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    Ballerina (2025)

    A trained assassin of the Ruska Roma organisation goes against The Director’s orders and seeks revenge against the people who killed her father.

    A strong opening sequence that sets the bar high for something you have already seen. I’ve spoken before about the world of John Wickhttps://vm.tiktok.com/ZNdf9KM1n/ (soon on the website). Neon lights, constant dark skies, diverse tribes of assassins, fancy deaths, sheepy people who keep dancing while everyone dies around them, nonexistent law, and so much more comprise that surrealistic and enigmatic world.

    How this film was made is also an enigma. Ballerina’s script went through hell. Many writers added and subtracted content, making it impossible to determine who wrote what and when – yes, it took a few years. However, that’s nothing compared to what happened during filming and the extensive re-shoots it went through. If you want to read more about the creative differences between director Len Wiseman and producer Chad Stahelski (creator of this universe), visit the film’s IMDb Trivia section and weep. It brings to the fore the debates of auteur cinema. But let’s not go into it, shall we?

    Production failures and disappointments aside, as a standalone, Ballerina will excite you nearly as much as the John Wick franchise. Ana de Armas does a brilliant job in front of the camera. Then, the addition of John Wick welcomes Ballerina and embraces her into the universe. The lengthy takes, slow editing, invisible effects, stunning soundtrack, and pseudorealistic fights will keep you entertained for two hours. And that’s the end of it. On to the next John Wick

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Park Chan-Wook

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    “If you would ask me what my ideal process is, I would say, long pre-production, long production and long post-production.”

    Akira (1988)

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    Although common in American anime dubs, Akira was the first Japanese anime where voice acting was done before the animation.

    Guy Pearce  

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    “I feel I do my best work when it’s all there on the page, and I feel that the character is very vivid as I read the script and I’m not having to create stuff and trying to cobble together something. If I have to do that, then I don’t entirely trust what I’m doing.”

    Don’t You Shed A Tear

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    Logline: A man’s family throws a surprise birthday party for him, not knowing that he suffers from a terminal illness.

    Genre: Drama, Short

    Cancel Culture: Film and Accountability

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    Cancel culture. A force of accountability or a tool of suppression? In the digital age, careers are made and destroyed in an instant, but does cancel culture truly reshape society, or just create noise? And what about film? Movies like Tár (2022), Joker (2019), and The Hunt (2020) have explored power, morality, and public perception, but can filmmakers still take risks without fear of backlash?

    The King’s Speech (2010)

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    Screenwriter David Seidler received the Oscar for Best Screenplay at the age of 73 – the oldest recipient to date.

    Jim Jarmusch

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    “I love rehearsing because in rehearsals there are no mistakes, nothing is wrong, some things apply or lead you to focus on the character, and the things that don’t apply are equally valuable because they lead you towards what does.”

    Scandals, Fires, Drones, Films and Media

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    Scandals, drones, wildfires, elections—our world is a whirlwind of reality, perception, and the stories we tell about them. From conspiracy theories to real-world chaos, this episode dives into the powerful intersection of media, social platforms, and cinema. How do the stories we share shape us? And how do films reflect—and sometimes blur—the lines between truth and fiction?

    Marshmallow (2025)

    A boy is forced to go to summer camp, but unexpected horror is all he and everyone else is going to find.

    Shy kids, bullies, inherently incompetent adults, sweet people, bonafide a$$holes, summer camps with a horror story, 80s synthwave music… all the ingredients for an American summer-camp horror ala Friday the 13th (1980). Is it, though? What writer Andy Greskoviak and director Daniel DelPurgatorio do differently are two things:

    First, the dream sequences, featuring Dutch angles, surreal mise-en-scène, unpredictable, rhythmically edited sequences, and human reactions to them, synthesise an atmosphere that can only be experienced in a dream state.

    Second, the lack of trust and the twist that follows. Unfortunately, I can’t tell you more about that. You’ll have to experience it as well as the ethics that come with it.

    Marshmallow is not without faults. Bringing a script to life has never been and will never be an easy task. But DelPurgatorio comes through and manages to surprise with an unexpected narrative that changes the rules of what you know or think you know.

    Lastly, great job by all actors and actresses, kids and adults alike. This wouldn’t have been possible if they didn’t believe in it.

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Douglas Fairbanks, Jr.

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    “What has always been at the heart of filmmaking was the value of a script. It was really the writer who could make or break a film.”

