Welcome to the Weekly Discussions & Feedback Thread of r/moviereviews !

This thread is designed for members of the r/MovieReviews community to share their personal reviews of films they've recently watched. It serves as a platform for constructive criticism, diverse opinions, and in-depth discussion on films from various genres and eras.

This Week’s Structure:

• Review Sharing: Post your own reviews of any movie you've watched this week. Be sure to include both your critique of the film and what you appreciated about it.
• Critical Analysis: Discuss specific aspects of the films reviewed, such as directing, screenplay, acting, cinematography, and more.
• Feedback Exchange: Offer constructive feedback on reviews posted by other members, and engage in dialogue to explore different perspectives.

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2. Engage Respectfully: Respond to other reviews in a respectful and thoughtful manner, fostering a constructive dialogue.
3. Promote Insightful Discussion: Encourage discussions that enhance understanding and appreciation of the cinematic arts.

Join us to deepen your film analysis skills and contribute to a community of passionate film reviewers!

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How to Kill Monsters is the third film from the team of director Stewart Sparke and co-writer Paul Butler after The Creature Below and Book of Monsters. For a moment, I actually thought it was a sequel to the latter of those films as it opens with Jamie, played by that film’s final girl Lyndsey Craine (Eating Miss Campbell, Run from Hell) in the aftermath of yet another party that turned into a bloodbath.

This one however has attracted the attention of the police, a rarity in films like this, and as she escapes from what has become a slaughterhouse she’s taken into custody and “The End” appears on the screen.

Of course, it’s not, and Jamie soon finds herself at the station, accused of the murder of her friends. For some reason, the interviewing officer is skeptical of her claims that she narrowly escaped being a human sacrifice in a summoning ritual gone very wrong. She soon finds herself in a cell with the drunken “Big Jennie” (Rebecca-Clare Evans, Blank, The Zombie King).

In case it isn’t obvious, Sparke and Butler are setting up for a wild mashup of Malum and Assault on Precinct 13 with a lot of humour added in. Because before you know it, the cops have managed to send their station into a Lovecraftian looking dimension that’s home to a variety of hungry monsters. Thankfully, there’s a large cast to provide meals for them and bloody practical effects for the viewers.

Read The Full Review On Voices From The Balcony

Wicked (2024) - Review

Wicked (2024) - (or Wicked: Part 1 as revealed in the title screen) is the first half of an adaptation by Jon M. Chu of Broadway musical hit of the same name. With a long history of influences, this latest adaptation of the Oz world is splendidly brilliant, deep and increasingly relevant. Blending magical performances by the film's double act Cynthia Erivo and Ariana Grande with lovely musical numbers, the film is heartfelt and serves as a true love letter to both the musical and L. Frank Baum’s legacy.

Check out my full review of the film and let me know what you think and whether you agree!

https://youtube.com/shorts/AtnHY2c5fCs?si=ZYTEFVdpUdbvNrac

Maria - 7.5/10. Pablo Larrain has made a name for himself with these deep, haunting, ethereal looks at famous lives. His films have this haunting glow towards them. They’re not necessarily films that are meant for story, rather, they’re more of a slice of the respective person’s life. In this case, we get an incredibly layered and deeply evocative performance from Angelina Jolie. What a talent she is! She’s able to invoke this sadness that a lot of other’s are not able to access, and she’s just brilliant in the title role. Its literally a tailor made performance for her and her capabilities as a performer. In comparison to Larrain’s previous biopics however, I think Maria is a little more visual and experimental in creation. Though I was hoping for something on the level of Spencer (in my personal opinion, one of the best films of 2021), Maria ends up being a tour de force performance reliant movie. Good, but honestly could’ve been a little better!

Maria marks Pablo Larraín’s third exploration of a powerful yet melancholic woman, following Jackie and Spencer. By now, his formula is starting to feel predictable: a powerhouse performance from a talented lead actress, exquisite costumes, high production values, and an intimate focus on pivotal, often somber moments as the woman reflects on how she got there. Watching Maria feels akin to revisiting an old James Bond film like For Your Eyes Only: if you know the formula, it’s all about ticking off the familiar boxes as the film delivers its signature beats (“Gardens!”, “Tragic moment!”, “A glimpse of happiness!”). For newcomers to Larraín’s work, however, starting with his earlier films that established this approach might be a better introduction. Visually, Maria is the most dazzling of the trilogy. Edward Lachman’s cinematography is mesmerizing, effortlessly alternating between lush, colorful sequences and evocative black-and-white imagery. The camera frames Angelina Jolie with stunning precision, enhancing her elegance and beauty—arguably, she’s never looked better. Mirror shots, grand stage scenes, and meticulously composed visuals create a sumptuous feast for the eyes.

