare you for when the aforementioned team strikes back with The Night Comes for Us (2018) – the most brutal in this action saga yet.

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    Incident in a Ghostland (2018)

    A house invasion causes a mother and her two young girls an unspeakable physical and psychological horror.

    Have you ever heard of it? I am afraid it is one of the “limited release” casualties that went under the radar. I guess it didn’t please the right people… but I sure hope it scared the crap out of them…

    After Martyrs (2008) and The Tall Man (2012), Pascal Laugier comes back with the psychological horror Incident in a Ghostland, only to project, once again, his terrifying vision on the darkness of the human psyche. The shock will hit you from the opening sequence. Two brutal invaders attack a mother with her two little daughters the night they move into the house they inherited. I say no more. A constant interchange between drama and horror follows, leading up to a non-linear, ceaseless, inescapable torture.

    Hauntingly brilliant performances, sadistic unfolding, and a breathless twist are solid reasons to spend an hour and a half… in the dark.

    P.S. My warmhearted wishes to actress Taylor Hickson, who got injured while filming and received several stitches.

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    Wonder (2017)

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    Stephen Chbosky does his wonder once more – yes, pun intended. Following the mind-blowing The Perks of Being a Wallflower (2012), he now pens the screenplay and directs Wonder. In a nutshell, a homeschooled child suffering from mandibulofacial dysostosis, also known as “Treacher Collins syndrome” (facial deformity), attends a public school for the first time, entering the 5th grade.

    Julia Roberts and Owen Wilson do an amazing job as the parents who struggle as much as their kid, and Jacob Tremblay, being the kid, proves again he is a prodigy child actor. Izabela Vidovic, Daveed Diggs, and all the child actors shine in front of the camera, with everyone knowing who they are playing and why.

    Wonder is the side of Hollywood which gives hope that studio films are not all about undermining human intelligence, explosions, or exploiting disabilities and minorities for profit. Its plot and subplots are bound together proportionally, creating a perfect equilibrium. It recognizes talent, maneuvres around and delicately avoids buffoonery, soppiness, kitsch and cliche, and definitely recognizes a$$holes when it sees them, in every shape, age, race or form.

    Get carried away and let it appeal to your humanity. As reality is, unfortunately, far more inhuman…

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    The Nun (2018)

    Rrrrriiiiiiiggggghhhhtttttt… At first, I couldn’t tell if I was getting old or if the jump scares were getting old. But… what if it was something else? Then, by the process of elimination, I started crossing out factors. But that didn’t make much sense either. Individual departments worked well on their own. Directing, cinematography, production design, editing, acting… Hold on… And then it dawned on me… It was the story! Or the lack thereof, to be precise.

    In The Exorcist (1973), Pazuzu, the demon that possesses Regan, gradually unfolds certain abilities: It controls her body and mind, launches things around in a telekinetic manner, reads her and everyone else’s soul, speaks every language under the sun (even the dead ones), and, upon being cast out, can possess someone else. Please see Exorcist II: The Heretic (1977) for unnecessary complexities and their outcome.

    In The Nun, Valak can do all of the aforementioned plus… whatever the hell the studios decide that it’s convenient for the script. So, it always comes down to the bloody script! There is this side of Hollywood with the inexplicable mentality of a “financial shark” where, the moment producers “smell” success in something – The Conjuring (2013) and The Conjuring 2 (2016) – they “attack”, blow it out of proportion, rip it apart, and move on to the next!

    The Nun suffers from inscrutable improbability. As if it isn’t hard enough to specify the demon’s abilities, the ghosts (wtf?!), the heroes’ choices and actions, and an entirely fictitious chapter in an otherwise “based on true events” saga come into play, amounting to a head-scratching, eye-bleeding nothingness beyond comprehension.

    Producers: Stop seeing filmgoers as financial dairy cows and films as cheap canned food for mass consumption. I guess you are making money anyway, so why care…

    Below, you can find my top 3 quotes on scripts. Maybe I’m not such a stuck-up snob after all.

