Reviews

11.22.63 is the best adaptation of a Stephen King novel I've seen and easily deserves a 10/10 rating. This series isn't a horror but a gripping time travel thriller about a teacher who journeys back to the 1960s with a mission to prevent the assassination of JFK.

The past, with its unpredictable ways, often thwarts his attempts to alter the future, leading to unexpected twists and turns that keep you on the edge of your seat.

Brilliant performances from James Franco and Sarah Gadon elevate the story, and the entire series is masterfully filmed. As a limited series of eight episodes, it's incredibly binge-watchable-I finished it in just a couple of days. Highly recommended!

Two words sum up this film: boring and rubbish. I get that it's fiction, but it would be nice if it made the slightest bit of sense. Did the makers have a bet to see if they could make a film with the most plot holes?

Don't be fooled by the presence of John Hurt in the credits, proving that even the greatest actors can appear in terrible films.

I struggled to get to the end of this movie, maybe in the hope they would explain why a train would be chosen to save humanity, let alone how they built the tracks.

Absolute garbage - don't bother.wasting your time on this film. It's a prime example of how not to do sci-fi. The story had potential, but it was executed terribly. If you're looking for a cohesive plot and well-thought-out world-building, look elsewhere. Snowpiercer fails on every level.

Rolling Thunder appeared on Amazon's suggested viewing saying it was one of Quentin Taranino's favourite film.

Intrigued by Tarantino's praise I decided to watch Rolling Thunder. Thankfully, this revenge thriller exceeded expectations, living up to the recommendation of the renowned director.

William Devane, delivers a powerful performance as a Vietnam vet seeking vengeance after a brutal home invasion leaves him physically and emotionally scarred. The cinematography is truly superb, and it's easy to see how it might have influenced Tarantino's visual style.

While the pacing is deliberate, building suspense with a slow-burn approach, it also offers a fascinating window into the disillusionment and social anxieties of the 1970s. This patient approach allows the characters and their motivations to simmer, making the eventual payoff all the more satisfying.

Having earned a cult following, Rolling Thunder remains a worthy watch for film buffs five decades later. It's a suspenseful character study that stands the test of time.

Anne Hathaway portrays a divorced 40-year-old mother who unexpectedly meets August Moon, the world's largest boy band. She ignites a romance with the lead singer, Hayes Campbell, played by Nicolas Galitzine, who perfectly fits the role.

"The Idea of You" encompasses all the classic elements of a romantic comedy, but there is a lot more to this film. The constant presence of the paparazzi adds a layer of tension, showing the dark side of fame and the pressure celebrities face. It also tackles the double standard of age in relationships, with Anne Hathaway's character facing judgment for dating a younger man. Thankfully, the film doesn't shy away from these issues but explores them with humour and honesty. Speaking of humour, there are plenty of good jokes throughout, and for the most part, I had a big smile on my face.

The music throughout the film is of a top standard that I could believe might be that of the world's biggest boyband, showcasing Galitzine's musical talent and versatility as an actor. While it had all the ingredients of a rom-com, they were executed in the film's own unique way, and it wasn't just another rom-com going through predictable motions.

I was surprised at how much I enjoyed this film. The exploration of ageism and paparazzi culture made the film stand out as that bit extra good while still keeping the rom-com charm. If you're a rom-com fan, then it's unlikely you wouldn't enjoy this.

This is a fun, easy watch for some lighthearted laughs. It's not award-worthy, but the dog antics are hilarious, and the voice-over work is spot-on. While the humour is often silly and a bit crude, it's mostly harmless.

However, if you're easily offended by strong language or suggestive jokes, this might not be your cup of tea. Strays came with a 15 rating on Sky Cinema. However, I suspect the film would be most appreciated by teenagers under 15. I wouldn't have had any issue letting my kids watch this at a slightly younger age.

At times I found the film a bit tedieous and I doubt I'd watch it again in a hurry. Still, for anyone looking for a lighthearted dog comedy with impressive dog choreography, Strays delivers.

Overall, Strays offers a blend of edgy humour and playful mischief, appealing to dog lovers, kids whose parents let them watch it, and adults alike.

Having read mixed reviews about Halo, I approached it with an open mind.

I was aware that the show deviated from the game's plot. However, this didn't deter my interest as I was more focused on the series as a standalone entity.

I enjoyed watching this series; the special effects and action scenes were phenomenal and always visually engaging. The battles felt visceral and intense, transporting me right into the heart of the conflict. The iconic vehicles and weapons from the games were translated beautifully to the screen.