Read my full review at: https://reviewsonreels.ca/2024/09/30/maria-nyff-24/

When the trailer for Venom: The Last Dance dropped, it sparked undeniable excitement, especially given the tantalizing connection teased at the end of Spider-Man: Far From Home.

For fans of the Venom franchise, this promised to be a thrilling finale. Unfortunately, the hype was short-lived, and the movie left much to be desired.

https://preview.redd.it/vpjdqhrfo24e1.jpg?width=2268&format=pjpg&auto=webp&s=b5ca85f74541ec296ef7f03e7cd40f3475f9e8aa

​

The Good: Characters and Nostalgia
One thing this movie did right was the cast. Tom Hardy’s portrayal of Eddie Brock and Venom remains a highlight; his duality with the symbiote still has the charm that drew fans in from the first two films. The actors gave it their all, and they were likely the primary reason audiences stuck around. The Horse scene and the waterfall jump were two standout moments that injected some much-needed originality into an otherwise lackluster script. But even these high points couldn’t salvage the overall narrative.

The Bad: Story and Execution
Where Venom: The Last Dance stumbles—no, outright falls—is in its storytelling and dialogue. The plot felt convoluted and unclear, leaving audiences confused about what the movie was trying to convey. It lacked the heart and coherence that made its predecessors enjoyable. The witty banter and dark humor that defined Venom and Venom: Let There Be Carnage were noticeably absent. The jokes fell flat, and the dialogue lacked impact, making the film feel like a soulless addition to what was once a vibrant franchise.

The soundtrack, another hallmark of the earlier films, was similarly disappointing. Gone are the banger tracks and viral hits that enhanced the cinematic experience of the first two movies. Instead, the music here felt generic and uninspired, doing little to complement the action or elevate the film’s emotional beats.

The Missed Opportunities: World-Building
This movie was marketed as the grand finale, yet it failed to capitalize on the vast potential of the Sony Universe or its connections to the Marvel Cinematic Universe. Characters like Kraven the Hunter or Madame Web, who could have added depth and intrigue, were nowhere to be seen. It felt like a missed opportunity to expand and enrich the Venom storyline. Instead of feeling like a culmination, The Last Dance played like a rushed and incomplete afterthought.

Final Thoughts
It’s clear that the creators of Venom: The Last Dance didn’t deliver on its promise of an epic conclusion. The bad storytelling, poor dialogue, and lack of humor made this film feel like a shadow of its predecessors. Fans of the first two movies might find themselves frustrated and disappointed, especially considering the marketing buildup around this being the "last" Venom film. Sadly, this movie serves as an example of how not to conclude a beloved franchise.

While the actors and a few standout moments provided a faint glimmer of hope, they weren’t enough to save Venom: The Last Dance from its critical missteps. Fans deserved better, and it’s no surprise that YouTube and blogs are flooded with critiques echoing this sentiment. Overall, this installment doesn’t feel like the proper Venom 3 movie we were waiting for.

P.S this kinda felt like rewatched Thor Love & thunder, the king of symbiotes Knull.. like seriously??? Was that really an ending. Both postcredit scene was nahhh..

Rating: ★★☆☆☆ (2/5)

Wanted to give my 2 cents on my frustrations with Wicked.

Main Problem: The Writing

The audiovisual elements are well-executed, matching the standard of many Hollywood films. However, for some reason, the writing is often sidelined. In the case of Wicked, the story feels superficial and inefficient in using its runtime to tell its story.

The movie, which covers only the first part of the musical, runs for 2 hours and 41 minutes, while the entire stage musical lasts just 2 hours and 45 minutes.

It could be argued that certain parts are expanded to adapt the stage play, which isn't necessarily a bad thing. The issue arises when much of the film consists of scenes of people dancing and singing without advancing the story. For instance, "Defying Gravity" was incredible—I really liked it and appreciated its significant modifications. This proves that adding or omitting elements can enrich the story. Unfortunately, this approach wasn't consistent throughout the film.

