Abdulxoxo Reviews

The Umbrella Academy: Pocket Full of Lightning (2022) Season 3, Episode 3

Chaos Reigns, Coherence Strains

[6/10 · 21 September 2024]

Episode 3 is a bit of a mess, to be honest, but there's still some fun buried under all the chaos. Let's start with what I actually enjoyed: Luther. It's refreshing to see him happy for once, living his best life at the Sparrow Academy. His enthusiasm is infectious, and it feels like the writers are finally giving him room to breathe and have fun. Luther's joy is probably one of the most likable parts of this episode, and it helps balance out the otherwise messy plot.

Then there's Five and Lila. Their interactions are sharp and entertaining - they've got this frenemies vibe that works well. But then, they get into this weird, unnecessary fight, and I couldn't help but roll my eyes. I get that they're both powerhouses, but it felt forced, like the writers just needed to throw in some action to spice things up. It didn't add anything to the story. If anything, it just slowed things down.

On the other hand, Klaus and Reggie's subplot was actually interesting. Seeing them interact adds a layer of intrigue that I wasn't expecting. Klaus, as always, is chaotic and unpredictable, and pairing him with Reggie's more controlled energy makes for a dynamic that I'm curious to see more of.

But while there are a few enjoyable moments, the episode suffers from a severe lack of coherence. The plot is all over the place, bouncing between storylines that don't quite gel. One minute we're with Luther, the next we're dealing with Klaus and Reggie, then we're back to Five and Lila's random brawl. It feels like the writers are trying to do too much at once without giving any one plotline enough time to develop properly.

And then there's Diego's kid. I hate to say it, but the kid is annoying. I know they're trying to give Diego a new dynamic to work with, but the whole father-son thing just isn't landing for me. The kid feels like more of a plot device than a fully fleshed-out character, and every scene with him feels forced.

The writing in this episode also feels sloppy. Scenes don't flow together naturally, and there are several moments where I just felt like the show was spinning its wheels without any real direction. It's frustrating because I know the show is capable of better storytelling. Right now, it feels like they're throwing in too many ideas without focusing on making them coherent.

Overall, Episode 3 is so-so. There are a few bright spots - like Luther's happiness and the Klaus/Reggie dynamic - but it's weighed down by unnecessary fights, annoying side characters, and a lack of focus. I'm hoping the show finds its footing soon because, at this point, the fun moments aren't enough to distract from the mess.

The Umbrella Academy: World's Biggest Ball of Twine (2022) Season 3, Episode 2

Sparrows, Plot Holes, and Ball Confusion

[6/10 · 21 September 2024]

Episode 2 left me feeling both entertained and frustrated - like it has the pieces to be great but isn't quite putting them together. Let's start with what works. Klaus and Five are, unsurprisingly, a blast. Their little subplot of tracking down Klaus' mother brings some much-needed weird energy back. Klaus is chaotic and emotional in all the best ways, and pairing him with Five's sharp, no-nonsense personality is always a win. I'm also really enjoying Luther's awkward but sweet romance with Sloane over at the Sparrow Academy. Their chemistry is charming, and it gives Luther some much-needed warmth. Seeing him in that oddball environment works for me. Then there's the overarching time paradox plot, which is engaging, even though I'm still not sure how it's all going to unravel.

But it's hard to ignore the glaring issues that weigh the episode down. Let's talk about the elephant in the room - Vanya's sudden transformation into Viktor. Story-wise, it feels rushed and unearned. Don't get me wrong, I get that there are real-life reasons behind it, and it's important to respect that, but the way the show handles it? It's a bit clumsy. It's glossed over with a few lines of dialogue.

Then there's this shiny red floating ball, which just... exists? It's hovering there like it's supposed to be important, but I have no clue what it's supposed to do or why I should care. For now, it's just a glowing distraction without purpose. And speaking of things that are missing - where's Sparrow's Number One? He just vanishes, and no one talks about it. It's like there are pieces of the story the writers forgot to include.

I'm also torn about Diego's whole sudden fatherhood situation. It's a curveball, but I'm not sure if it's a good one. The kid adds something to Diego's character, but it's also kind of forced, and their dynamic is a bit awkward. It's almost like the writers aren't sure what tone to go for. Then there's Lila, who is usually so full of chaotic fun but feels lost this episode. She's just kind of there without a clear direction. Hopefully, she gets back to her mischievous self soon.

Grace's more sinister turn is definitely intriguing - that whole subplot adds some tension, which I appreciated, but the Sparrows themselves still aren't landing as much as they should. They feel underdeveloped, more like set pieces than real, fleshed-out characters.

So, while there's still plenty to enjoy; like the fun character moments and the intriguing time paradox, it feels like the episode is juggling too many things at once without giving each one the attention it needs. It's setting up a lot, but the execution is a bit all over the place. I'm sticking around because I'm still entertained, but I'm hoping the show ties up some of these loose ends sooner rather than later.

Longlegs (2024)

Long on Mood

[8/10 · 21 September 2024]

Going into this one, I was struck right away by the sheer atmosphere. It's moody, bleak, and envelops you in this tense, unsettling vibe from the get-go. There's something to be said for a film that knows how to make its world feel so suffocatingly real, and the cinematography here plays a huge part in that. Every shot feels deliberate, almost mechanical in its precision, but there's beauty in that coldness. The visuals do a great job of reflecting the darker, more introspective themes of the narrative, which dives deep into some pretty heavy subject matter.

The cast really pulls their weight too. There's a lot of subtlety in the performances, with the actors leaning into the moodiness rather than going big. The sound design also stood out to me. It's minimalistic in a way that adds to the creeping sense of dread.

