Reviews

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Christopher Nolan is one of my favorite directors. He is the pioneer of practical effects. His insistence to film on location instead of on a sound stage in front of green screen is incomparable. After coming off of the multi-award-winning OPPENHEIMER, he has now done something even more ambitious, giving us a new take on Homer’s classic tale THE ODYSSEY. This chronicles Odysseus’ (Matt Damon) long and perilous journey home after winning the Trojan war. The storytelling is told in a non-linear, but clever way, almost as memories. It jumps between Odysseus and his wife Penelope (Anne Hathaway) and their son Telemachus (Tom Holland), who have their own perils at home. Thinking Odysseus dead, suitors have invaded their home in the hopes of marrying Penelope and becoming the King, including Antinous (Robert Pattinson). There is so much I want to say about this. Legendary composer Ludwig Göransson is going to get yet another award for this score. It’s edited by Jennifer Lame, who won an Oscar for OPPENHEIMER. Besides The Odyssey, the script mixes in parts from Homer’s other work The Iliad and The Aeneid by Virgil, all now on my ever-expanding reading list. The main theme is Zeus’ Law, which roughly translates to respect and hospitality towards foreigners or guests. This made me think that maybe Nolan is trying to say something about today’s society. Speaking of today’s society, if you don’t go online much, then you probably didn’t hear all of the outrage from a certain section of Twitter (I’m not calling it X) about how “woke” this movie is. They were mad because Helen of Troy is played by Lupita Nyong’o, a black woman. They were also mad because a soldier is played by Elliot Page, a person who transitioned. Well, the only person I hear now is Elon Musk himself saying he’s going to make another version of this movie using A.I, but it’s a little hard to hear him over the sound of BS that’s also coming out of his mouth. The only complaints one might have with this movie involve the cast and the dialogue. One might say that Nolan should cast lesser-known actors so it wouldn’t break the immersion as much. Same goes with the dialogue. People don’t speak as if they’re in that time period. I have none of these complaints. I was transported to this harsh world, fully immersed in this epic journey of choice and fate. I love how they didn’t try making Odysseus perfect. He’s human, humans make mistakes. Every aspect of this movie made me think that everybody involved had a really tough time during the process, but their hard work is now reaping the rewards. It’s the first movie filmed completely using IMAX cameras. I have no idea how Nolan keeps topping himself. The movie is monumental with sweeping emotional moments, including certain scenes I won’t forget. Its high budget of $250 million is fully on display and utilized. The sound design is thunderous. This is an epic drama, with a few chuckles, amazing action, intense horror, and a very satisfying ending. Overall, THE ODYSSEY is my favorite Nolan film, despite the consistently high bar of his portfolio. You would be doing yourself a huge disservice if you don’t see this on the loudest and biggest screen possible. If I had a TED talk about why movies are my first love, it would be 2 hours and 53 minutes, and I wouldn’t need to say a single word. This should win Best Picture, and more. Remember, if you get lost in the timeline, just look at Matt Damon’s beard.

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I was stunned when I watched the movie in the cinema, why? I got a lot of reasons but the main 3 I would say they are. 1: the photography is in another level, every shot is meant to give you the chills, its like if the book was creating images. 2: the story feels loyal to the book, adding modern elements like how we speak now but without feeling to far from what Homer was trying to say to us. 3: it is a truly special movie you can feel that the director put his soul onto the project.

hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma. hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma. hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma. hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma. hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma.hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma.hola quiero ver peliculas gratis, espero sea una gran plataforma para disfrutar de peliculas de siempre y de hoy. Me han indicado que este un buen espacio para ver las mejores peliculas y desde dual quier plataforma.

This is a true masterpiece! Seven ronin (samurai without masters) defend a village against bandits and face loss, love, joy and pain in equal measures as they see how status and class affects their world and the world of their victims. Used as a template for many of the action films that came in its wake - The Magnificent Seven; the various spaghetti westerns of Sergio Leone - Kurosawa saw how a cast that included Toshiro Mifune and Takashi Shimura would let an audience barely catch its breath for three hours of the most intense action movie of its time.
Please watch and let no one spoil it for you.

In a small devout evangelical Christian town in Victoria, Australia, Naim (Joe Bird) and Ryan (Stacy Clausen) are drawn together from the start. When they are found out, they are subjected to a form of ritualistic conversion therapy, summoning an invisible entity. This is the story of LEVITICUS, a new supernatural horror from first-time writer/director Adrian Chiarella. Mia Wasikowska plays Naim’s mother, she’s the epitome of what not to do as a parent. The script could’ve established Naim and Ryan’s relationship a little more at the beginning, but their chemistry is undeniable. This tackles deep emotions and difficult, complicated subjects. It delves into some loathsome religious hypocrisies. The idea of not being able to rely on authority figures for fear of persecution. The atmosphere is creepy. The sense of paranoia is palpable, both from the characters and the audience. Thankfully, there’s only one well-done jump-scare. This is similar to a movie called IT FOLLOWS. While that movie focused on physical intimacy, this one focuses on emotional intimacy. This film gives you interesting things to think about. Overall, LEVITICUS is an original small little low-budget horror film that feels genuine. I can only imagine how many people in the LGBTQ+ community relate to it. It’s a good horror movie, a great queer movie, and a great coming-of-age movie. This is one to look out for.