As an example, consider the Matilda musical, which runs for 2 hours and 35 minutes on stage, while the movie adaptation is 1 hour and 57 minutes long. If you haven’t seen the movie adaptation, it’s superb.

Song-by-Song Analysis

No One Mourns the Wicked Glinda’s singing voice was hard to understand. There were glimpses of her internal conflict, but these could have been prioritized over choreography and showcasing the set.

The Wizard and I This illustrates what Elphaba wants, which is great. The problem is that it mostly shows her walking around Shiz while narrating. The scene could have depicted her finding her things, arriving at her dorm, and experiencing small acts of discrimination (like being forced to use a different bathroom, sitting alone in corners, or dealing with extra paperwork), giving more context to her struggles.

What is This Feeling It feels like a simple argument between Elphaba and Glinda, with lines that don’t advance the plot. The sequence could have shown them attending classes, studying, or participating in activities, to highlight their school life and evolving dynamic. For example, it could show Elphaba excelling effortlessly while Glinda struggles to keep up. Meanwhile, they could introduce the subplot about the animals, showing subtle acts of discrimination and how Elphaba connects more with them than with other students.

Something Bad This was great. I liked how Dr. Dillamond sympathized with Elphaba and how she connects with the animals because she grew up around them. They could have built more mystery around what’s happening to the animals, leading to a more impactful reveal when Elphaba realizes Oz is behind it.

Dancing Through Life Completely unnecessary. I like the concept of Fiyero—not judging Elphaba, caring about the animals, and his philosophy of life—but all this could be summarized in a single sentence. The scene could have instead shown his interactions with Glinda and how he impacts the school’s dynamics, such as encouraging greater inclusion of animals in school activities.

Popular I liked Glinda helping Elphaba with a makeover, but a whole song for this wasn’t necessary. They could have shown how their relationship evolves through shared activities or even interactions with Madam Morrible. It would have been touching to see Glinda give Elphaba the hat because it suited her style, not because it was ugly—perhaps even revealing it was her grandmother’s hat, which she didn’t like but thought Elphaba would appreciate.

I’m Not That Girl I liked it, but again, it’s just Elphaba walking around. They could have shown her and Fiyero rescuing or helping animals, incorporating more narrative progression. Defying Gravity is proof they know how to multitask narrative and visuals.

One Short Day This should have focused solely on explaining the Grimmerie and could have started on the train. Once again, choreography and spectacle took precedence over substance.

A Sentimental Man The part where Oz plays with the moon could have been cut—it adds nothing. The song itself could also have been shortened.

Defying Gravity If the other songs had been written with the same narrative efficiency as Defying Gravity, this movie could have been a magnum opus.

Remove Unnecessary Jokes

Some scenes are drawn out for the sake of a cheap joke, and jokes are even placed in scenes where they aren’t needed.

Other Issues

The transition to the oppression of animals feels abrupt. There are missing intermediary scenes to explain how this idea became normalized in Oz.

Elphaba’s romantic subplot could have focused more on her struggle not to hurt Glinda, rather than just her insecurities about Fiyero.

https://youtube.com/shorts/TLtcM7I4lCY?si=0FH2lDgkaRg5utth

Our Little Secret - 7/10. In terms of Lindsay Lohan’s comeback, this is her best work so far! And, with her triumphant return to Disney next year with Freakier Friday, it seems very apt that her last Netflix film till then happens to be the best work she’s done for the streamer. Our Little Secret is as formulaic as they come in terms of Christmas holiday films. Its got an easy to follow plot, the values of christmas and the holiday cheer wrapped up around the story, and some charismatic performances from its lead pair of Lohan and Ian Harding. And honestly, the two have great chemistry (something that was severely lacking in the previous films she did for Netflix). Again, if you’re looking for award winning type films within here, then this will never be for you. But, if you’re looking for something easy to watch and grasp onto, then this works like a nice charm. Also, Ian Harding sounds exactly like Joel McHale! An easy to watch christmas flick!

"The Fix" is a gripping and ambitious science fiction thriller that punches above its weight, delivering an engaging tale of survival, corporate greed, and the ethical dilemmas of human evolution. Written and directed by Kelsey Egan, the film tackles a frighteningly plausible future where Earth's toxic atmosphere forces humanity to rely on a life-saving drug controlled by the ruthless pharmaceutical giant, Aethera. The film's lean 90-ish minute runtime ensures it moves at a brisk pace, keeping the viewer invested from start to finish.