However, I have to admit, the pace is slow. And I don't just mean a little slow - it's a crawl at times. There were moments when I found myself losing patience, waiting for things to pick up. While the narrative is engaging, it feels like it takes a bit too long to get where it's going. It's a methodical film, which I can appreciate, but sometimes that meticulous pace can work against it, making parts of it feel like they're dragging.

Another downside is how bleak everything is. Now, I'm not someone who needs a movie to be bright and sunny, but there's a heaviness here that feels almost oppressive. The moody tone is effective, but after a while, it starts to weigh on you. There's not much lightness to balance things out, and it can feel a little emotionally draining. It's a lot of brooding and tension, which works thematically, but I would've liked a little more variety in the tone.

Overall, while it has its flaws, there's still a lot to appreciate. The performances are solid, the cinematography is striking, and the sound adds to the film's eerie atmosphere. It's a slow burn that's not for everyone, and its moodiness can be a bit overwhelming, but if you're in the right headspace, there's a lot to admire here.

Hit Man (2023)

Sharp but with a slightly dull conclusion

[7/10 · 21 September 2024]

This film kicks off with a bang and hooks you immediately with its unique concept and some strong performances, especially from Glen Powell. He absolutely owns his role, blending charm, wit, and intensity in a way that makes it hard to look away. His chemistry with the other lead is electric, which helps pull you through the quieter, more introspective moments. You really feel like these two are bouncing off each other.

Visually, the cinematography is on point. There are some shots here that feel meticulously crafted. And thematically, the film tackles some interesting ideas about identity, deception, and the fine line between playing a part and becoming it. It's got layers if you dig a little deeper, and that's one of the things I appreciated the most.

That said, as much as I was into it, things do start to slow down toward the third act. It's like the momentum we had starts to fizzle a bit, and by the time we reach the finale, I found myself waiting for that big punch; something that would tie it all together in a memorable way. But the ending, while not bad, felt like it lacked the knockout I was hoping for. It just didn't hit as hard as I expected, which is a bit disappointing given how strong the setup was.

Still, for all its minor flaws, I enjoyed the ride. The performances, the chemistry, and the sharp visuals make it worth watching. It's just that the destination wasn't quite as thrilling as the journey. A solid film.

The Umbrella Academy: The End of Something (2020) Season 2, Episode 10

Wait, so that's it?

[6/10 · 19 September 2024]

Season 2's finale left me with some mixed feelings - some things really hit the mark, but others left me rolling my eyes. There's definitely some enjoyment to be had, especially in tying up certain plotlines and characters, but the episode feels like a rushed, uneven wrap-up to what could've been an epic conclusion.

I'll start with the positives. I did appreciate how the story managed to wrap up the Handler's arc. Seeing her manipulation finally come back to bite her was satisfying. The group interactions also had some nice moments, and I liked how they felt more like a family again, despite all the chaos around them. Lila becoming integral to the story added some intrigue too. The twist that she's also got powers was a shocker, and it opens up a lot of possibilities for her character in the future. Plus, that ending with the alternate timeline and the reveal of the Sparrow Academy? I'll admit, that set up something I'm genuinely curious about.

But then, we get to the other side of things... the side that frustrated me. Lila's powers came completely out of nowhere! There was no development leading up to this moment, and it left me thinking, "Wait, what?" How does she have these abilities, and why didn't she use them earlier? It felt like a cheap way to add drama to the final battle. Speaking of which, that battle was downright awful. Tons of commission agents, armed to the teeth, can't land a single hit on the main cast? It's like the show forgot how to handle stakes. And where did the commission even get this massive army of agents? If they had these numbers all along, why didn't they use them earlier in the season?

And let's talk about the Swede. He just conveniently shows up at the end to take care of the Handler, right when the plot needs him to? Come on, that felt way too easy. No explanation for his arrival, no buildup; just a quick, tidy solution to wrap things up. It's lazy writing, plain and simple.

The Harlan subplot was also a letdown. His connection to Vanya had the potential to be something powerful, but it just didn't feel earned by the time we reached the finale. His powers were more of a distraction than an emotional payoff, and I found myself not really caring by the time the episode was over.

The CGI also felt a bit off at times, which didn't help. I'm all for big spectacle, but when it looks this rough, it's hard to stay invested. Oh, and let's not forget our leads somehow finding time to dress in matching outfits for the final fight. Really? Where did those come from, and why? It's such a weird, unnecessary detail that just adds to the mess.

Finally, the whole briefcase thing... I mean, if all they needed was a briefcase to get home, why did we spend an entire season running around when they could've just done this sooner? It makes so much of what happened feel pointless. The writing in this episode needed a lot more polish.

In the end, the finale has moments of fun, but it ultimately falls flat. It feels like the writers were more focused on setting up the next season than delivering a satisfying conclusion to this one. Sure, the potential is there for something exciting, but it's hard not to feel disappointed with how rushed and disjointed it all was.

The Umbrella Academy: 743 (2020) Season 2, Episode 9

Not bad for a penultimate

[7/10 · 19 September 2024]

Episode 9 of Umbrella Academy's second season packs a lot into its runtime, delivering plenty of great moments, but also a few head-scratching ones that made me pause. As much as I enjoyed seeing the scattered pieces of the puzzle start to come together, there were definitely times when I felt like I was missing a chunk of the picture.

Let's talk about some of the highlights. One of my favorite moments is when Five interacts with his older self. Their banter, the chaos of them trying to outsmart each other, and the eventual messy showdown were a mix of hilarious and tense. It was one of those scenes that had me glued to the screen, especially when Number One jumps in to intercept - I mean, the family drama combined with the ticking time-travel shenanigans just hits differently here.