Fantastic! I am a volunteer with the Fantasia Film Festival in Montréal, and I was able to catch this with a free ticket. At first, I wondered about the length of the film and the basic premise - maybe too meta - but I sat through this grinning, laughing and almost screaming with delight, along with an audience that does have specific demands for films that were all met here.
I really do not want to spoil this one except to say that it involves a woman and a man in the same neighbourhood who meet and help each other through extraordinary circumstances.
Find it when you can!

espero seaa lindo

很棒

nice

I haven’t been the biggest fan of the EVIL DEAD franchise, at least until RISE back in 2023. That movie was fun and intense. The sequel has now come out called EVIL DEAD BURN. Focused on a different family, this is about a woman who loses her husband, and how his family copes with that. Alice (Souheila Yacoub) now feels like an outsider, which doesn’t help when things get demonic. Talk about an awkward meal with the in-laws. Each of them has a good performance. If you’ve never seen an EVIL DEAD movie before, this one might not be the best one to start with. It’s one of the most violent movies I’ve seen, right up there with the TERRIFIER franchise. It takes great joy in mutilation, nobody is safe. It’s a consistently brutal gorefest, visceral, oppressive, twisted, mean-spirited, and all the other words involved. The visuals are grey and bland, but the effects were awesome. This franchise has always had amazing and creative camera work, and this is no exception. The classic sense of humour from others in the franchise is gone here, the script needing an injection of comedy. This movie has good themes of generational trauma and domestic abuse, but it could’ve been implemented better. Character development isn’t really here. There are a couple post-credit scenes, the second of which will probably make franchise fans mad. As with most movies in this franchise, the most intriguing characters are the Deadites. They always know how to be evil and have fun doing it. The problem with this is that leaves me not really caring about the other characters I’m supposed to be rooting for. The 2nd half is much stronger and more creative than the first. The rules in this one are less explained, sometimes making me question how certain things happen. The sound design is spectacular. Overall, EVIL DEAD BURN is a real mixed bag of daggers and will be too much for a lot of people. I’m curious about the next one in the trilogy called WRATH, which is apparently a prequel. Remember, every family has its demons.

Illumination blew up the animation scene with DESPICABLE ME back in 2010. I loved it, even the quirky Minions. Now, 6 movies and almost $6 billion in, the MINIONS AND MONSTERS movie has been unleashed upon us poor unsuspecting souls. This is what I felt going into this thing. From the very first scene of the Universal logo reverting back to it’s 1920’s counterpart, I changed my tune. Finally, a Minions movie where the Minions aren’t annoying. This one actually has a consistent, structured plot. It has an end goal. Character development. The score is an actual score, not just needle-drops. In this movie, they focus on a different tribe of Minions, traveling through history searching for the ultimate villain to serve. When they stumble into Los Angeles, James discovers his passion for movies. With his friends Henry and Ed (who is deaf), they go on a quest to find a monster for their monster movie. The rest of the Minions continue their own search. This movie is a love letter to the Hollywood of old. There’s a fantastic scene early on that will have cinephiles pointing at the screen plenty of…modern times. The voice cast is great too, including Alison Janney, Christoph Waltz, Jeff Bridges, Trey Parker, Jesse Eisenberg, Zoey Deutch, Bobby Moynihan, and Phil LaMarr. The Minions have become a slapstick comedy phenomenon. This is definitely my favorite from the franchise, not including the original DESPICABLE ME. The pacing dips a little in the middle, but it’s quickly picked back up. I loved the transition out of the silent film era into talkies. While the last movie aimed more towards younger kids, this one hits the funny-bone sweet spot, with surprisingly clever humour for adults and entertainment for all. I felt the drive and passion for movies, both from the protagonist and the filmmakers, and the collective desire to watch and enjoy it together. I can’t believe I’m saying this, but I liked this movie just as much as TOY STORY 5. Oh and be sure to stay through the credits to see some familiar faces. Overall, MINIONS AND MONSTERS is actually, surprisingly, great. Remember, you either die a hero, or you live long enough to see yourself enjoying a Minions movie.

Good

nice

Ah yes, Disney has done it yet again. Still somehow not learning from their past mistakes, they have released another live-action remake of one of their classics, MOANA. The original came out just 10 years ago, while the sequel came out 2 years ago. So why on Te Fiti’s green Earth did they release this one now? I’ll give you two reasons. First, because money. Disney is so desperate to make these remakes profitable, which has been somewhat reliable for them. The second reason is Dwayne Johnson. I believe he wanted to reprise his role before it passed him by, no matter how he looked. Seeing him in this role just made me think of how much we take animators for granted. They had the ability to make characters more expressive and fun, which is missing here. This review is complicated, yet simple. Everything I love about this movie is because it’s copy-and-pasted from the animated original. The amazing songs, the great island of Motunui and its people, the story of a young girl chosen by the sea to save the world with the help of an egotistical demigod named Maui. They got back Jermaine Clement as the giant crab. Even the visuals, while mostly CGI, are fine here. Saying that, for some reason, it looks like they sucked out some of the colour that made the original beautiful and vibrant. This movie cost around $250 million, which is still insane to me. Just their latest bomb. This cash grab might not have much cash for Disney to grab this time. The general public are finally getting burnt out on these remakes. This is not the worst one they’ve made (looking at you MULAN), but at this point, I’m burnt out. Disney, just stop it. I know you have a few more on your plate, such as HERCULES and TANGLED. You’re just trying to ruin my childhood, one movie at a time. This movie doesn’t bring anything new to the table. Overall, if you’re asking yourself whether or not to see MOANA (2026), the answer would be no, because you have a much better version at home for free on Disney Plus. What can I say except you’re welcome!