    • Audiences are harder to please if you’re just giving them effects, but they’re easy to please if it’s a good story.” — Steven Spielberg.
    • “To make a great film you need three things – the script, the script, and the script.” — Alfred Hitchcock
    • “You can’t fix a bad script after you start shooting. The problems on the page only get bigger as they move to the big screen.” — Howard Hawks.

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    The Equalizer 2 (2018)

    There is a storm coming…

    Hurricane Denzel Washington – Pun intended [The Hurricane (1999)]. Based on the television series created by Michael Sloan and Richard Lindheim, and a sequel to The Equalizer (2014), Antoine Fuqua and Denzel Washington strike back.

    When bodies around him start mysteriously dropping, the retired CIA Black Ops turned vigilante, Robert McCall, becomes once again a righteous force to be reckoned with. Action-packed as expected, EQ2 sets the score right from the opening sequence. No cheese, catchy, cliche lines. No unnecessary mannerisms. And… not just an action film. Two priceless, non-action sequences: McCall’s speech at the elevator and… “My Sammy…”

    What could add more thrill is seeing McCall have to catch his breath every now and again or get injured—as he makes the villains look weak. And a twist in the end. Regardless, we, the fans, look forward already to the third one.

    Oh, there is a storm coming…

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    The Vanishing of Sidney Hall (2017)

    A young, talented writer becomes successful immediately after his first publication and inexplicably disappears into thin air.

    I don’t know how to begin or even elaborate on my admiration and frustration with The Vanishing of Sidney Hall. One feeling at a time, I guess.

    Shawn Christensen pens, produces, and directs an ostensibly simple story, which he develops intricately, unfolds beautifully, and delivers didactically. Sabine Hoffman’s editing is stupendous, Daniel Katz’s cinematography is mesmerizing, and Logan Lerman, Margaret Qualley, Elle Fanning, Michelle Monaghan, and Kyle Chandler are shining in front of the camera.

    So, that’s the admiration part. Here comes the frustration… Not even one nomination!!! I guess we have the critics to thank for those who ignorantly saw past it. Whose perceptual inability prevents them from conceptualising Sidney Hall‘s depth, magnitude, and complexity. The Vanishing of Sidney Hall is poetry on screen. It is really a shame not to give it the chance it deserves. The chance the critics never gave.

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    Snowtown (2011)

    A few years ago, my really good friend Ben and I sat down, ordered Chinese, and put Snowtown on. By the time food arrived, none of us were hungry, and for the whole duration of the film, we didn’t say a word to each other. Damn, we barely spoke after…

    There are some depressing films out there. Then there are some very depressing, extremely depressing, and then there is Snowtown! Based on the “bodies in the barrels” truly horrible, infamous murders, Justin Kurzel’s lens captures and depicts torture and murder like you’ve never seen before – and probably never will. Lacking – deliberately – artistic charisma, Snowtown‘s realism is unsettling as much as it is disturbing, projecting pure, raw violence as it is.

    This is not just another film on serial killers. This is Snowtown on serial killers in Australia by Justin Kurzel! Where antiheroes and villains are valued less than dogshit! Where barbarity, savagery, and sadism are at their zenith! Where the “bathtub strangulation”, the “dog and the gun”, and the “brothers fighting” sequences stay imprinted in your brain for aeons!

    Congratulations to the actors and actresses for delivering “despicable” amazingly!

    You’ve been warned!

    P.S. Do I recommend it? Definitely!!!

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    Arrival (2016)

    I could write a thesis on Arrival. I’ve been to a linguistics seminar and a psychology on perception seminar. Most of the known sciences can analyse Arrival, each from its own perspective. It is hard to elaborate on its key points without giving away spoilers, so I will choose my very few words extremely carefully. Whether you have watched it or not, maybe you’ll find my standpoint somewhat useful— I hope so anyway.

    There are three concepts you need to pay attention to:

    • Language
    • Time
    • Perception

    Keeping these in mind, here’s the film’s concept: Louise, a renowned linguist, and Ian, a distinguished mathematician, among others, are enlisted by Colonel Weber after twelve alien spacecrafts suddenly appear, ostensibly randomly, around the world. As the big nations plan to attack the spacecrafts, Louise is racing against time to find a way to communicate with the aliens and prevent a global disaster.