    The Lord of the Rings: The Two Towers (2002)

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    Upon reaching Osgiliath, Sam tells Frodo, “We shouldn’t even be here…” as an inside joke, since in the book they never pass through this place.

    Echo Valley (2025)

    A single mom who faces her own tragedy must deal with her troubled daughter, who shows up one day covered in blood.

    Flawed but gripping! What’s at stake becomes increasingly apparent. With every sequence, you learn something more about family tragedy, the family tragedy that plagues innumerable families all over the world. Focusing on Echo Valley, you get how bad it is by the end of the first act. From then on, though, unfortunately, it gets worse…

    Not spoiling it for you at all, here’s what to expect. A mother who, despite her own tribulations, goes above and beyond to save her (ostensibly) hopeless daughter. Their journey is heartbreaking and resembles nothing of the dreams that a person has when they find out they will become a parent. Nothing like it.

    There are twists and turns throughout, as well as incidents and unpleasant surprises that will keep you on the edge of your seat. Julian Moore (Kate) and Sydney Sweeney (Claire) do an excellent job in front of the camera, and Domhnall Gleeson (Jackie) does a perfect job making you hate him – and you will. Mark Ingelsby is a brilliant writer (and co-producer here), especially of thrillers, and director Michael Pearce is a brilliant visualiser. And, on top of that, the one and only Ridley Scott is wearing the producer’s hat.

    This merely means that the film is without flaws. There are some “too American” moments that only the American audience can feel for. There are also some woke-y moments, too, that ruin the characters’ build-up. But… the narrative flows naturally and the suspense keeps increasing, so it’s definitely worth your time.

    P.S. No idea why Kyle MacLachlan appeared in it. He’s a legend!

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Bernardo Bertolucci

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    “I don’t film messages. I let the post office take care of those.”

    Alfonso Cuarón

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    “When I finish a movie, I don’t ever see the movie again. The moment I finish the color correction and the mix, I never seen any of my movies ever again. I just try to explore what I can learn from the experience and move on.”

    Frewaka (2024)

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    A mentally traumatised carer is sent to an isolated house to look after an old woman with a dark past.

    The opening sequence exudes a distinctly folkloric horror, and the rest of the first act is shrouded in esoteric darkness and unspecified trauma. All these lead to the heart of picturesque Ireland, where Irish is still the people’s first language. More specifically, to an isolated house with a carer trying to make sense of the patient she has been assigned, an old lady tied to the darkest side of paganism.

    There is not much I can say without giving away plot details, so here’s the takeaway: Writer/director Aislinn Clarke’s visualisation of trauma, mental health, and geographical, physical and emotional disassociation from our roots (frewaka=roots) crumbles the foundations of what we think we know and call identity. What does this have to do with religion? More like, what does religion have to do with anything?

    I have reviewed numerous films on both mental health issues and identity, and Frewaka, yet another Shudder original success, is one of the successful manifestations of both. Have you noticed that folklore and mental health often appear together in films? Have you also noticed how difficult it is to distinguish one from the other? Does that say anything about our disconnection with nature? Food for thought. Clare Monnelly (Shoo) does an excellent job in front of the camera, expressing the relationship between trauma, disconnection and the occult. Having said that, good luck trying to establish for sure what is internal and what is external. Irish horror is at the top of my list as their film school blends the two exquisitely. Especially this one, as the main language is Irish and not English.

    In a nutshell? Frewaka: Embrace the descent to paranoia.

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    It Feeds (2025)

    A clairvoyant mother needs to stop a malevolent entity that consumes a young girl and threatens her daughter.

    Great opening-nightmarish sequence, reminiscent of The Cell (1995) or even Silent Hill (2006). Very promising, but does the rest of the film live up to this promise? The sequence after that, the girl’s appearance, most certainly does. It’s suspenseful, and it sets the cogs in motion. And that applies to the rest of the suspenseful sequences, really.

    Writer/producer/co-editor/director Chad Archibald does an incredible job building up the suspense throughout all three acts. In front of the camera, Ashley Green, Ellie O’Brien, Juno Rinaldi, Shawn Ashmore, Shayelin Martin, Julian Richings, and the rest of the cast do a great job, delivering Archibald’s vision.

