Reviews

"Forgotten" is a complex psychological drama from South Korea that will stay with you long after the credits roll. The film tells the gripping story of two brothers, one of whom is violently kidnapped by unknown assailants, only to reappear seemingly unharmed three weeks later. However, his brother becomes increasingly concerned by his sibling's unusual and erratic behavior, setting the stage for a plot filled with suspense and intrigue. From the very beginning, the narrative of "Forgotten" keeps the audience on edge. The storyline is masterfully crafted, with twist after twist unfolding in ways that are both unexpected and original. Unlike many thrillers where you can anticipate the next move, this film constantly defies expectations, making it a unique viewing experience. The myriad twists and turns are completely out of left field, keeping you guessing until the very end. The film's production values are outstanding, a hallmark of modern Korean cinema. The cinematography is visually striking, capturing the eerie and tense atmosphere that permeates the movie. The director does an excellent job of balancing psychological tension with moments of high-paced action. There are several chilling dream sequences that add to the film's unsettling tone, as well as frenetic chases that heighten the sense of urgency and danger. Character complexity is another strength of "Forgotten." The actors deliver powerful performances, particularly the two leads who portray the brothers. Their nuanced portrayals add depth to the story, making their emotional journey all the more compelling. As the mystery unravels, the layers of their relationship and the true nature of the events become increasingly clear, leading to a satisfying yet thought-provoking conclusion. Overall, "Forgotten" is by far one of the best mystery movies I have ever watched. Its combination of an unpredictable plot, high production values, and strong character development makes it a standout film in the genre. If you enjoy psychological thrillers that challenge your mind and keep you on the edge of your seat, this is a movie you simply cannot miss.

"Mars Express" stands out as a remarkable amalgamation of sci-fi cinema and animation experimentation, offering an unparalleled viewing experience over the past decade. Combining the essence of iconic sci-fi films such as "The Matrix," "Terminator," "Blade Runner," and "Total Recall" with the evocative anime aesthetics reminiscent of "Paprika" and "Ghost in the Shell," the film elevates itself to a league of its own. This cinematic masterpiece seamlessly integrates the visionary influences of revered comic creators like Moebius and Jodorowsky, resulting in a truly unique artistic creation. Its compelling narrative unfolds with an intriguing plotline, accompanied by captivating character portrayals that transcend the boundaries of conventional storytelling. What sets "Mars Express" apart is its adept blend of humor, suspense, mystery, and scientific intrigue, creating a multifaceted experience that resonates deeply with its audience. It is a cinematic tour de force that not only entertains but also challenges and inspires. Undoubtedly, "Mars Express" is a must-watch for enthusiasts of the genre, destined to carve its place as a timeless cult classic for generations to come. Its unparalleled excellence and flawless execution render it a truly perfect cinematic achievement. Simply incredible!

Ridley Scott's Gladiator stands as an unparalleled work of cinema. Its status is legendary, offering a cinematic journey that effortlessly lifts you from your seat, plunging you into an indescribable immersive experience. Each scene unfolds with a lifelike quality, creating one of the most captivating films in existence. It weaves a connection to the essence of life, death, and profound meanings, all set against the harsh backdrop of ancient Rome, infusing an additional layer of significance. The film transports its audience to a dreamlike yet historically authentic realm, a manifestation of pure poetry where the unforgettable soundtrack lingers in the recesses of memory. In terms of narrative simplicity, the plot and story arc maintain an unwavering straightforwardness-an approach embraced by both Scott and Russell Crowe. "What we do in life echoes in eternity," a powerful line that resonates emotionally, underlining the film's enduring impact.

Crowe's portrayal of Maximus is not only aspirational for men but also alluring to women. As Maximus confronts life's challenges and emotional trials, the audience stands by him, urging him toward his revenge-filled destiny. Crowe's performance, rewarded with the Academy Award for Best Actor, is impeccable, capturing every nuance of pain with superb precision. Joaquin Phoenix delivers a preening villainy as Commodus, while Connie Nielsen's grace as Lucilla and Oliver Reed's dual performance as Proximo add spicy and superb dimensions. Richard Harris, Derek Jacobi, David Hemmings, and Djimon Hounso contribute outstanding performances.

The dialogue is both literate and poetic, featuring speeches that have become iconic. Action permeates the film without compromising the development of well-rounded characters. The flaming arrows and bloodletting in the conflict in Germania set the stage with pulse-raising clarity, and the gladiator arena fights keep the audience on the edge of their seats. The recreation of the Battle of Carthage is a stunning piece of action sequence construction, leading to a finale that resonates with a resounding thunderclap, marking the culmination of two men's destinies.

Gladiator stands as a true masterpiece. Maximus Decimus Meridius earns a resounding bravo. Bold as it may be, labeling Gladiator as one of the finest films of a generation is entirely justified. Every element aligns seamlessly, from the phenomenal storyline that captivates throughout the runtime to the incredible visuals, an epic masterpiece for both the eyes and the soul. The acting is top-notch, achieving the ultimate goal of moving the audience profoundly. In just a few words, Gladiator is amazing, incredible, simply flawless and absolutely immortal.