    Then the end credits scroll down… And now, years later, I still find myself pseudo-wondering, what do I really know about these concepts? But shortly after, as usual, life snapped me out of it, and then I wondered, what do I really know about anything?

    I salute the cast and crew for mastering such depth and complexity.

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    A Monster Calls (2016)

    One of the most impressive and heartbreaking films of 2016! Following The Orphanage (2007) and The Impossible (2012), Director J.A. Bayona follows the book almost to the letter, creating this adventurous, tear-jerking cinematic journey. A tale of grief, remorse, and guilt triggers an unfathomably allegorical crossing between reality and fantasy that seeks catharsis and closure and appeals to one’s deepest feelings.

    Unnecessarily rated as PG-13, A Monster Calls should be a story for the whole family. A kid dealing with their mom’s terminal illness is an ongoing, never-ending, global-scale torment that plagues kids of every age from every corner of this Earth. Even now, while writing this review.

    Monster Calls is nothing short of hauntingly beautiful magic on screen. It is a heart-wrenching, coming-of-age faithful adaptation with Oscar-worthy performances, directing, cinematography, editing, music, sound design, visual effects, and more. As I like saying, a round of applause for all cast and crew and a big “thank you” for this masterpiece.

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    The Mountain Between Us (2017)

    If you are wondering “why would I watch another survival movie”, here’s simply my take:

    The directing / DOP is stupendous. The landscape is phenomenal, as are the conditions under which the film was shot. The lens has captured majestic and mesmerizing scenery that definitely deserves your attention. Acting-wise, Idris Elba and Kate Winslet make sure to pass on not only their despair of survival but also their pasts and futures.

    That said, what gives extra credit to their performance is the fact that a well-worn story needs development outside the box. And this one really needed it. Mentioning that their food supply is next to nothing, limping, facing a cougar, a couple of slides, trying to shelter, while they maintain straight hair and still quite well-trimmed beard, respectively, claiming that they can’t do it anymore, but then they keep on walking anyway, and more that I don’t want to give away… don’t make one empathise. I know that it is not appealing for a beautiful couple like them to be shown… doing what they need, but it’s a survival movie, isn’t it?

    So, going back to the original question, why bother? For one last reason: the ending. To find out what, surprisingly, the real mountain between them is.

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    BlacKkKlansman (2018)

    Sarcastic, serious, light, but also profound, BlacKkKlansman hits the nail. The performers are incredible, and the stupendous directing and meticulous writing were a perfect mix for over two hours in a film stamped with Spike Lee’s persona and talent.

    John David Washington, Adam Driver, and Michael Buscemi infiltrate and take down from the inside Topher Grace’s “KKK” in a humorous and not depressing way and add some entertaining fiction to these, based on a true story and events. Laura Harrier, Ryan Eggold, and Jasper Pääkkönen are equally exceptional.

    There have been some negative reviews regarding the different approaches the film has taken compared to the book, but people need to realize that moving pictures are an entirely different medium that addresses a much larger and more diverse audience. Consequently, if the film doesn’t focus on the undercover work against the black activists or presents the “KKK” as caricatures, we, the viewers, either accept or not the adaptation’s angle on the subject matter.

    Before you start casting stones, though, just in case you haven’t watched it yet or simply missed it, BlacKkKlansman makes you smile and laugh for the first two hours and bring tears to your eyes only for the last two minutes because it is about love and hope rather than hate and despair.

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    The Little Stranger (2018)

    A drama/mystery indeed, but a horror it is not. When a film’s logline hints at sinister forces, haunted manors, and buried secrets, the bar needs to be set really high nowadays. The Little Stranger is a very slow-burn period drama/mystery that doesn’t amount to the viewer’s expectations.

    With a very slow pace, repetitive situations, and distraction from the immediate and important issue of the actual little stranger, the film’s running time seems significantly longer than it is. And after everything, even if the ending was a jaw-dropping, mind-bending twist, chances are that you wouldn’t care that much by then. But it isn’t…

    It’s a shame because a haunted, dark manor inhabited by a family carrying all that psychological and physical pain and a doctor who doesn’t belong to a society he is part of sound like strong ingredients for what could have been a back-in-time, spectacular cinematic journey.