Ben's interaction with Vanya was also surprisingly touching. Watching him step in to help her confront her powers and herself was a powerful moment. His compassion and ultimate sacrifice felt like a quiet standout in an otherwise fast-paced episode. It's moments like these that make the emotional weight of the show shine through the over-the-top action. Then there's the Handler and her manipulation of Lila - I can already feel the conflict brewing between her and Diego, and I'm all in for that confrontation.

That said, as much as I was invested in the character dynamics, there were some real weak points in the plot that took me out of the moment. The whole older Five vs. Younger Five situation just left me confused more often than not. I know time travel is messy, but I needed some clearer rules here. When the two Fives start fighting, it feels like a fun bit of chaos, but when I started thinking about the logistics, it didn't really hold up. How is Five supposed to age if he's constantly jumping through timelines? And how does their plan to swap places with each other even work?

Then there's the doomsday reveal - as much as I love that the stakes are high, the connection between Vanya's powers and Harlan felt rushed. How did her powers even transfer to him? That part of the story just kind of gets thrown at us without much explanation, and I found myself wanting more background on how that worked. I also feel like they leaned way too heavily on the JFK subplot. The assassination and its looming shadow over this season started to feel more like a crutch than a meaningful plot device.

Overall, this episode was enjoyable, especially when it came to character moments and interactions. But when I step back and think about the mechanics of what's happening - the time travel, Vanya's power link to Harlan, the overreliance on JFK - it all starts to feel a little less cohesive. There are definitely moments of brilliance, but the lack of clarity on the big picture left me wanting more answers. Still, it's entertaining, and the setup for the final showdown looks promising, even if the road getting there feels a little bumpy.

The Umbrella Academy: The Seven Stages (2020) Season 2, Episode 8

Two Fives and a Mess

[7/10 · 19 September 2024]

This episode had its moments, but it left me scratching my head more than I expected. Don't get me wrong - the entertainment value is there. Seeing Five come face-to-face with his older self was easily one of the highlights. The chemistry, the chaos, and the humor between the two versions of Five is exactly the kind of absurdity I've come to enjoy. It's like two sides of the same dysfunctional coin meeting, and the way they navigate their odd predicament is fantastic. But here's the thing - while their interaction is great, the logic behind it? Not so much. It's never really clear how young Five and old Five's timelines are supposed to work. The mechanics of time travel are vague, and instead of clever complexity, it feels like they lean into confusion for the sake of it.

Then there's Diego's part at the Commission, which at first felt like it would offer something deeper to the story. While Diego working there added some humor and intrigue, it quickly veered into the nonsensical. How he ends up being part of the Commission feels too convenient, and by the time it's happening, I'm not sure if I'm meant to take it seriously. There's a lack of cohesion between the plotlines, and it sometimes feels like the episode is spinning its wheels without real purpose.

Speaking of unclear direction, the doomsday reveal could have hit much harder, but the constant references to JFK - and the way the show seems to treat the event - left a bad taste in my mouth. It feels like it's almost spoofing a tragic moment in history, and it doesn't sit well. It takes away from the stakes of the narrative and adds an unnecessary layer of awkwardness to the whole "stop the apocalypse" plotline.

One scene that particularly bothered me was Vanya's interrogation sequence. It dragged on longer than it needed to and felt like a wasted opportunity to dive deeper into her character. Instead, it seemed like filler, not really adding much to the overall arc of the episode.

By the end of the episode, I felt like I was watching a jumble of half-developed ideas. The time travel mechanics never get fully explained, Diego's role at the Commission is weirdly glossed over, and the JFK angle feels misplaced. It's not that there aren't good moments - the episode is still entertaining and has its strong scenes - but when I try to make sense of the bigger picture, it starts to fall apart.

Migration (I) (2023)

Beautiful But Flies in Circles

[7/10 · 19 September 2024]

Migration is a film that knows how to charm with its animation and heart, but it often feels like it's treading familiar ground without much new to offer. Visually, it's stunning - there's no denying that. The vibrant animation, from the textures of the feathers to the rich landscapes, is a real treat for the eyes. It's clear a lot of love went into making the world of these migrating birds come alive, and I found myself enjoying the visual spectacle almost as much as the story itself.

The family dynamic at the center of the movie is another highlight. The bond between the birds is endearing, and there's a warmth to how the family unit is portrayed that feels genuine. It's easy to get wrapped up in their journey, and I appreciate the overall message about togetherness and stepping out of one's comfort zone. It's the kind of family-friendly entertainment that hits the right emotional beats, even if it's a little safe.

But, and there's a pretty big "but" here, it's also highly predictable. I could see the story beats coming from a mile away. The plot plays it too safe, sticking to well-worn formulas that don't leave much room for surprise. While the journey is sweet, it doesn't take any real risks, and that lack of originality starts to weigh it down as the movie progresses.

Another thing that stood out to me is the absence of a strong villain. There's no real sense of threat or tension, which makes the stakes feel a little too low. Without a proper antagonist, the story kind of coasts along, never really building up to anything substantial. It's hard to stay fully engaged when there's no real conflict driving the characters forward.

And while the animation is beautiful, there's an over-reliance on visual gags and slapstick humor that gets distracting after a while. The tomfoolery, while amusing at times, feels a little excessive. It's almost like the film is constantly trying to entertain through quick laughs, and after a certain point, it started to take away from the emotional weight of the story. The heart is there, but it gets a little lost in all the chaotic fun.

In the end, Migration is enjoyable, especially for families and kids who will love the humor and visuals. But for me, it lacked that extra spark that could have made it truly memorable. It's a fun, pleasant ride, but one that's too safe and predictable to really take flight.

Bones and All (2022)

Beautiful Yet Too Tame

[7/10 · 18 September 2024]

Bones and All is a film that thrives on atmosphere and character. Right from the opening, the cinematography draws you in. The film's visual style feels almost dreamlike, with sprawling landscapes and muted color palettes that perfectly match the melancholic tone. It's a beautiful movie to watch, and every frame feels carefully crafted. The performances are another standout.