    The drama is somewhat problematic, as it follows a formulaic structure, particularly in terms of dialogue and editing. However, two nasty things happen, so I’ll give it a break. On the other hand, the horror is as good as the suspense, so it’s yet another reason to watch it. If Archibald had left certain clichés aside that imply the audience is less intelligent, it would have scored a lot higher. The same goes for the ending. An indie can be a lot more provocative than studio-level films, but this doesn’t mean that it was all bad. A jaw-dropping ending would have left the audience with a much stronger aftertaste.

    Ashley Green may be suffering from being too beautiful and/or from becoming known for something outdated, if you catch my drift. Robert Pattinson seems to have got over it and, hopefully, she will too.

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Last Straw (2023)

    A young manager must fight for her life when a gang invades her diner.

    The first act has all the ingredients for a spot-on horror! Realistic acting and lines, proper set-up, long shots, 90s vibes, bad-@$$ Nancy, human trash… all of it. It gets you hyped up for a long night of survival. And that night comes…

    When the sun goes down, the buildup is great, and once you think you know what’s happening, the tables turn. The narrative shifts, the film’s style changes, and the backstory emerges. I believe that background story “fried” the reviews – pun intended. While the editing handled it delicately, it debunked the initial mystery and distracted the audience. Wait until the beginning of the resolution, though, because it’s worth it. But then, the actual ending de-escalates it.

    Personally, I liked it, and every department seems to have put in a proper effort to make this work. Overall, some parts of Taylor Sardoni’s script are effective, while others are not. Director Alan Scott Neal and Jessica Belkin (Nancy) do a great job behind and in front of the camera, respectively, regardless of the film’s ups and downs.

    It’s “funny” how such levels of gullibility and naivety can be seen only in American movies – and society?

    P.S. By the way, Nancy’s friend is despicable.

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Titanic (1997)

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    After reading the script, Kate Winslet realised she’d have to undress in front of Leonardo DiCaprio. To avoid awkwardness when they first met… she just showed him everything!

    George Lucas

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    Learning to make films is very easy. Learning what to make films about is very hard.

    The Unknown Woman (1956)

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    The first and only film appearance of Greek theatre star Kyveli.

    Steven Spielberg

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    “Before I go off and direct a movie, I always look at four films. They tend to be The Seven Samurai, Lawrence of Arabia, It’s A Wonderful Life and The Searchers.”

    Whose Film Is It Anyway

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    Is a film the writer’s vision, the director’s masterpiece, or the editor’s creation? Let’s break down the filmmaking process – from script to screen – and tackle the ultimate auteur question: Whose film is it?

    Olivia Colman

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    “If the script’s good, everything you need is in there. I just try and feel it, and do it honestly.”

    The Night Has Come

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    Logline: A day that finds a woman struggling with her reality brings a night of biblical chaos and darkness.

    Genre: Drama, Horror, Short

    Cinema: Bridging the Gap Between the Industry and the Academia

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    Cinema: an art form, a cultural artefact, and an ever-evolving industry. But what happens when the academic world meets the practical side of filmmaking? Let’s examine the divide between theory and practice, film schools and universities, and explore how this gap can be bridged. Plus, a thought-provoking question at the end – because your perspective matters!

    Mission: Impossible – The Final Reckoning (2025)

    Ethan Hunt and his team set out to complete their mission, as the fate of the world relies on it.

    Epic, no matter how you look at it. The Final Reckoning is the most impossible yet. Will there be another one? Who knows? What I know is that it is Hollywood’s best side. The one that we fell in love with as kids and look up to today. Writing, editing, directing, photography, acting, and every department involved did their best and achieved what seems… impossible. There is so much one can say about every one of these departments – write analyses, actually.

    What you need to know is that it’s a must-watch, a one-of-a-kind cinematic experience that needs to be experienced in the cinema! Christopher McQuarrie, Tom Cruise, and the rest of the cast and crew, Hayley Atwell, Ving Rhames, Simon Pegg, and Pom Klementieff nail that epic finale(?), offering a spectacle that will keep you on the edge of your seats.

    Is the mission impossible? Yes, it is! It’s a story that only belongs in the movies. And who can tell it better than Hollywood?

    Thanks for reading!

    Please, don’t forget to share. 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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

    Stay safe!

    A Man and a Woman (1966)

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    The black-and-white parts of the film were due to budget constraints and not for artistic reasons – yet it won 2 Oscars!

    Jean-Luc Godard

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    “A film should have a beginning, a middle, and an end, but not necessarily in that order.”