    Oscar-nominated Lenny Abrahamson directs Golden Globe winner Ruth Wilson, Oscar-nominated Charlotte Rampling, and equally exceptional talents Domhnall Gleeson and Will Poulter. All four deliver brilliant performances nonetheless. Lastly, it’s worth mentioning how mesmerising it is always when one listens to the English language spoken properly and in depth.

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    The Night Comes for Us (2018)

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    Action-packed, thrilling brutality made in Indonesia! This is the first Indonesian Netflix film that, unfortunately, a country with over 700 languages and 300 ethnic groups cannot enjoy as Netflix is banned.

    Following the critically acclaimed box office successes of The Raid (2011), The Raid 2 (2014), and Headshot (2016), The Night Comes for Us delivers equally – and more – gruesome, graphic violence and extreme martial arts to satisfy a bloodthirsty orgasm. The choreography is advanced, crystal clear, and meticulous, and the director, the editor, and the actors deliver quality performances that match the savagery the film has to offer.

    If you are a fan of the aforementioned films, you won’t be disappointed. The same team (with a few changes) collaborates once more for an R-rated, 2-hour, insanely entertaining bloodbath, capturing every body part getting dismantled in numerous ways on the lens. Get comfy (film reel rolling sounds)!

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    The Darkest Minds (2018)

    Here’s what both you and I know: Most kids died, and an adult world hunts down and imprisons the remaining ones as they have abilities. Go figure…

    I’ll try to be civilized and ask some questions that might hopefully get you thinking. When you write and then read a formulaic script that “bad” is not even the word, do you know it? Production-wise, when you force a multiracial cast to do better at the box office, how do you feel? In America (obesity’s motherland), how come no one’s fat? Even worse, how come every person on screen could as well be an underwear model? Is this how you must look nowadays to be promised a career as a thespian? What is it with Hollywood’s obsession to create glamourized films and franchises where weaponized revolutionary kids fight weaponized conformed kids and a decadent, unreasonably incomprehensive system – see The Hunger Games (2012), Divergent (2014), The Maze Runner (2014), The 5th Wave (2016), now this one…

    I find unfathomable beauty in films – Asian, European, American (Hollywood or not) – that don’t have background music all the time to instruct me how to feel. Where their stories leave a lot to the imagination and are open to interpretation. Films that respect principles and don’t use them and abuse them, and monetise them to satisfy pockets. And for the teens out there who fall for these polished, pseudo “I wanna fight fellow teens and government for freedom” bullshit, check out Battle Royal (2000) and weep.

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    Marrowbone (2017)

    A Spanish-made, English period horror film…

    You may wonder how a haunted house can be scary at all nowadays or what could possibly be new with this genre that has been beaten to death. Well, I, for one, usually ask myself who the story is and why it matters. If the premise is promising, the protagonist is interesting, and his story matters, I pray for a good ending—in cases like this one, a good twist.

    At first, it got my attention because it’s an English film, entirely produced and shot in Spain by Spanish. But then, watching what Jack and his siblings have been through and what they keep going through made the production fact merely a fun fact. Marrowbone is about family sacrifice, unity, and high price costs. So, it is not about a haunted house but a haunting past that just doesn’t let go no matter what. It is not just a ghost story but a heart-wrenching one that can haunt a ghost. It is about life becoming a relentless, constantly growing black hole of despair.

    And as the story unfolds, and having established that the premise is promising, the protagonist is interesting, and his story matters indeed… comes the soul-crushing ending to fill you with tears.

    A round of applause for this Gothic, underrated horror/drama, its cast and crew, and its wonderful actors and actresses.

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    Tales of Halloween (2015)

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    The ABC’s of Death (2012) for Halloween. Here’s what’s on the menu:

    Babysitters with their guts hanging out, kids slaughtering adults, wives baking their husbands alive, human skewers, decapitating pumpkins, Voorhees vs aliens, cannibalism, and more…

    Entertainment for the whole family! Ten comedy/horror gruesome stories, ten brilliant excuses for you and your ghoul mates to get rat-arsed, doped, and trick-or-treat the shit out of each other. Have fun!