Thematically, Bones and All touches on some interesting ideas. There's a clear commentary on the idea of isolation, identity, and belonging - particularly how the characters' cannibalistic nature is used as a metaphor for being outsiders in society. I appreciated how the film approached these deeper themes without being heavy-handed, letting the story speak for itself. It's a quieter, more reflective horror, focusing more on the internal struggles of its characters than on shock or gore.

However, despite its strengths, Bones and All plays it a little too safe. Given the subject matter, I was expecting more tension and thrills, but the film feels surprisingly mild. The horror elements are toned down, almost as if the movie is trying too hard to be more of an emotional drama than a full-blown genre piece. I found myself waiting for moments of intensity that never really came, which left me a bit underwhelmed. The pacing also adds to this feeling. While the slower approach does allow for character development, there are times when the movie drags and loses momentum. It's as if the film is caught between wanting to be a reflective coming-of-age story and a horror, without fully committing to either.

In the end, Bones and All is a beautifully shot, well-acted film that explores interesting themes, but it never quite delivers the thrills or emotional weight I was hoping for. It's a slow burn that stays mild throughout, which may work for some but left me wanting a bit more bite.

The Fabelmans (2022)

Heartfelt yet slow-burning

[7/10 · 18 September 2024]

The Fabelmans is undeniably a personal film, and that intimate touch really shines through in its performances and production. Right from the start, it's clear that this is a deeply felt story, one that Spielberg has poured a lot of his heart into. Gabriel LaBelle, as young Sammy Fabelman, is captivating. He portrays the character's passion for filmmaking with sincerity and nuance. There's a lot of care in how these characters are handled, and the performances elevate even the quieter moments of the film.

Cinematography plays a huge role in shaping the mood and tone of The Fabelmans. The film beautifully captures the nostalgia of growing up, with scenes bathed in warm, golden hues, giving the movie a timeless, almost idyllic feel. The production design is another strong point.

However, while the technical aspects of the film are impressive, The Fabelmans does suffer from pacing issues. At times, the story moves at a slow crawl, and I found myself losing engagement during some of the longer, more introspective scenes. It takes itself quite seriously, and while that seriousness works in capturing the emotional weight of Sammy's journey, it occasionally feels a bit self-indulgent. There's a sense that Spielberg is almost too reverential toward the material, which, for me, made the movie feel a bit stuffy in parts. I love a good character-driven story, but this one could have used a bit more lightness or energy to balance out the heavier, more dramatic elements.

In the end, The Fabelmans is a well-crafted, heartfelt film with strong performances and beautiful cinematography. But its slow pacing and overly serious tone make it feel a bit long and slightly boring at times. It's a movie that speaks more to cinephiles and those who are fascinated by the art of filmmaking, but it doesn't quite have the universal appeal or dynamic energy of Spielberg's other works.

Street Dancer 3D (2020)

Energetic yet familiar moves

[6/10 · 18 September 2024]

Street Dancer 3D has plenty of flair, and if you're a fan of dance films, it's hard not to get swept up in the sheer energy of the performances. The dance sequences are hands-down the highlight of the movie. The choreography is intricate and dynamic, with the performers giving it their all. From hip-hop to classical-inspired routines, the film is visually captivating whenever the dancing takes center stage. Both Varun Dhawan and Shraddha Kapoor bring a strong presence to the screen. They don't just hold their own in the dance sequences but also manage to bring some emotional weight to their characters, making the movie feel like it's more than just a series of performances stitched together.

The film also touches on some meaningful themes like unity, self-expression, and the power of art to bring people together. I appreciated how it tried to address issues of cultural identity and belonging, and some of the messaging around these topics is genuinely heartfelt. When the movie focuses on these aspects, it feels sincere and, at times, uplifting.

However, despite these positives, Street Dancer 3D can't escape the feeling that we've seen it all before. The plot feels overly familiar, like a rehash of themes and storylines we've come across in countless other dance films. There's a lot of derivativeness here-underdog teams, rivalry, redemption arcs-all played out in a way that doesn't feel particularly fresh or original. By the halfway mark, I had a strong sense of where the story was going, and it never really strayed from that well-worn path.

The film also has a tendency to take itself too seriously. There are moments when the messaging gets a bit heavy-handed, especially when it dives into its more patriotic tones. While the movie tries to fuse art with a sense of national pride, the level of patriotism feels excessive at times and adds a layer of heaviness that doesn't always fit the fun, energetic vibe of the dance sequences. Instead of feeling inspiring, it occasionally comes across as preachy.

In the end, Street Dancer 3D delivers some fantastic dance sequences and has its heart in the right place with its themes of unity and self-expression. But with its derivative storyline, overly serious tone, and an abundance of patriotism, it sometimes feels like it's trying too hard to be more than it is. For me, it's a movie that excels in moments but falters when it takes itself too seriously.

Immaculate (2024)

Intriguing yet unfulfilling

[7/10 · 18 September 2024]

Immaculate is one of those films that instantly grabs you with its atmosphere. The setting is perfectly chosen, offering an eerie backdrop that feels both isolated and steeped in mystery. The cinematography is excellent, utilizing light and shadow to create an almost palpable tension. On top of that, the performances are solid across the board.

One of the biggest strengths here is the concept itself. There's something compelling about the blend of psychological horror and religious themes, and it had me invested early on. I also appreciated the shorter runtime, which made the film feel more concise and to the point. Although it's a bit slow earlier on but I was always curious to see where the story was headed.