In the realm of cinema, there are films that entertain, films that educate, and films that aspire to be something entirely different. Christopher Nolan's Oppenheimer (2023) falls into the latter category, attempting to be a profound exploration of the man behind the atomic bomb, J. Robert Oppenheimer. However, in its arduous pursuit of intellectual depth, the film stumbles into a mire of tedium and self-indulgence, leaving the audience stranded in a desert of endless dialogue and a dearth of engaging storytelling.

From the outset, Oppenheimer establishes itself as a film that revels in its own seriousness. The pace is glacial, the atmosphere somber, and the dialogue heavy with weighty pronouncements about science, morality, and the human condition. While there's certainly merit in exploring such weighty topics, the film's execution is painfully lacking. The dialogue is often stilted and unnatural, lacking the flow and spontaneity that make characters feel real.

The film's narrative structure further compounds its problems. Rather than adopting a linear approach that would allow the audience to connect with Oppenheimer's journey, Nolan opts for a fragmented, non-linear style. This decision, while intended to convey Oppenheimer's troubled mind and the disjointed nature of his life, instead serves to alienate the audience. The constant jumping back and forth in time makes it difficult to follow the narrative thread and establish any emotional connection with the characters.

The film's excruciating length is another major hurdle. Clocking in at over three hours, Oppenheimer feels like an interminable slog. The film's lack of action or visual stimulation makes the prolonged duration even more unbearable. The audience is left to endure scene after scene of endless talking heads, their attention waning with each passing minute.

The film's most egregious failing, however, lies in its utter lack of self-awareness. Nolan, seemingly oblivious to the film's shortcomings, appears to believe he has crafted a masterpiece. He lingers on shots of Oppenheimer's pensive face, as if expecting the audience to be captivated by his intellectual turmoil. He indulges in lengthy monologues about the nature of science and the responsibility of scientists, as if the audience were attending a philosophy seminar.

The film's inflated hype, fueled by memes and the perception of it as an action-packed blockbuster, only serves to exacerbate the disappointment. Audiences expecting explosions, thrilling sequences, and a clear-cut hero vs. Villain narrative are met instead with a meandering, self-indulgent meditation on the complexities of the human psyche.

Oppenheimer (2023) is a film that fails on multiple levels. Its narrative structure is convoluted, its dialogue is stilted, and its pace is glacial. The film's self-indulgent nature and lack of self-awareness further compound its problems, leaving the audience with a feeling of profound disappointment. While the film may have its merits in its exploration of complex themes, its execution is so flawed that it ultimately fails to deliver on its promise of intellectual depth.

Don't call it a video game, because it isn't. A Plague Tale Requiem seems to have been written by William Shakespeare himself. It's something so magnificent, powerful, sad, and epic that has transformed video games into something more than just entertainment, but has also made all of them true trye and pure poetry. Impressive! Everyone should watch or play the game at least once in their lives because this is an amazing example of what videogames should be, of what kind of interactions we should have with our characters and how the videogame industry is making videogames much more interesting than the last movies appeared in Hollywood. Everyone should watch or play the game at least once in their lives because it is a fantastic example of what videogames should be, of the kinds of interactions we should have with our characters, and of how the videogame industry is making videogames far more interesting than the last Hollywood films.

It's difficult to recall many events from the previous season without a resume; I really enjoyed the first season, but the first episode of the second season seemed rushed, disjointed, and as if the director had switched from one series to another. I'm not here to discuss special effects or actors' performances; I'm here to discuss the story or plot, and I'm sorry, but it's not acceptable to place such important characters in a new setting without providing them with some context. Everything happened too quickly, and it feels more like a reboot of the series than a second season. In any case, by the end of the first episode, you've lost the sense of mystery and disorientation created by the androids, as well as the craziness of unusual factions seeking to kill each other for strange reasons.

It's a fantastic film for two reasons: For starters, after over a century of creation, this film can evoke the same feelings of disappointment that our forefathers had in the face of abuses and injustices. Second, you may see for yourself how different our ancestors' lives were under kings' tyrannical regimes and their total power of life and death over their own people. It's a must-see film for everybody who enjoys going to the movies.

Antlers is the type of horror film that you can't see with family or friends because you need a different kind of atmosphere, alone, and silence to understand the characters' sentiments and be engrossed by this grim tale. The true monster here is solitude.

An incredible film about psychology, dreams, love, passion, terror, and suffering set at one of Europe's most bizarre periods. The old Vienna is well depicted, and the mysterious but fatherly figure of Sigmund Freud is astounding.