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    Aterrados (2017)

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    How many Argentinian horrors have you watched? If that’s your first one, you are in for a big surprise like me. Paranormal terrifies a small neighbourhood, and when the “big guns” arrive, the challenge is taken up to a whole different level.

    Brilliant performances, non-linear storytelling, and a solid understanding of the concept of fear. Some VFX don’t favour it, and nor does the choice not to provide certain answers. Maybe there is a sequel planned, and if that’s the case, I, for one, really look forward to watching it. See REC (2007) for example.

    Don’t read anything about it, and don’t raise any unreasonable Hollywood-level expectations. Just watch it… Alone… In the dark…

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    The Rover (2014)

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    If you wipe Hollywood completely out of Mad Max, you get David Michôd’s post-apocalyptic Rover. This desolated Australia manages to crawl under every antihero’s skin and plant the seed of isolation and fear of their already-existing despair.

    In this endless pitch-black tunnel, a light shines upon the most unlikely friendship between furious Eric (Guy Pearce) and mentally vulnerable Rey (Robert Pattinson). A light from the abyss of their soul indicates that, even though everything has gone awry, the tide can still change.

    Australian cinema is relentless as much as it is beautiful. And with producer/writer/director David Michôd and writer Joel Edgerton, you know that it can only be relentlessly beautiful. Guy Pearce has always been spectacular, which leaves us with…

    Robert Pattinson! A script has a main philosophy: Show, don’t tell! Robert Pattinson doesn’t say a word. He shows, having nothing to prove, that he is an actor. If Remember Me (2010) was not evident enough, The Rover rubs it in haters’ faces.

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    London (2005)

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    Let me introduce writer/director Hunter Richards to you. Is he well-known? No. Should he be? Definitely. What for? London! Unknown too? It shouldn’t be.

    Addressing mostly Hollywood lovers, London focuses on three characters portrayed by two actors and one actress who are known to be action heroes and some of the hottest women alive, respectively. Chris Evans, Jason Statham, and Jessica Biel have been fully humanised, “made redundant” to people next door, and deal with everyday issues that you and I are troubled with. There are no heroes or celebrities here.

    London takes place profusely in a house party’s toilet where:

    • Evans and Statham camp there as they are not welcome.
    • Expensive paintings are used as a flat surface for everyone to snort cocaine constantly.
    • Politics, religion, history, sociology, philosophy, drugs, the human psyche, sadomasochism, and relationship issues are elaborated.
    • Finally, while the aforementioned happens, everyone comes in and out to meet their needs.

    Statham and Evans steal the show. They look at each other in the eye, are not afraid to go berserk, and their characters find mental and spiritual/psychological ablution. This is a brilliant cinematic reflection on how real-life introspection can be turned into a liberating life unfolding.

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    Halloween (2018)

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    Bloodbath! Nine films after the original Halloween (1978), producers, actors, writers, and directors managed to get it right. Ignoring all previous sequels and reboots pays homage to all of them. I know, right? Producer Jason Blum, writer Danny McBride and co-writer/director David Gordon Green wrote it, re-wrote it, shot it, re-shot it, re-re-shot it, Timothy Alverson re-re-re-edited it, so your visit to the cinema pays off. 40 years to the day after Halloween, you get a sequel with:

    • Soundtrack that still gives goosebumps.
    • DOP to remind you or get to know of the ’80s (depending on your age) well-crafted slashers.
    • Character-wise, there is anticipation of the highly respected original Laurie and Michael standing, once more, for the last time (?) toe to toe.

    Gripping! Well written, well-directed, and well-acted, it is the showdown to clamour for. That said, the child inside me still wants to watch… Myers vs Voorhees! Mr. Blum, I hope you are reading.

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    Unfriended: Dark Web (2018)

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    We all have seen a missing person’s poster glued to a wall, a lamppost, or a similar object while walking on the street, waiting for a bus, or stuck in traffic. And we have ignored it.