    Final Destination: Bloodlines (2025)

    A recurring nightmare prompts a young woman to seek the only woman who can help her, until she realises she is the only one who can also help her entire family.

    Vicious as well as hilarious. Those who watched the trailer (hundreds of millions within the first few days) got an idea of what to expect.

    Firstly, you get exactly what you sign up for. Vicious and hilarious deaths that shock and then cause laughter. Give or take, most of the characters you see on screen deserve to die, and they are made in such a manner that they will die horribly. The astronomical amounts of impausibility make it funny, and the creative ways of dying, exhilarating. You won’t feel bad for almost anyone, which brings me to my second point.

    The one you will feel sorry about is the only one who didn’t die on screen, but in real life. The amazing Tony Todd, who haunted our childhood, but managed to fill it with warmth at the same time. The cast and crew gave him the freedom to express himself, as everyone knew this would be the last time all of us would see him. His final words of wisdom to the characters are also addressed to us all. Absolute legend!

    Overall, a great horror/comedy with enjoyable performances from the entire cast. Enjoy it on the big screen, where the atmosphere will surely be electrifying.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Afrique 50 (1950)

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    The film was shot without French approval in Ivory Coast and, although it was intended for French schools, it was banned until the 1990s. Its director, René Vautier, was sentenced to one year in prison.

    Die Alone (2024)

    In a post-apocalyptic world full of zombie-like creatures, a young man with amnesia who looks for his girlfriend, seeks help from a survivalist woman.

    The Last of Us (2023) meets Memento (2001). Writer/director Lowell Dean’s Die Alone is a Canadian indie whose story hits the spot. The plot is solid and develops in an intricate, non-linear way to increase the suspense and masterfully lead you to an unexpected destination. What enhances this journey is Carrie-Anne Moss, who shines throughout every scene and pulls up Douglas Smith with her.

    The film’s budget, though, restricts the visuals. The shots are not daring enough, and I presume that budgetary constraints prevented Dean from shooting his film as intended. That would explain the editing, which arguably eliminates or attempts to eliminate weaknesses and mistakes. The intentions, though, remain intact, and the journey is thrilling and sad. Wait for the ending…

    Some time ago, I mentioned that films like this will show up more often than not. Nowhere (2023): https://kaygazpro.com/nowhere-2023/, The End We Start From (2023): https://kaygazpro.com/the-end-we-start-from-2023/, and Humane (2024): https://kaygazpro.com/humane-2024/, are films that tackle environmental issues and the climate crisis and artistically appeal to our emotions and reason to stop hurting our planet because, first of all, we shouldn’t, and, secondly, it won’t hesitate to wipe us out in the most horrible manner.

    So, let’s respect the signs and do our best not to hurt our Earth as well as one another.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

    Stay safe!

    Presence (2024)

    A family moves into their new home, but they soon realise something else is there with them.

    A ghost story seen through the eyes of a ghost. In scriptwriting, amongst others, we usually ask: what does the hero/ine want? What does the hero/ine need? That said, when the hero/ine is a ghost, can we ever tell with certainty? And then, how much of that information do the filmmakers feed back to people? And, of course, how do they do it?

    Look at aliens. They and their politics reflect us and our politics. Ghosts, though? How can we tell what they really want or need? Come to think about it, I don’t think we’ve ever got right what aliens would have wanted or needed, but then again, I don’t think there have been any legitimate known encounters, so there you are.

    Going back to Presence, in David Koepp’s script, it seems that the family is experiencing the presence as much as the presence is experiencing the family. The family can’t tell what the ghost wants, but then the family doesn’t know what they really want either, which is the film’s subplot. There are two camps in the house that don’t seem to communicate properly. And that is something the ghost senses and knows better than anyone else, how it affects the daughter. How does that affect the plot, though? Well, stick for an hour and twenty minutes and you’ll find out. Lucy Liu, Chris Sullivan, Callina Liang, Eddy Maday, and West Mulholland do a great job in front of the camera.

    From a filmmaking point of view, Steven Sonderberg’s protracted and uncut shots add realism by making the audience an omniscient narrator following the action wherever it is taken, but restricting it to what the heroes know. It is a slow-burn paranormal thriller—not horror—carrying a lot of relatable drama that only climaxes in the end – Liu’s outburst will cut your breath short.

    Great watch for all horror fans, regardless of what you think of it in the end.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    The Damned (2024)

    A small 19th-century Icelandic fishing village faces horrible consequences after it decides not to help a foreign sinking ship.