That said, Immaculate does fall into some familiar traps. While the setup is intriguing, the film quickly becomes predictable. By the halfway mark, I had a good sense of where things were going, and unfortunately, it never really strayed from that path. The ending, in particular, left me wanting more; there's a noticeable lack of closure, and a few loose ends are left dangling without any satisfying resolution. There's also some mixed messaging throughout. The film seems to want to say something profound about faith and control, but the themes feel muddled and never fully come together in a cohesive way.

Ultimately, Immaculate is a film that's rich in atmosphere and style but lacks the narrative punch to match its aesthetic. It's an enjoyable watch, but I couldn't help but feel like it was teetering on the edge of something truly great; only to end up settling for something merely good.

1 by Two (2014)

A Twisty Thriller That Falters

[6/10 · 17 September 2024]

1 by Two is a psychological thriller that certainly tries to stand out from the usual fare in Indian cinema. Arun Kumar Aravind takes a bold step by experimenting with narrative structure and tackling darker, more psychological themes. There are moments where the film feels unique and visually striking, and the performances, especially from Fahadh Faasil, really help to anchor the story. The cinematography is moody and atmospheric, complementing the somber tone of the film, and the story's exploration of guilt, trauma, and fractured identities feels like it's aiming for something deeper.

But despite these positives, I couldn't help but feel that 1 by Two fell short of its potential. For starters, the film is excessively long. At over two and a half hours, the pacing becomes a real issue. What begins as an intriguing mystery soon turns into a slow, meandering plot that drags on for far too long. There were moments when I found myself losing interest simply because the film seemed to be going in circles, rather than driving the story forward.

Another big problem is the way the narrative jumps between flashbacks and the current timeline. While I can appreciate a good non-linear story, 1 by Two doesn't handle this very well. The transitions are confusing and, at times, disorienting. Instead of creating tension or suspense, these jumps muddle the plot and make it hard to keep track of what's happening. I found myself constantly questioning where I was in the story, and not in a good way.

The film's somber tone also weighs heavily on it. While a psychological thriller doesn't need to be upbeat, the overall mood of 1 by Two feels too heavy, too often. It lacks the balance that could have made it more engaging. Instead, it feels like it's stuck in the same dark, gloomy atmosphere for most of the runtime, which can be exhausting as a viewer. Even the moments of revelation or resolution don't provide much relief.

I will give the film credit for trying something different, though. The themes it tackles, particularly around mental illness and trauma, are complex and rarely explored in Malayalam cinema. It's clear that the filmmakers wanted to offer something thought-provoking, and in some ways, they succeed. But that success is overshadowed by the film's structural issues, making it feel more convoluted than clever.

In the end, 1 by Two is a film that had a lot of potential but doesn't quite live up to it. The strong performances and cinematography can't fully save it from its slow pace and confusing narrative structure. While I can appreciate the effort to do something different, the execution left me feeling more frustrated than thrilled.

Iddarammayilatho (2013)

Style Over Substance Disappoints

[6/10 · 17 September 2024]

Iddarammayilatho is one of those films where I really wanted to enjoy myself. From the moment the first action sequence kicks off, the film promises a high-energy, visually appealing experience. The cinematography is undeniably top-notch-there's no shortage of gorgeous locales and sleek fight choreography. And Allu Arjun, as expected, delivers in the action department. His athleticism and charisma in those moments are hard to ignore, and to be honest, they are some of the best parts of the movie. Even the music and some of the dance numbers are enjoyable, giving the film a fun, energetic vibe.

But here's the problem: everything else falls flat. Iddarammayilatho suffers from a plot that just doesn't hold up. The story feels overly convoluted, and not in a clever way. The whole setup with diaries and flashbacks feels forced, and the narrative never really comes together in a satisfying way. I found myself losing interest halfway through because the plot seemed to be going in circles, and even when it tried to deliver twists, they were predictable and unconvincing.

And let's talk about the characters. For a film that's supposed to hinge on romance and action, the characters are either irritating or simply unlikable. Allu Arjun's lead character, while a great action hero, comes across as emotionally shallow and inconsistent. There's very little depth to him, making it hard to root for his romantic struggles. Amala Paul and Catherine Tresa, who play the female leads, are underused and reduced to stereotypical roles, lacking any real substance. Instead of being engaging or relatable, they come across as one-dimensional, which only adds to the film's frustration.

The villain is even worse. One-dimensional doesn't even begin to cover it. The antagonist feels more like a cartoonish stereotype than an actual threat. There's no nuance, no depth, and certainly no motivation that feels believable or compelling. It's like he's there just to give the film something to resolve in the final act, but there's no emotional weight behind it.

The film's length is another major issue. At nearly three hours, Iddarammayilatho feels bloated. There's simply not enough story or character development to justify the runtime. It drags on, especially in the second half, where scenes feel repetitive and unnecessary. By the time the climax rolled around, I was more than ready for it to end.

I can't deny that there's some enjoyment to be found in the film. The action sequences are well-choreographed, and the technical aspects, like the cinematography and music, are solid. But beyond that, the film is a letdown. It's a case of style over substance, and while that might work for a short burst of entertainment, it's not enough to carry a full-length film.

In the end, Iddarammayilatho feels like a missed opportunity. It had the potential to be an exciting blend of romance and action, but instead, it gets bogged down by a weak plot, unlikable characters, and a bloated runtime. For all its flashy visuals and energetic set pieces, the film just doesn't offer enough to keep me invested.

Kimi (2022)

Visually Sharp, Narratively Flat

[6/10 · 17 September 2024]

Kimi offers a sleek and visually compelling experience, but it's a film that doesn't quite live up to its potential. Let's start with the positives. The cinematography is superb, and the film is filled with crisp, engaging shots that heighten the tension and give you that sense of claustrophobia that really pulls you into the protagonist's world. Zoë Kravitz also gives a strong performance, portraying a tech-savvy, anxiety-ridden heroine with a mix of vulnerability and resilience. Her presence on screen is commanding, and she's easily the best part of the film.