    The idea that when most of us are having fun, some others are getting raped, kidnapped or murdered is frightening not only because these things are actually happening but also because they are happening under our noses. So why do we walk past the posters indifferently? Because it’s not happening to us. Until it does. And then we care.

    Unfriended: Dark Web refers to the “millennials” and a bit older who grew up with everyday technology surrounding them and touches upon a very sensitive subject, which is social media and the ignorance, recklessness, and naivety behind youngsters who constantly use them and can type faster than I can speak. The idea and story are solid, but its development and execution stretch too thin. I don’t know how the dark web works exactly, but the notion that intelligent characters are getting so well conned to the last detail and this “shadowy” organisation has people everywhere and controls everything at first got my interest, and then I said… rrrrrrriiiiiiiiiigggghhhhhtttttttt.

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    The Meg (2018)

    Check this one, yeah? A producer walks into his office, sits down, and reads this script…

    An experienced diver/rescuer saves literally at the last minute a bunch of people while a couple of them, absolutely doomed/didn’t stand a chance, die. The doctor, who was one of the survivors and would be dead if it wasn’t for the diver, accuses him of cowardice.

    Give it about a year, and the retired diver is now round-the-clock shitfaced, gets a visit by an old colleague, gets offered a rescue mission, says no, eventually takes it, and saves everyone except one. In a half-naked scene is revealed to us that the beers he had been necking had steroids, one of the fit survivors accuses him of cowardice, falls in love with him anyway, they kill the Meg, and then there is another Meg bigger than the first Meg, the diver rips the second Meg apart, saves the world, gets the girl. Jason vs Meg: 1-0.

    The enthralled producer makes it to the “FADE OUT”, picks up the phone, dials a number and says: “Give them $130,000,000”!

    If you fancy a good laugh, go for it.

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    Mission: Impossible – Fallout (2018)

    There are priceless moments in one’s life where a plate of ravioli, a glass of Sangiovese, and neorealist cinematic masterpieces by Vittorio De Sica and Luchino Visconti mean the world.

    This isn’t one of those moments. After watching Mission: Impossible – Fallout, I read some mixed reviews, which got me thinking… What the actual f@!# is wrong with some people?! Well, it’s a long list, and it’s beside the point. Is it a classic film? No. Will one encounter Shakespearean acting? Nope. In a production wrapped in 161 shooting days, let me shed some light on what you’ll encounter:

    • Phenomenal action by water, land, and air with every possible vehicle available.
    • Dynamic hand-to-hand combats.
    • Tom Cruise does all of his stunts himself, and all the actors deliver stupendous performances.
    • Rebecca Ferguson is as jaw-dropping as always.
    • Twists and turns with everyone switching sides.
    • Amazingly unnoticeable VFX.

    Trust that writer/director Christopher McQuarrie and Tom Cruise have collaborated on nine films together. They are a duo that works and gets results. Tom Cruise characterized it as an epic personal tale with enormous emotional stakes for the characters.

    So, it’s one of those moments…

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    Venom (2018)

    A lot could be said about this film and the reviews surrounding it, but I will keep it short and to the point.

    In the graphic novels, Eddie Brock is shady. Really shady. His moral compass takes a one-way ticket. It is all about him and his career as a reporter. Then, Venom comes along, and they find each other. Together, they develop the ultimate hatred for Spiderman. Over the years, numerous timelines have been spawned between Venom and Spiderman. To cut a long story short, Eddie Brock/Venom is a supervillain.

    Sony’s Venom starts by being murderous. Then, due to a not-shady Eddie Brock, he stops eating people’s heads and damages (severely) whoever gets in his way. Here, Eddie Brock is an honest, everyday, relatable guy who tries to keep his head above water and turns Venom into an antihero.

    Separate these two in your head and just get entertained. Tom Hardy does a great job, the VFX team nails it, the script has the right amount of character development, laugh, action, and the final outcome stands tall on its own. If I were to pick on something, that would be the fight between Riot and Venom, where I struggled to figure out who was hurting and how.

    Just enjoy it!

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    Blindspotting (2018)

    You Raiders fan? Oakland’s city lifestyle? Wanna roam through its streets and its everyday people? If the answer is ‘yes’, watch it! If the answer is ‘no’, still watch it!