At the heart of the story is Ella McPhee, played with impressive nuance by Grace Van Dien. Her transformation, both physical and emotional, drives the narrative as she navigates her mutation and the moral complexities of her role in humanity's potential salvation. The makeup and effects work on Ella's mutation is particularly commendable, managing to evoke both horror and awe despite the film's modest budget. The international cast, including Daniel Sharman as the chillingly pragmatic Eric O'Connors and Nicole Fortuin as the enigmatic Lazarus, delivers strong performances that add depth to the film's characters.

https://www.beentothemovies.com/2024/11/review-fix-2024-sci-fi-thriller-film.html

As far as I know, there have been no Thanksgiving-centric horror films until Eli Roth decided to carve out his name in cinema history with the aptly titled slasher flick "Thanksgiving". The movie kind of took everyone by surprise, and I have to admit, despite not being a fan of Roth's films, it might just be his best work to date. A short-lived victory followed by this year's "Borderlands". Like "Hobo with a Shotgun" and "Machete", "Thanksgiving" is a feature-length adaptation of a fake trailer from the 2007 film "Grindhouse". Read the full review here: https://short-and-sweet-movie-reviews.blogspot.com/2024/11/thanksgiving-2023-movie-review.html

Call Yorgos Lanthimos’s newest work many things, but one thing you cannot say about this ambiguous film is that its interpretations will be agreed upon. It occupies that nebulous space where concepts, ideas, and interpretations are an ever-evolving, transmutative, open-ended mass. I am confident that in my strenuous attempt to make sense of the film, I am most certainly way off course as my personal approach accompanies a myriad of dashed attempts further to vomit an intellectual point of view upon the internet while aiming for Earth and ending up on Neptune.

Kinds of Kindness is a salacious anthology of parables that issues a sardonic subtext on authority, obedience, religion, and the human condition. It underscores the symbiotic cycles of abuse that thrive and emanate in these microcosms, more specifically, our everyday lives and the dissolution that inevitably follows—from exclusive cult hobbit holes to our contemporary and domestic domiciles, highlighting the endless pursuits of happiness and validation. The chronicling of how commonly these acts morph into perverse dysfunction reflects upon our sociological spheres. Desperation and eagerness for acceptance represent one massive gradient that are symptomatic hallmarks of the modern world. Frolicking in its dark compendium, it questions how well we really know each other, the limitations of our principles, and our need for belonging.

Presented in a series of 3 shorts with every central cast member assuming a different key role in each sequence, appears an enigmatic interconnected set of character arcs and stories with only one recurring character that never changes, RMF, serving as a visual cue and connective tissue of a cryptic puzzle of exposition.

Continue reading at: https://cinemawavesblog.com/film-reviews/kinds-of-kindness-review-analysis/

https://preview.redd.it/a7gvkye5pp3e1.jpg?width=1603&format=pjpg&auto=webp&s=86bb47c5ec99fbda294fe390a7610685b437b17e

They did my boy Jigurtha dirty…couldn’t get over that lol from why I know he was a major enemy of Rome in a period where there weren’t many…death by monkey in a provincial arena nah nah Denzel steals the show a long with the twin emperors tho love those characters but finding myslef watching this movie for those scenes alone broke me inside a little. Rome is the greatest empire of all time but it’s only represented as the genocidal freaking mafia… Like your gonna use the antique rusted sword for the final battle bruh

https://youtu.be/aSTk_H3_He8?si=7BLe5V_xrv97Msa7

Wicked - 9/10. Got to see this for free as a part of a VIP event today (which was cool)! But the only reason why I can’t give this a full mark is because I still feel like they should’ve just kept this story in a compact one film format (if the hit Broadway show can, why couldn’t this?). Though I would say I see where they wanted to go with it, I still feel like a long 3/4 hour long film would’ve sufficed (I know, but, it could’ve been a rare modern day epic musical)! Wicked, to say the least, is, wicked! Its fun, so bold, and so full of life and energy! Musicals are usually not my cup of tea, but what I really appreciated with Wicked was it fulfilling manner of being true to itself (ironically, the hallmark trait of the story too). Its not just a musical, but also, a surprising socio political film too (I knew the gist of the story beforehand but didn’t realize how much commentary is in this story!). It also happens to be a Greek tragedy, seeing an outcast destined for something great, but becoming an unfortunate collateral to mischievous plans by the higher beings of Oz. The story is great, the numbers and music overall is fantastic, the set designs really bring Oz to life (and make you fully immersed in this world), and overall, this is a very solid film! Though I will await part 2, I still feel they could’ve just done one film. But I digress, its still a great ride!