However, once you move past the technical brilliance and the lead's performance, Kimi starts to lose its charm. The narrative feels thin and underdeveloped. The film kicks off with an intriguing setup-Angela, a tech worker, discovers a potential crime while reviewing data-but it never quite builds the suspense or tension that you'd expect from a thriller. There's a certain predictability to the plot, and after the first 30 minutes, you kind of know where things are headed. That's not to say the film doesn't try to surprise you, but the twists feel half-hearted, more like ticking off boxes in a standard thriller checklist than genuinely creative storytelling.

The supporting characters don't add much to the narrative either. They mostly feel like archetypes rather than fully realized people, existing only to serve Angela's storyline. There's so much potential for exploring deeper, more nuanced themes of surveillance, privacy, and personal security, but instead, the film keeps things surface-level.

What's frustrating is that Kimi is trying to say something about our relationship with technology and how much we rely on it, but it doesn't dive deep enough into those themes to leave a lasting impact. It's a thriller that stays in its comfort zone, never quite pushing itself to take risks or develop its ideas further.

In the end, while Kimi delivers on atmosphere and performance, it's held back by a weak narrative that doesn't quite live up to its promise. It's a stylish film, no doubt, but one that feels more like an experiment in aesthetics than a fully realized story. For all the sharp visuals and tense moments, the film ultimately falls flat where it matters most-its story.

Shamshera (2022)

Ambitious but hollow spectacle

[6/10 · 17 September 2024]

Shamshera is a film that reaches for grandeur, and in some ways, it does succeed. The world-building is impressive, with its dusty landscapes and towering fortresses giving it a real epic feel. From the costumes to the set designs, the film manages to immerse you in a time of rebellion and rugged survival. There's no denying that visually, the film is striking, and it certainly delivers on the spectacle it promises. For those moments where you want to just sit back and be entertained, Shamshera has plenty to offer with its action sequences and dramatic moments. The ambition behind the project is clear, and in terms of pure entertainment value, it's hard to argue that it doesn't try to give you a show.

But here's the problem: all that ambition falls apart when you look closely at the narrative. The story itself is disappointingly derivative. It feels like I've seen this plot many times before - an underdog fighting against a tyrannical regime - and Shamshera does little to breathe fresh life into the formula. The script just doesn't have the depth or creativity to support the film's grand aspirations. It's not just that the plot is familiar, it's that the execution feels lacking, almost like the filmmakers were more focused on style than substance.

The film's length is another major drawback. At nearly three hours, Shamshera feels bloated. I found myself checking the time more than once, especially during the middle section where the story seems to drag without much purpose. There are moments that could've been trimmed down, and the pacing would've benefitted from a more streamlined approach. Instead, it stretches out to the point where the epicness becomes overwhelming rather than engaging.

Another issue that really stood out to me was the lack of logic in certain parts of the film. There are moments where the characters' decisions or the direction the plot takes just don't make sense, which pulled me out of the immersive world that was so carefully constructed. It's frustrating because the film asks you to take it seriously, but then undermines that with over-the-top, sometimes ridiculous scenarios that feel out of place even in a film that's supposed to be larger-than-life.

The performances are decent, and the actors do what they can with the material, but the characters themselves don't have much depth. They're more archetypes than fully developed people, which makes it hard to connect with them on a deeper level. The villain is particularly one-dimensional, more of a caricature than a real threat. And while the action scenes are entertaining, they also lean into an over-the-top style that can sometimes feel exhausting rather than exciting.

On the whole, Shamshera is a film with grand ambitions but not enough substance to back it up. It offers some impressive visuals and entertaining moments, but the derivative script, lack of creativity, and overblown runtime ultimately make it a hollow experience. It's the kind of film that looks great on the surface but doesn't leave much of an impact once the credits roll.

Lake Mungo (2008)

Eerily real, Hauntingly slow

[7/10 · 17 September 2024]

Lake Mungo is an unconventional horror film that offers something quite different from the usual jump scares and gore that I've come to expect from the genre. What makes this movie stand out is its creative approach. Presented as a faux-documentary, the film leans heavily into a sense of realism that makes it feel all too plausible. The interview format, coupled with raw home footage, gives it an authenticity that blurs the line between fiction and reality, making the supernatural elements even more unsettling. It's not just a ghost story; it's a psychological exploration of grief, loss, and the secrets we carry.

One of the film's major strengths lies in its cinematography. Every frame is carefully composed, often using still shots that heighten the eerie, almost voyeuristic feeling as if we're intruding on something private. Lake Mungo also delves into some weighty themes, and I found its commentary on death and grief to be thought-provoking. It's less about scaring you outright and more about creeping into your thoughts, asking questions about the way we deal with loss and the idea that even those closest to us have hidden parts of their lives. That psychological depth is what sets this film apart from standard horror fare. There's a subtle, lingering sense of dread that builds throughout the movie, and by the end, I was left with a lot to think about.

However, I will admit that the film's slow pacing can be a bit of a hurdle. For all the creative decisions that work in Lake Mungo's favor, the story takes its time unfolding; perhaps too much time. There are stretches where the narrative feels stagnant, and while that deliberate pacing does add to the realism, it also requires a fair amount of patience. I can see how some might find it frustratingly slow, especially if they're expecting a more traditional horror experience.

And yes, the film is undeniably bleak. From start to finish, there's a heavy sense of sorrow that weighs down the story. While that's part of what makes it so effective, it also means this isn't a film you'd necessarily want to rewatch anytime soon. It's emotionally draining in a way that might leave you feeling more melancholy than frightened by the time the credits roll.