Because half of my family is British and the other half is Italian, I am fluent in both languages, and Lady Gaga's faux Italian accent was repulsive to my ears because she was speaking with a very loud russian accent for reasons I don't understand. To be honest, she's not horrible at body acting, but it's as if she only knows how to be great in depressing or hostile settings, and her exaggerated sexuality is strangely "beyond" the movie's plot. What, after all, can we say about the rest of the film? All of the locations recorded in Italy are stunning, and they give the viewer the impression that they are in the presence of a royal family rather than businessmen, and you can truly appreciate their wealth. All of the actors are good, but no one can compete with Al Pacino and his amazing rendition since Al Pacino is perhaps the greatest living actor of all time, followed by Jeremy Irons with his charming figure, and finally Adam Driver, who has given us many good films in the last decade. Unfortunately, Jared Leto is perfect, but as a native speaker, I find his use of a strong fake Italian accent offensive because we're talking about a very posh Italian family, and perhaps the best way to portray them in English is to let them speak like real posh British people because that's what they are and completely exclude this strange "Super Mario" accent. Italians, like British, Spanish, French, and other Europeans, have a distinct social class accent that distinguishes them; typically, rich people do not sound like poor or middle-class people, and rich "bastards" love to demonstrate their authority with a delicate and correct accent. So no, a "Super Mario" accent isn't going to work for me because Paolo Gucci was a wealthy son of wealthy parents. It was amusing to hear Italian actors speak better English than native English speakers on occasion! That's insane! In terms of the plot, I wasn't particularly fascinated, but this wasn't the type of film I usually see, and I only watched it because of the excellent cast and the fact that it was directed by Ridley Scott.

The two actors portraying Napoleon Bonaparte and Wellington are the epitome of what a great actor must achieve in order to be a great artist. For its time, the direction of this film is really great, and it's truly stunning to watch so many waves of so many people on the set showing the entire war on such a massive scale. Colors, uniforms, historical locations, horses, and dialogues are all so historically accurate that you'll wonder why this film isn't in every school to teach everyone about how life was for our forefathers. You must see this film at least once in your life to appreciate what a masterpiece film is.

It's like watching a 90's television movie. The director is clearly attempting to create something fresh, but the simple conversations and shallow characteristics of the characters detract from his efforts. This film is not noteworthy, but it is "watchable" if you have some free time, and I believe it is only enjoyable if you enjoy beautiful winter northern European landscapes.

If you like the Resident Evil series, you should definitely see this film because it's the right blend of biological weapons and a solid belligerent background from the First World War. But now it's critical to assess the film's quality, and the director performed an excellent job, with actors perfectly expressing their characters utilizing accents from various native English language locations, yielding an intriguing result. All of the weapons, colors, backdrops, lights, music, and monsters are of the highest quality. This isn't a series B film; it's a straight-up A film. Perhaps the plot isn't as deep as it could be, but if you think of it as reading a comic with a short wonderful story, you'll enjoy it!

This is a difficult film to watch because we can't see genuine blood, violence, or gore scenes, but we can always sense their presence. It's like waiting for the worst to happen, and then the worst happens, and your mind shuts down for a few minutes. It's a film about the loneliness of the victims and true occurrences that most people don't remember or don't want to remember. When the events shown in the film occurred in real life, I was a child in Europe, and I vividly recall the urgency and horror of what was happening, as well as the threat of a third world war. Now that I'm an adult, I fully comprehend the significance of what occurred.

The Mandalorian character is so powerful that his mere appearance can alter the course of another series. Surprisingly, after the Mando comparison, Boba appears to be less appealing. Yes, a new Mandalorian season is desperately needed.

The nicest thing about Irish cinema is that it always knows how to portray the European middle class without being afraid to do so! In reality, this film is basically a hilarious picture of the normal European person living in little towns across Europe facing a terrifying enemy who appears out of nowhere. Don't expect to see a classic American hero here since you won't see any muscle or a pistol; instead, you'll see an ensucure guy with his obese cranky father running away like a regular man most of the time. The end effect is an obvious blend of drama, comedy, and bizarreness that only a true horror enthusiast can appreciate! GOOD JOB IRELAND.

A fantastic film with magnificent cerebral talks and actors, costumes, and backgrounds that allow you to journey across time. It's like seeing through a window into the madness of the French Revolution, when people pondered the past, present, and future. If you're seeking for a historically accurate film, this is a must-see.

Shocking, bizarre, strange, colorful, complex, gorgeous, humorous, cruel, sinful, sexual, and, in a nutshell, an incredible representation of the best European cinema of the last decade. You must watch it if you dislike commercial films but want to gain a fresh viewpoint on contemporary filmmaking. This film, like a fine wine, is solely for experts.

Danzel Washington is a real star, and he finally shows us that he can do much more than what Hollywood has given him as an actor. Incredibly well made is a perfect match of minimalism and great acting from all the cast, If you enjoy a wonderful blend of teather, movies, and art, you should see this film. That's Art, not just another movie, so keep that in mind before you watch it.

It is preferable to refer to it as "The Matrix Retirement" rather than "Resurrections." I believe they completely destroyed the franchise, and they had the unique ability to make the public regard the first film as a joke. In my entire life, I have never witnessed a more self-destructive move in film production. It's time to save "Tiffany"! For God sake!