    Gripping and haunting! Frost, endless nights, battle for survival, alienation… This is what people had to face – some still do – back then. The far North was and is a beast that cannot be tamed. To a large extent, though, things have evolved now. How about then, though?

    In small towns and villages, myths and tales live longer than generations of people do.
    Like any other folk and/or period horror, The Damned pays tribute to the time it portrays. That means the conditions of that era, as well as the way its people perceived it, acted, and reacted to it. Psychology was in its infancy, or not even born at all. As for sociology and its theories, they didn’t make it up there until modern times. So, what are people left with? Hundreds of years of superstitions, myths and tales that defined their lives and reality as they knew it. In this case, the guilt relates to the myth of Draugr. Looking back at ancient times and their myths, emotions, feelings and psychological states gave birth to gods and monsters that felt the same way humans did, so personally and collectively it was OK for humans to feel that way, too. Draugr’s vengeance only makes sense as vengeful people would react the same way.

    From a filmmaking point of view, writer Jamie Hannigan and co-writer/director Thordur Palsson brought to life a story about people’s extreme hardships, delving into the consequences of doing what seems right, knowing what you know. The script is tight, the cinematography will make you freeze, and the acting will make you empathise with the heroes’ and heroines’ sufferings. Odessa Young, Joe Cole, and the rest of the cast do an excellent job in front of the camera, but extra credits go to the rest of the crew that made this film possible.

    The Damned is impactful. While watching it, I thought of Psychology and Sociology theories, and there were glimpses where I thought to myself: Have we gone too techy, sophisticated, modernised, and reasonable to believe that beings significantly older than civilisations are only in the sphere of imagination? Before you answer, remember that three gods dominate this world, and people fight each other in their name.

    Anyway, I cannot even begin to imagine how the early settlers survived, let alone evolved and made this lovely country that it is today. If you had to endure all that… how would you not feel damned!

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Seven (1995)

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    New Line producers were hesitant about the film’s ending, but Brad Pitt stated that if they changed it, he would not participate.

    No Country for Old Men (2007)

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    A group of psychiatrists studied 400 films and chose 126 psychopathic characters. Anton Chigurh, portrayed by Javier Bardem, was selected as the most accurate depiction of a psychopath – Business Insider, January 2018.

    Wim Wenders

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    “Final cut is overrated. Only fools keep insisting on always having the final word. The wise swallow their pride in order to get to the best possible cut.”

    Jerry Bruckheimer

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    “Get on the floor, start working. Get any job you can, just to get in the door. Once you get in the door, if you’re good, you’ll move up so fast, you won’t know what hit you.”

    A Different Man (2024)

    An aspiring actor with a severe deformity goes through a radical transformation, and his dream to act turns into a nightmare.

    A Different Man, a different film! And how could it not be different? It’s A24. The day they make an ordinary film will be the day they have gone wrong. The Kafqu-esque isolation and internal darkness, combined with the unpredictable indie way of storytelling that blends realism with thought-provoking development is what writer/director Aaron Schimberg and lead actor Sebastian Stan achieve – both executive producers.

    A Different Man creates a concoction of antithetical feelings inside you. It makes you smile while your heart is pounding. It makes you bitter when the moment is sweet. And when the choice is clear, it makes you question it. Think about it… What if someone started replacing you in your life’s story, and you became a stunt in your own life?

    The film poses philosophical questions about identity, acceptance/rejection of oneself, and societal perspective. The old Freudian id, ego, and superego fight comes face to face with “careful what you wish for.” Are we defined by how we look, by how we perceive ourselves, or by how we perceive people’s perceptions? Or is it a mixture of everything?

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

    Stay safe!

    It’s What’s Inside (2024)

    A group of friends reunite for a pre-wedding party, but the night takes the most unexpected turn when one of them reveals what he has brought with him.

    It’s not a film until it’s edited – Michael Kahn.

    The new kind of filmmaking that works miracles. So… metric editing, rhythmic editing, fast-paced editing, slow-paced editing, match-cuts, snappy cuts, and then… protracted shots, colourful shots, close-ups, great soundtrack, funny dialogue, realistic dialogue, great story, even greater plot, realistic performances, surrealistic development… You name it!  Until all goes to hell!