Rating: ★★★★★

The Princess Bride is an absolute masterpiece that blends adventure, romance, comedy, and fantasy into one unforgettable film. From the moment it begins, it sweeps you into a magical storybook world filled with iconic characters, sharp wit, and timeless charm.

The cast is phenomenal, with Cary Elwes and Robin Wright delivering perfect performances as Westley and Buttercup. Mandy Patinkin as Inigo Montoya is pure gold, with his heartfelt quest for revenge and the legendary line, “Hello, my name is Inigo Montoya. You killed my father. Prepare to die.” The supporting characters, like the hilarious Vizzini and the lovable Fezzik, add so much depth and humor.

The writing is brilliant, packed with memorable quotes, clever dialogue, and a story that never takes itself too seriously. The movie has just the right amount of swashbuckling action, heartfelt romance, and laugh-out-loud moments to keep audiences of all ages captivated.

The Princess Bride is a film that stands the test of time—an enchanting, feel-good classic that you’ll want to watch over and over again. It truly is "inconceivable" how perfect this movie is!

Rating: ★☆☆☆☆

Idiocracy was an absolute train wreck. What could have been an intelligent and thought-provoking satire turned into a juvenile, obnoxious mess. The humor was crude and repetitive, relying on lazy jokes that grew old within the first 10 minutes. The plot was paper-thin and felt like it was cobbled together without any real direction or purpose.

The characters were unlikable and one-dimensional, making it impossible to connect with them or care about the story. The entire movie felt like it was trying way too hard to be edgy and clever but ended up being irritating and painfully unfunny.

I honestly regret watching this and can’t understand why it has a cult following. If you value your time, skip this one. I’d never watch it again, nor would I recommend it to anyone.

Directed by Mari Selvaraj Vaazhai, it is not like any other Tamil film. It is a masterpiece act that is engulfed with a cruel reality. A story that will break your heart even when the credits roll down the screen. To know more click the link https://bingewatchperspective.blogspot.com/2024/11/vaazhai-review-masterpiece-act.html

“A Real Pain” takes you on a journey that incorporates believable, witty dialogue, which the acting brings to life. There is an authenticity to this film I truly enjoy. With that said, for those looking for a “pick me up” to get them through the holiday season, this is not the film you’re looking for. However, if you want to experience a slice of life film that makes you think, while you feel several different emotions along the way, I recommend Jesse Eisenberg’s newest passion project.

TL;DR Synopsis: A cleverly written slice of life film with memorable character dynamics backed by believable acting performances that leaves a feeling of emptiness inside

HT Score: 78/100 Tomatoes

You can read my full review here: https://hundredtomatoes.substack.com/p/a-real-pain-two-dudes-one-trip

It’s safe to say no one expected Moana 2 to eclipse the original. Given Disney’s recent track record with sequels like Frozen 2 and Ralph Breaks the Internet, and the fact that this project started as a Disney+ series, its leap to cinemas feels more like a calculated pivot—perhaps even desperation following the lukewarm reception of Wish. Unfortunately, this move doesn’t change the reality that Moana 2, while visually breathtaking, struggles to recapture the heart and vibrancy that made the first film so universally beloved and cemented it as one of the most-streamed movies of the past five years. Set three years after the original, Moana 2 follows its titular heroine, now a confident wayfinder, as she embarks on a new mission to lift a curse on the mysterious island of Motufetu. With a fresh crew at her side, Moana faces familiar foes and new threats—but the adventure treads far too close to the structure of the first film. By playing it overly safe, the story sacrifices emotional moments and narrative innovation, leaving little room for growth or surprises. There are no fun or creative obstacles along the way, and the stakes never rise beyond the mundane. The challenges Moana faces lack the same engaging, high-energy moments that kept audiences on the edge of their seats in the original.