All in all, Lake Mungo is an impressive piece of work that challenges the conventions of horror cinema. It's creative, visually striking, and loaded with themes that stay with you long after the film is over. But it's also slow-moving and unrelentingly bleak, which might not be to everyone's taste. If you're looking for a horror movie that's more about atmosphere and psychological depth than outright scares, this is definitely worth watching. Just be prepared for a quiet, haunting experience rather than an adrenaline rush.

The Good Nurse (2022)

Gripping but Protracted

[7/10 · 17 September 2024]

The Good Nurse presents a compelling true crime narrative that grips from start to finish, yet it's not without its flaws. The film's central strength lies in its performances. Jessica Chastain and Eddie Redmayne deliver exceptional work, with Chastain portraying a nurse caught in a web of deceit and Redmayne embodying a chillingly understated villain. Their performances anchor the film and bring depth to a story that is both harrowing and enthralling.

The themes explored in The Good Nurse are incredibly relevant and disturbing, shedding light on the dark side of healthcare and the vulnerability of patients. The film's exploration of trust, betrayal, and the systemic failures within the medical system is both eye-opening and unsettling. The way it delves into these themes helps maintain a taut, suspenseful atmosphere throughout.

However, the film does have its drawbacks. The pacing can be quite slow, with some scenes dragging on longer than necessary. While the film's deliberate pace helps build tension, it also results in a feeling of sluggishness at times. The length of the film, combined with this slower pacing, might make it feel a bit laborious, especially if you're looking for a more tightly wound thriller.

Moreover, despite the film's strong performances and thematic depth, it occasionally struggles with narrative momentum. There are moments where the story's progression seems to stall, which can detract from the overall impact and make the film feel more drawn-out than it needs to be.

In summary, The Good Nurse is a gripping film that stands out for its powerful performances and intense exploration of its themes. However, its slow pacing and lengthy runtime might make it a bit of a slog for some viewers. If you're prepared for a more deliberate, tension-building experience, this film offers a deeply engaging and unsettling look into a true crime story.

American Pie (1999)

Nostalgia Over Substance

[6/10 · 17 September 2024]

American Pie, while there are certainly aspects that might appeal to some, especially those looking for a dose of 90s teen comedy nostalgia, there are notable drawbacks that make it less enjoyable from my current perspective.

On the positive side, the film captures a certain era of adolescent humor and has a knack for delivering some genuinely funny moments. The ensemble cast, including Jason Biggs and Alyson Hannigan, bring a certain charm to their roles, and there's a palpable energy that reflects the youthful exuberance of the time. The comedic timing is sharp in parts, and the film's lighthearted approach provides a few laughs that feel authentic.

However, the negatives outweigh these positives for me. The film's humor often leans heavily into cringe territory. Many of the jokes feel outdated or awkwardly forced, which can make for uncomfortable viewing rather than genuine amusement. The absurdity of some scenarios, while intended to be humorous, often comes across as far-fetched and lacking in subtlety. The script seems to rely too much on shock value and crude humor, which can feel more embarrassing than entertaining.

Additionally, the character development is minimal, and the plot relies heavily on stereotypical teenage experiences. While this might have resonated with some audiences back then, it feels quite shallow and predictable now. The film's attempts to capture the complexities of teenage life fall flat, instead focusing on exaggerated situations that detract from any potential depth.

In summary, American Pie is a film that has its moments of nostalgic value and provides some laughs, but it's marred by cringe-worthy humor and an overly simplistic script. The absurd scenarios and reliance on crude jokes make it a bit of a chore to watch through a modern lens. If you're in the mood for a throwback to a simpler comedic time, it might hit the spot, but be prepared for a lot of eye-rolls along the way.

The Nice Guys (2016)

Stylish but scattershot

[7/10 · 17 September 2024]

This film boasts some impressive elements but falls short in key areas that detract from its overall effectiveness. The film's performances are undoubtedly a highlight; both Russell Crowe and Ryan Gosling deliver charismatic portrayals, and their chemistry is genuinely enjoyable. They bring a comedic flair and a sense of fun that makes their dynamic engaging, providing some much-needed levity amidst the chaos.

The cinematography and production design are also worth noting. The film captures the 1970s Los Angeles setting with a stylish and authentic feel. The attention to detail in the sets and costumes helps immerse me in the period, and the visual flair adds a certain charm to the movie.

However, these positives are overshadowed by several notable flaws for me. The plot often feels meandering and disjointed, making it difficult to follow and engage with. There are numerous twists and turns, but they tend to be more confusing than intriguing. The film struggles with setting up conflicts in a way that feels coherent, which undermines the suspense and stakes.

Additionally, the film's cynicism can be a bit off-putting. While it aims for a noir-inspired tone, the relentless focus on dark humor and satire sometimes feels heavy-handed, overshadowing the more nuanced aspects of the story. The film's attempt at being both a comedy and a thriller results in a tone that feels inconsistent, which can be jarring.

On the whole, The Nice Guys is a film that shines with its performances and visual style but falters with its disjointed plot and overbearing cynicism. While the stylish execution and charismatic leads offer some entertainment value, the film's lack of coherent conflict and confusing narrative detract from its overall impact. If you appreciate a period piece with flair, it might be worth a watch, but don't expect a tightly woven story.

Independence Day (1996)

Explosive yet predictable

[7/10 · 17 September 2024]

Independence Day is a film that undeniably offers a hefty dose of entertainment with its large-scale action and impressive visual effects. The spectacle of the alien invasion and the subsequent battle for Earth is undeniably thrilling, and the film's sheer scale is impressive. The special effects, especially for its time, were groundbreaking and still hold up in many respects, delivering the grandiose destruction and chaos you'd expect from a summer blockbuster.