    It’s What’s Inside is such great fun to watch! To the point where everyone reveals who they really are and what they are capable of. And then it’s fun as much as it is a thrill. Everything you wish doesn’t happen; it happens to the extreme.

    Writer/editor/director Greg Jardin, director of photography Kevin Fletcher, and composer Andrew Hewitt understand comedy and thriller separately and audiovisually unite them in unexpected ways that will make you laugh while keeping you on the edge of your seats. The animated pictures, the decisions each character makes, the roles they choose to take, the way they act, and the way they react to the new data every time make It’s What’s Inside one of the most entertaining rides Netflix has to offer.

    Brittany O’Grady, James Morosini, Gavin Leatherwood, Nina Bloomgarden, Alycia Debnam-Carey, Reina Hardesty, Devon Terrell, David Thompson, and Madison Davenport understand Jardin’s vision and perform remarkably in front of the camera.

    Entertainment aside, though, the film raises a thought-provoking philosophical aspect: identity! What is identity? Who are we? What makes us who we are? Are we all right with whoever we are or think we are? Are we happy in our own skin? What is happy anyway? Consequently, if there were no consequences, how far outside the law and ethics would we go to satisfy these suppressed legal and moral restraints that have bound us ever since we can remember ourselves?

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

    Stay safe!

    Vadakkan (2025)

    A paranormal investigator travels to Kerala to probe the horrible deaths of the cast and crew of a reality show.

    Great story and thick plot, damaged by the visual effects. Writer Unni R and co-writer/director Sajeed A bring to life an entity from Dravidian mythology, but before they do so, they build it up beautifully! The paranormal investigator and his background, the love interest, the murder case, and the unknown entity that wreaked havoc all build up to the culminating moment where the entity is fully unleashed and the people have to face their worst fears.

    Something between Hollywood, a standard reality show, and a non-shaky found-footage formula, Vadakkan impresses with its examination of what is at stake and how that stake is structured and delivered. Sajeed A pays tribute to the folklore element and visually empowers traditional aspects of a culture that the vast majority has long forgotten, and that comes face to face and annihilates modernity and technology.

    Ultimately, its downfall is the visual effects that offer nothing new to the paranormal subgenre. They are not as effective as the story’s build-up, yet Vadakkan is somehow saved by the brilliant performances of Kishore Kumar G., Shruthy Menon, and Merin Philip.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    The Happy Beginning (1954)

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    The first ever Greek Musical.

    Francis Ford Coppola

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    “When you make a movie, always try to discover what the theme of the movie is in one or two words. Every time I made a film, I always knew what I thought the theme was, the core, in one word.”

    28 Days Later (2002)

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    The production received permission to shoot on England’s busiest motorway (M1) one Sunday morning from 07:00 – 09:00, with the police clearing traffic as much as possible. Using 10 cameras, they managed to capture 1 minute of footage.

    Mother’s Instinct (2018)

    A horrible accident will tear two women apart, and the consequences will echo to their families.

    One of the best modern Hitchcockian thrillers you have ever seen! Based on Barbara Abel’s novel, writer Giordano Gederlini and writer/director Olivier Masset-Depasse bring to the screen a thriller that will constantly have you on the edge of your seats. Losing a child is the parents’ worst fear. There is no coming back from that, and Masset-Depasse projects that loss and initial suffering in a way that you want the film to end right there and then. But it doesn’t.

    From then on, the plot thickens by adding mystery to the insurmountable drama. Gederlini, Masset-Depasse, and editor Damien Keyeux build up the suspense on the already existing drama and advance the story to a psychological thriller, toying with delusion and paranoia, sometimes informing you more than the heroes and sometimes less. So, what you know or you think you know changes from sequence to sequence, and all you can do is accept the worst-case scenarios, unable to do anything about them, regardless of how much you want to. And then there is the ending… But that is something you will have to experience without any warning.

    Veerle Baetens, Anne Coesens, Mehdi Nebbou, and Arieh Worthalter have great chemistry. Baetens and Coesens, especially, become victims of love—that feeling that is meant to unite. Yet it can be the source of the most unfathomable absurdities we have ever encountered or caught ourselves doing when we experience it to the extreme. The same applies to hatred.

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    Last Breath (2025)

    The true story of a team of deep-sea divers who race against time at the bottom of the North Sea to rescue their partner after a horrible accident.

