Reviews

The film is a disappointment, stripped of suspense and drained of intrigue despite its strong source material. The espionage elements are almost entirely abandoned, and combined with the slow pacing, the result feels flat and uninvolving.

The artistry is extraordinary, conjuring a singular mythological world, but the narrative lacks momentum. It plays like a flattened version of "Star Wars: Episode IV – A New Hope," and its sluggish pacing recalls David Lynch’s "Dune." Still, by the end I found myself drawn to explore Netflix’s prequel series "The Dark Crystal: Age of Resistance."

I expected the puppetry made in 1982 to feel crude, yet the craftsmanship—particularly in the design of the Skeksis and Mystics—is remarkably intricate. As cinema, though, the story often feels too simplistic, with certain plot points left unclear.

Ken Russell, working with production designer Derek Jarman, creates a world suspended between historical reality and surreal allegory. Baroque extravagancecollides with stark minimalism: the convent’s blinding white walls contrast with its shadowy dungeons, nuns drift like specters through cavernous corridors, and the tribunal scenes—with their rigid symmetry and searing light—intensify the suffocating sense of judgment.

Adapted from real historical events, the film uses the 17th-century Loudun possessions as its backdrop to expose how political and religious collusion corrupts humanity, distorts faith, and fuels collective hysteria. With its audacious imagery, sharp social critique, and layered narrative, it remains a notorious yet essential classic.

This is a slow-burn piece of science fiction, marked by lingering shots, intimate close-ups, and meticulous details. The dialogue is thoughtful and the characters are emotionally rich, but the finale is suffocating in its despair.

Set against the aftermath of nuclear war, the film reflects on how people confront the end of the world, though its tension falls short of works like "Fail-Safe" and "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb." The cast is impressive, yet Ava Gardner’s appearance is unexpectedly underwhelming.

I'm binge watching the series on this rainy Sunday, and I must say: British crime series are another level; especially compared to their American counterparts. I've loved Matthew Goode since I was a teenager and I think he was the right choice for the character of Carl Morck.
The dark, foggy, and grounded setting of the film might not be the most suitable atmosphere for a Sunday afternoon gig, but hey, you gotta love that British aura.

Liam Nelson is so cool

Haven't gotten it to be watchable yet......

Amazing

Ok

Very good

Nice app

Ftfgg

hhs

Okay