Read my full review here: https://reviewsonreels.ca/2024/11/27/moana-2/

Why are there mutant monkeys?

Both emperors are poorly acted (and written) versions of Joaquin Pheonix’s Commodus. Why not create new interesting characters?

The pacing feels like the writers have adhd.

Sadly, Connie Nielsen’s acting and role felt forced.

Even Denzel’s part which appears well received had no memorable lines.

I went in thinking ah it’s mixed reviews so maybe it copies the first movie too much, but at least Ridley Scott can make it good.

No, it’s just bad. Maximus got no vengeance in the next life.

I wouldn’t label this as comedy or action, in fact I’m not sure what to label it. The movie is about what appears to be a non-threatening male lead suddenly becoming capable of accessory to one count (maybe 2) of murder, and one count of murder (a police officer nonetheless) all because he fell in love with a woman he thought wasn’t capable of paying a hit man to kill her controlling husband, but in the end actually WAS capable of killing him herself, and poisoning a police officer. The strange thing is audiences… liked this??? What about this movie was funny? What about it was action? I’ve also seen it listed as a rom-com… what about it was romantic? Two obviously mentally unwell people capable of murder and obstruction of justice falling in love? This whole movie is twisted, and I’m not sure how to feel about the people who think it was good. I mean, I watched this movie with family and they walked away from this movie with smiles on their faces saying it was a “good pick”. Seriously? It just seems so strange to me given that in most other movies, when the people who committed murder(s) don’t get their comeuppance, people are not typically happy about it. Why is it, in this case, people seemed to enjoy it?

I kicked off the Holiday season with a Christmas movie. We had a large group take up the back row of my local AMC theater and had a good time watching “Red One” directed by Jake Kasdan (the same guy who brought us the two newest Jumaji films). I’m hearing mixed reports on what people think of it and my opinion may change as well as I let it sit longer, but before we get into the spirit of things...

https://1guysmindlessmoviereviews.com/2024/11/25/red-one/

Santastein actually came out last year and, despite a plot that sounds like Weird Science meets Christmas Bloody Christmas, totally escaped my notice until now when I saw it while scrolling through Tubi and decided to give it a watch.

As the film begins, we learn a pair of troubling pieces of information. First, we find out that bodies have been vanishing from the Lincoln County Morgue, then we learn that it’s been years since Santa has delivered any presents, in fact the Jolly Old Elf seems to have vanished. There is, of course, a connection between the two stories. As a child, Max Causey (Fletcher Hammond, Home for Thanksgiving, Lost Memory). As a child, his attempts to prove Santa exists accidentally rendered him extinct and buried in the backyard.

Now, eighteen year old Max (Jared Korotkin, Bathroom Break) is determined to atone for that and resurrect him. He and fellow nerd Paige (Ophelia Rivera) have already brought a rat back to life. Max saved Saint Nick’s brain, in a jar labelled “Santa’s Brain” of course, before he buried the body. Now he just needs a new body to put it in, hence the mayhem at the morgue.

Santastein was written and directed by Manuel Camilion (The Dark Priests of Sagamuth, Meme Boy) and Benjamin Edelman (Meme Boy) who have their tongues firmly in their cheeks through the first part of the film. If the plot itself and the brain in the jar didn’t make that clear enough, the scene where Max brings the titular creature (Michael Vitovich, Lady Ballers, Did I?) to life is a mix of sight gags and references to Universal’s 1931 Frankenstein.

But unlike Frankenstein, this is no misunderstood gentle giant, Santastein is an evil bastard who quickly sets out on a killing spree that leads him towards a raging Christmas house party. Can Max avoid the morgue attendant (Damian Edwards, Pink) out to get him for the missing bodies long enough to stop his creation?

Read The Full Review On Voices From The Balcony

I just became an Alien fan! I really loved the characters of Rain and Andy.

It was a bit of a surprised to see the lore from Prometheus and Covenant show up in Romulus but the way it was handled was lean and mean (e.g. effective).