    Captivating but not without flaws. This is a fascinating as well as terrifying story. Alex Parkinson’s Last Breath is the adaptation of the homonymous documentary Last Breath (2019) – also co-directed by Parkinson – which, for better or for worse, was more gripping than the film. As you can understand, the comparisons are inevitable. In an attempt to avoid them, though, I will focus on the film.

    While the script has all the ingredients for success, the film’s pace and rhythm are problematic. It is a film with a documentary’s pace, but Hollywood’s “last-minute” saves. Understandably, that causes some confusion. Having said that, though, there are moments that it will cut your breath short. The wonderful cast has something to do with that. Woody Harrelson, Simu Liu, Finn Cole, Cliff Curtis, Mark Bonnar, MyAnna Buring, and the rest of the cast do an incredible job in front of the camera, which adds extra points to the film’s credibility.

    If you don’t know the story, you will find it as extraordinary as if you did. No one can wrap their head around how that happened. If you believe in miracles, this is the closest you will encounter, even if it didn’t happen to you. Definitely worth your time regardless of the documentary’s success. You might even reevaluate life, death and everything we know (or think we know) about them.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    The Monkey (2025)

    When twin brothers find an old monkey toy as kids, a curse follows them for years, and people around them die in the most unexpected ways.

    Interesting concept, solid execution, but pointless. The trippy shots and editing in the trailer can get one hyped up. It makes one wonder what on earth is happening in that film and why such a gory spectacle is received with such reactions. Watching the film itself, one will still wonder the same. Great shots, great acting, humorous deaths, plenty of blood, and loads of paranoia should have been accompanied in the end with at least an inclination as to why this is all happening. I am not talking about spoon-fed Hollywood narrative, but some sort of material so that we, the audience, start toying with ideas, conspiracies, extremities, and plenty of discussions for the days after.  In all this mayhem, at least, we have great performances by Theo James and Tatiana Maslany.

    My verdict: Nice watch, full of laughs and gore until the end credits. Maybe Stephen King’s short makes more sense, but the co-writer/director’s script does not. Osgood Perkins needs to be careful now. Longlegs (2024) was a fresh breath of old-school horror with a disappointing ending, and The Monkey feels like it has no ending or purpose at all. His creatively disturbed brain needs to establish why he does what he does, the expectations he raises and the audience he raises them to. Producer James Wan has all the skills, but has ended up a crowd-pleaser no matter what he does.

    Regardless, I, for one, look forward to his next film. Hopefully with NEON again.

    Thanks for reading!

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

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    Havoc (2025)

    A corrupted police officer races against time to find a politician’s estranged son, before more corrupted police officers and the Chinese mafia do.

    Gritty and action-packed, yet so flawed. Writer/director Gareth Evans, the man behind epic action films, such as The Raid: Redemption (2011): https://kaygazpro.com/the-raid-redemption-2011-action-thriller/ and The Raid 2 (2014): https://kaygazpro.com/the-raid-2-2014-action-crime-thriller/ unites with Tom Hardy (Walker) and the result is not what you would expect, unfortunately. Havoc becomes the latest proof that if the script is not solid, it does not matter how solid the action is. And the action is solid. But that’s the only positive the film offers: well-directed action. That and Jessie Mei Li, who stands out with her performance.

    The characters have no chemistry whatsoever, the dialogue is extremely poor, the gimmicks are countless, the hordes of people who are sent to kill Walker and the rest are worthless, the levels of improbability in most of the sequences are unfathomable… and more!

    It’s a shame so much effort was put into making such a gritty action film without a solid script. There are many negatives to discuss, but I’ll stop here. Evans is an amazing director, and, hopefully, Havoc will be food for thought for him, and he’ll surprise us again pleasantly with his next film.

    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.

    Solidarity for all the innocent lives that suffer the atrocities of war!

    Stay safe!

    The Art of Cinematic Transitions

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    Ever wondered how movies move from one scene to the next without missing a beat? From simple cuts to iconic transitions like the match cut in 2001: A Space Odyssey or Edgar Wright’s rapid-fire montages, cinematic transitions shape how we experience stories.

    Bollywood: The Heartbeat of Indian Cinema

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    Bollywood is more than just an industry – it’s a celebration of life, emotions, and culture. From its roots in the silent era to its modern global dominance, Bollywood has created magic through vibrant storytelling, iconic music, and larger-than-life action. Why does it embrace song and dance like no other? What’s the deeper meaning behind those epic fight sequences? And how does it continue to reflect the heart of India while inspiring audiences worldwide?