The plot was, at times, a bit convoluted as it weaved multiple storylines together. There were moments where the pacing felt uneven, with some sections dragging slightly. However, the core story remained engaging, thanks in large part to the strong cast. The characters were well-developed and brought to life with excellent performances. The cinematography was also top-notch, creating a stunning visual world that complemented the story perfectly.

Despite the occasional pacing hiccups, I found the overall story engaging. The characters were well-developed and brought to life with excellent performances. The cinematography was also top-notch, creating a stunning visual world that complemented the story perfectly.

Thankfully, the second season maintained the quality established in the first. It left me wanting more and eagerly anticipating season 3. If you're looking for a visually stunning sci-fi action series with a compelling story and strong characters, then Halo is definitely worth checking out, especially if you can go in with an open mind about its deviations from the source material.

When this limited series popped up on Netflix, I only intended to watch the first couple of episodes, but I ended up binge-watching the entire series in one go.

The story follows struggling comedian Donny (played by the show's writer and director, Richard Gadd), who encounters a crazy woman named Martha. What starts as an awkward encounter escalates into a horrifying situation. Gunning delivers a chilling performance as Martha, while Gadd portrays Donny's descent into fear with raw vulnerability.

I like going into a show blind, yet I find it's only the best ones that can hook me in quickly when I don't know anything about it; otherwise, I like to have some knowledge of what it's about.

Baby Reindeer can be described as a black comedy, but it also has much tension, making it equally a dark psychological drama. The opening credits start with a notice that it's based on actual events. I have no idea how much of it has been embellished for artistic license. Honestly, you couldn't make this up, and while it's a strange story that unfolds, nothing in it is unbelievable.

While the show does provide some funny moments, it's a lot more than a comedy. It has as much tension, if not more, than an A-list Hollywood blockbuster thriller. There are moments when I cringe as if I were in the room with them, feeling the awkward tension, and other moments where I feel myself shouting at the screen, warning Donny to get out quickly before his stalker, Martha, sees him.

Baby Reindeer isn't afraid to tackle tough topics like drugs, mental health, and sexual abuse. The show's unflinching portrayal might not be for everyone, hence the 18+ rating.

I've always thought being a stand-up comedian is a tough job. Richard Gadd gives a fantastic performance of his own bad comedy routine that doesn't hit the mark, and I found myself rooting for him to tell a better joke and for the audience to laugh. I gained a whole new level of respect for comedians.

If you enjoy thought-provoking dark dramas with solid performances and a touch of humour, I highly recommend Baby Reindeer.

Fallout is set in a clumsily put-together post-nuclear apocalypse world based on the computer game of the same name.

While it boasts some impressive sets, the convoluted plot brings out mediocre at best from the actors who merely go through the motions of the drab storyline that is as bleak as the apocalyptic world itself.

It appears that creating a TV series based on a popular computer game has become a common trend, similar to how computer games used to be developed from TV shows or movies. Honestly, they needn't have bothered; watching your kids playing the game over their shoulders is more entertaining. Unless you're a die-hard fan of the game, this is one to miss.

Some have compared Young Royals to a gay Swedish version of The Crown; both share a first-class cast, excellent script, and brilliant production. However, this series is a fictional tale following the life of a second-born son of a contemporary Swedish monarch.

The TV show shares a plot similarity with the book Red, White & Royal Blue and its comedic film adaptation, yet Young Royals' is crafted as a drama series. However, it has the intensity and passion of 'Red, White & Royal Blue' on steroids, a richness afforded by its extended narrative arc. This longer format allows the drama, love, and conflicts to develop and resonate more deeply than in a conventional two-hour film.

I want to clarify that Young Royals is much more than just a teen drama. Although that age group may appreciate the series, its rich narrative and complex characters are designed to captivate audiences of all ages. The show has a lot going on with great characters. In Young Royals, the prince falls in love with someone from an immigrant family of Latin American descent, like Taylor Zakhar Perez's character. However, in this case, the love interest is a day boarder from a poor background, not the president's son.

Amidst the tension and the personal battles associated with coming out, Young Royals introduces a compelling undercurrent of acceptance. Several characters, including peers at the school, openly embrace Wilhelm and Simon's relationship, showcasing a spectrum of responses. Notably, a forward-thinking royal advisor sees their love as an opportunity to usher the monarchy into a new era. The Queen, torn between tradition and maternal instincts, embodies the conflict many parents face, striving to reconcile her values with her unconditional love for her son. This depiction adds a layer of realism and hope, illustrating the evolving attitudes towards LGBT relationships within different societal strata.