However, despite these positives, I found the film to be riddled with issues that detract from its overall impact. The plot feels highly derivative, borrowing heavily from other alien invasion narratives without adding much new or innovative to the genre. The predictability of the storyline makes it hard to stay fully engaged, as the outcome and key plot points become all too obvious early on.

The film's dialogue often comes off as clunky and clichéd, which, combined with its lengthy runtime, contributes to a sense of weariness as the story drags on. The over-the-top absurdity of some scenes, while entertaining in its own right, occasionally crosses the line into the realm of the implausible. This makes it harder to suspend disbelief and fully immerse myself in the film's world.

All in all, Independence Day delivers in terms of spectacle and entertainment, offering a fun, if not entirely original, cinematic experience. However, its predictability, overlong runtime, and at times cringe-worthy dialogue make it a less engaging watch than it could have been. If you're in the mood for a high-octane action flick with grand effects, it's worth a watch, but don't expect a groundbreaking narrative or deeply memorable dialogue.

The Rover (2014)

Brooding but meandering

[8/10 · 17 September 2024]

The Rover presents a compelling mix of strengths and weaknesses. On the plus side, the film excels in its performances and cinematography. Guy Pearce and Robert Pattinson deliver intense, grounded portrayals that anchor the film's bleak narrative. The cinematography, with its desolate landscapes and muted color palette, effectively conveys the film's post-apocalyptic atmosphere and adds a layer of visual depth to the story. The opening sequence, in particular, sets a high bar with its gripping introduction to the film's world and central conflict.

However, as the film progresses, the excitement of that opening sequence starts to wane. While the initial setup is engaging, the story quickly becomes meandering and slow-paced. The film's deliberate pacing and sparse dialogue might appeal to those who appreciate a more meditative approach, but I found it challenging to stay invested as the plot drifts without much direction. The lack of thrills and the slow development can make the viewing experience feel drawn-out and laborious.

On the whole, The Rover is a film that stands out with its strong performances and atmospheric cinematography. However, its meandering plot and slow pace ultimately detract from the initial impact of its gripping opening. If you're drawn to character-driven dramas and can appreciate a more deliberate storytelling style, it's worth a watch, but be prepared for a narrative that unfolds at its own, leisurely pace.

Chip 'n Dale: Rescue Rangers (2022)

Nostalgic Fun with Flaws

[7/10 · 17 September 2024]

Chip 'N Dale: Rescue Rangers is a film that offers a delightful blast from the past with its charming concept and high entertainment value. I found the blend of live-action and animation to be quite engaging, capturing the nostalgic essence of the original series while introducing fresh, humorous elements. The film's playful take on the classic characters provides plenty of enjoyable moments and pays homage to the beloved duo in a way that fans of the show will appreciate.

However, despite its strengths, the film does have some noticeable drawbacks. The story, while entertaining, tends to be quite predictable, lacking the twists and turns that could have made it more engaging. The 2D animation, though nostalgic, sometimes feels out of place and doesn't always blend seamlessly with the live-action elements. This can occasionally pull me out of the experience, making the visuals feel a bit jarring. Additionally, while many of the jokes hit their mark, there are moments when the humor falls flat, which can dampen the overall enjoyment.

In summary, Chip 'N Dale: Rescue Rangers successfully delivers on entertainment and nostalgic charm, making it an enjoyable watch for fans of the original series. However, its predictable plot, occasional visual inconsistencies, and uneven humor prevent it from being a standout film. If you're looking for a fun, lighthearted trip down memory lane, it's worth checking out, but don't expect a groundbreaking narrative or perfect execution.

Chickenhare and the Hamster of Darkness (2022)

Darkness with furry flaws

[6/10 · 17 September 2024]

Hamster of Darkness is a film that presents an intriguing premise with a certain charm, but it ultimately misses the mark in several ways. The concept of a hamster navigating a dark, mysterious world is unique and imaginative, offering a fresh take on the adventure genre. I found some of the characters to be endearing. The look of the film also has its moments, with a few visually striking scenes that hint at what could have been a more engaging experience.

However, despite these positives, the film struggles in several key areas. The plot is often confusing and lacks a clear direction, making it hard to stay invested. The story meanders without much sense of progression, and the narrative's attempts at depth sometimes come off as forced. Additionally, while the film's quirky concept is interesting, it doesn't fully capitalize on its potential, resulting in a somewhat underwhelming execution.

In conclusion, Hamster of Darkness offers a unique concept and some charming performances, but its lackluster plot, inconsistency, and occasionally awkward dialogue prevent it from being a truly memorable film. It's worth a watch for its creative premise, but don't expect a fully realized or polished experience.

Shrek (2001)

Charming fairy tale reboot

[7/10 · 17 September 2024]

Shrek remains a delightful film that holds a special place in the realm of animated classics. The story is both engaging and clever, offering a fresh twist on traditional fairy tale tropes that makes it stand out from the crowd. I've always enjoyed how it subverts expectations with its humor and memorable characters, turning the familiar story of a grumpy ogre into something truly entertaining.

The humor is definitely one of the film's strong suits. It's filled with witty dialogue and hilarious moments that appeal to both kids and adults, making it a great family film. The film's significance in animation history is also noteworthy; it pushed boundaries and set a new standard for animated storytelling with its unique blend of comedy and heart.

However, Shrek does have some weaknesses. The plot is somewhat predictable, following a familiar pattern that becomes evident as the story progresses. While the animation was groundbreaking at the time, it now feels a bit dated compared to today's high standards. That said, considering it was among the early entries in CGI animation, this is understandable and forgivable.

In conclusion, Shrek is a charming and enjoyable film with a clever story and lots of humor that still holds up well. Although it has some predictable elements and its animation feels a bit dated, these minor flaws don't overshadow its impact and entertainment value. It's a classic that continues to entertain and bring smiles, reflecting its well-deserved place in animation history.