    Cinematically… Director Carlos López Estrada, editor Gabriel Fleming, and writers/producers/actors Rafael Casal and Daveed Diggs sat down and said: “Let’s cut the shit”! Literally and metaphorically. Not one shot is there for no reason. No line is there for no reason. No rap song sang is there for no reason. Anything that could be of no reason has been cut!

    And then there is real life… Films like Blindspotting are the reason for filming. They remain true to their genres when, in times of relentless crime, they become the reason to laugh and become the reason to cry. And they will remain the reason, as long as they remind us that be it black, white, brown, yellow or any other colour, all of us are trying to find our place in this world of labels, struggling with who we are, who we want to be, and who society drives us to be.

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    Monga (2010)

    Taiwan’s jewel! A critically acclaimed and commercial success that exceeded expectations. Starting as “coming of age” and ending up gangster, Monga takes you back from The Outsiders (1983), to Goodfellas (1990) and The Departed (2006).

    Accurately depicting Taiwan in the ’80s, Monga takes you through youngsters who want to become gangsters, the relationship and clash between Mainlanders and Islanders, loyalty, bloody violence, vulgar language, family, betrayal, status quo, rejection… By the end, we are left with bitter-sweet feelings that make us reminisce about our own aspirations and dreams and the harsh reality that faced them.

    Fun facts:

    • It was banned in China – which made it even more famous.
    • Language: Mandarin (mostly).
    • Certain actors had to learn Taiwanese Hokkien as they grew up from mainland China to the UK and the US.
    • Its undeniable success became a topic for a Ph.D. thesis.

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    Berlin Syndrome (2017)

    “One of the most transformational experiences” of her life, and “the most liberating film experience” of her career, Teresa Palmer stated. If you have any doubts, her dynamic performance will certainly convince you. On the other hand, Max Riemelt does his absolute best to make you hate his guts. The fierce chemistry between the duo works around the clock, creating a character study to be put under the microscope. The cinematography gets a 10/10 for delivering the entrapment’s claustrophobic sense in Berlin’s atrocious winter, and the direction guides the editing pace carefully towards the unwrapping of Palmer’s emotional roller-coaster.

    Could it have been less than two hours? Yes. Could the ending be more satisfactory for the masses? Yes. Could… I’ll stop here. Be patient, try not to look for plot holes, imagine that this monstrosity is happening to you or someone you love, put your phone on silent or away, and this psychological turn visceral madness will get under your skin.

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    Apostle (2018)

    Brutal. Gory. Bloody. Savage. Relentless. ApostleThe Witch (2015) meets The Wicker Man – the 1973 one #justsaying.

    Dan Stevens delivers an amazing performance, simultaneously tough as nails and broken. Michael Sheen (who speaks in his Welsh accent – rare), on the other hand, nails it as a false prophet, an ostensibly stalwart leader who is torn deep down and bearing the consequences of his (im)moral choices. Last but not least, writer/editor/director Gareth Evans uses the lens as he only knows how to bring to life a H. P. Lovecraft-esque mysticism and fantastical horror world for us to get lost in.

    Welcome to the island…

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    Tucker and Dale vs Evil (2010)

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    I’ll just cut to the chase here… You feelin’ low? You wanna get high? Next stop… “Tucker and Dale vs Evil”. The remedy. The answer to your prayers. Everything that’s going wrong in this world is wrapped in one movie. It gets crazier… 10 wins, 14 nominations. If you are thinking, “WTF?!” no one will blame you. If you are not thinking, “WTF?!” then this film is for you.

    That said, Tucker and Dale vs Evil has the most honest intentions. It doesn’t trick you for a second. It is a spoof that brilliantly parodies horrors from Friday the 13th (1980) to every “Cabin in the Woods” version. Profusely, for the “male/female under 25” American audience. Sounds like your thing? Knock yourself out!

    Please, don’t forget to share, and subscribe. If you enjoy my work and dedication to films, please feel free to support me on https://www.patreon.com/kaygazpro. Any contribution is much appreciated and valued.

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