That said, the movie took a dip once they got to the underbelly of the laboratory and started riffing on the first two movies. Especially that famous quote from Aliens.

https://bigcomicpage.com/2024/11/20/movie-review-alien-romulus-2024/

A movie directed by Sam Raimi is usually a cinematic treat. A movie produced by Sam Raimi can be a coin toss, resulting in good films like "30 Days of Night", "Don't Breathe" or "Crawl", but also clunkers like "The Grudge" and "Poltergeist" remakes, "The Unholy", "Umma" and "65". The latest Raimi production is the Netflix survival thriller "Don't Move", which tells the story of a grieving young mother (Kelsey Asbille), who must do everything in her power to stay alive after a serial killer injects her with a drug that induces paralysis. Read the full review here: https://short-and-sweet-movie-reviews.blogspot.com/2024/11/dont-move-2024-movie-review.html

https://youtu.be/p0oAxMCrFQk

I recently saw Red One and Krampus was the only good part of an otherwise terrible movie. So I decided to make my review as if he were the star of the movie.

I'm hoping Dwayne Johnson can start changing up his acting style with his A24 film next year cause what he out out for this movie was just borderline unwatchable.

Well, come on, I never consumed content involving gore, necrophilia or things like that, I knew the content that A SERBIAN FILM had and anyway I decided to watch it, I don't care if you can see gore or worse things, just don't watch this film , no wonder this film was banned in my country at least for a while, please don't watch this film

Just rented this movie very disappointed.. the whole thing is being narrated and I can’t turn it off… any suggestions?

https://youtube.com/shorts/8cIVcpS20KY?si=HL3qBBiL1lYCiZgE

A lazy film which relies solely on the dancing skills of Prabhu Deva and the jostalgia of Kadhalan! Can you really make an entire movie out of a tribute? No!

Hey fellow horror fans!

I just uploaded a new video review of Halloween 5: The Revenge of Michael Myers on my YouTube channel, and I’d love for you all to check it out! 🎃🔪

In this review, I dive into this, a bit of a let down compared to the rest of the series. apart from the usual suspects. here's looking at you Halloween 6 and Resurrection From the strange story choices to the iconic (and sometimes baffling) moments, I cover it all. Whether you love it, hate it, or have mixed feelings like me, there’s plenty to discuss!

I’d really appreciate it if you gave it a watch, dropped your thoughts in the comments, and maybe even subscribed if you like the content! I'm aiming to bring more fun movie reviews to the channel, and your support would mean a lot.

Check it out here: https://www.youtube.com/watch?v=VwFC3y5Hjoc&t=3s

Looking forward to hearing your thoughts on Halloween 5 and anything else Halloween-related. 🎃👻

Thanks, and Happy Halloween (even if it's a really late)!

Robert LaSardo’s American Trash marks both the directorial debut and a major change of pace for the prolific actor, whose first role was almost forty years ago in Abel Ferrara’s China Girl. Over the years he’s become known for roles in films like In Hell, Bridge of the Doomed and Amber Road, but he’s chosen to make a drama that trades physical brutality for an unflinchingly brutal look at pain, loss and the toll modern society can take on people.

Milles (Robert LaSardo) is a combat veteran who now works as a tattoo artist while trying to get a grip on his PTSD issues. One of the few things that seems to bring him a sense of peace is listening to speeches by Charles Manson and cleaning up wilderness areas, including a cave he refers to as sacred because of its connection to Manson.

This attracts the attention of Melissa (Lorelei Linklater, Amityville Bigfoot, Teenage Vampire 2) who shares his love of nature and Manson’s philosophy. A romance quickly develops, bringing light into Milles’ otherwise dark life. Even his therapist Tai (Rich R. Rendon, Alien Storm, Bloodthirst) sees the improvement in his outlook.

But, while the film is set in Los Angeles, there’s no Hollywood ending for this couple. Coming home one night, Melissa is raped, murdered and left in a dumpster by a pair of thugs. Losing her sends Milles’ life into a downward spiral. One that neither Tai nor Melissa’s sister Mandy (Gigi Gustin, Titanic 666, The Wrong High School Sweetheart) can help with. And which his interactions with the cop assigned to the case, Detective Anderson (Costas Mandylor, Cosmic Sin, In Tenebras: Into the Darkness), makes worse.

LaSardo wrote American Trash, with some revisions by Adrian Milnes (Adrenaline, Bermuda Island), and their script doesn’t pull its punches. It’s a dark, to the point of being nihilistic, look at the world and the way it treats those who are damaged and suffering. Various scenes of landfills and other pollution along with the character’s environmental activism extend that concept to the way society treats the environment. Something that further fuels his rage and provides the final straw that sets the film’s end scenes in motion.

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