It is undeniable that there were gay royals in history, but none of them have ever publicly come out. If a royal were to come out as gay, Sweden would likely be a country more accepting of it. However, the show portrays conservative elements of the Swedish establishment as finding it difficult to accept an openly gay prince.

Although Young Royals primarily focuses on its central romance, the series ambitiously explores beyond it, uncovering the dark side of seemingly perfect facades. It thoughtfully critiques class divisions, artfully reminding viewers that such disparities extend beyond British borders. The series delves into the intricacies of wealth and privilege, juxtaposing royalty's polished yet pressure-laden existence against the harsh realities of those outside the gilded cage. The initiation rituals, symbolic of the series' critical eye, serve as a rite of passage and a poignant commentary on how traditions can perpetuate exclusion. Far from harmless, these rituals underscore the painful lengths individuals go to belong, challenging the notions of royalty and commonality.

I have not selected the 'contains spoilers' option; therefore, I will avoid revealing too much about the show's plot. The story is best enjoyed without prior knowledge of the unexpected twists and turns it takes.

The show is filled with tense moments, particularly in a scene where the young Prince is in court with his parents and boyfriend. Despite their attempts to be polite, the awkwardness is palpable, making you feel like you're in the room with them. This is a testament to the exceptional skill of the directors and actors, who have flawlessly brought the script to life.

While the show centres around the relationship between Prince Wilhelm (Edwin Ryding) and Simon (Omar Rudberg), several subplots involve other characters. Aisha (Frida Argento) grapples with balancing her loyalty to her brother and navigating the complexities of life at the prestigious boarding school, often feeling like an outsider.

Then there's August (Malte Gårdinger), Prince Wilhelm's cousin and confidante, who emerges as a key character. Initially, August appears to be Wilhelm's supportive pillar. However, as the layers of his personality are gradually revealed, the show delves into the complexities of his loyalty and ambitions. Throughout this exploration, viewers are often left wondering if he's perhaps not such a bad guy despite the challenging situations that arise.

Building on the complexities of August and Wilhelm's dynamic, Young Royals dives deep into the themes of societal expectations and the pressures of royalty. The show doesn't shy away from portraying the stifling nature of tradition and duty. We see characters like Wilhelm struggle to reconcile who they are with who they're expected to be. This clash between public image and private reality becomes a central conflict, raising questions about the sacrifices demanded by a life in the spotlight.

Young Royals is a love story; there's not much sexuality in the series, which is limited mainly to kissing. The creators chose to keep this minimal and tasteful, making it difficult to criticise. This is a good thing, given the subject matter. The focus stays on the character's emotional journey and their relationships' complexities rather than on explicit scenes that might feel out of place in a story about a young royal navigating societal expectations.

Recently, I've leaned towards reviewing shows that resonate deeply with me. Despite often struggling to differentiate between a 9 and a 10, rating Royals was effortless. This show undoubtedly merits a 10/10.

A friend recommended I watch Night Sky; as is often the case with less well-marketed yet exceptionally good shows, they gain traction by word-of-mouth, which is why I was surprised and disappointed to learn Amazon cancelled it after one season.

I don't understand why streaming services often cancel great shows without giving them a chance. I guess it's reasonable if the show is a big-budget production that didn't get enough viewership or if it's genuinely bad. Night Sky is not bad; it's brilliant. The decision to cancel is an act of cultural vandalism, especially when one considers that much of the rubbish gets multiple seasons.

Shows that meticulously unfold multilayered storylines and develop rich, complex characters-qualities that often require a slow-burn approach-are unlikely to achieve blockbuster viewing figures. This is not a reflection of their quality but rather an acknowledgement of the broader viewing preferences that tend to favour faster-paced entertainment.

Considering the glowing reviews for Night Sky, it's surprising to think it wouldn't resonate with a certain proportion of viewers who appreciate its depth. These positive reactions highlight the existence of an audience that values intricate storytelling and character development over action-packed sequences and simplistic narratives. It's important to recognise that viewers have diverse preferences. Cancelling shows that lack conventional appeal disregards their impact and engagement for dedicated audiences.

Night Sky is a sci-fi narrative that emphasises human stories and relationships over the hard science and technological facets. The heartwarming performances by Sissy Spacek and J. K. Simmons add depth and emotional resonance to the show beyond its sci-fi framework.

Irene and Franklin, a seemingly ordinary couple, possess a mysterious chamber hidden beneath their yard. This portal grants access to another world, shimmering with possibility. As they explore this wonder, they grapple with the consequences of defying the boundaries of reality and the forces determined to keep them closed.

Night Sky epitomises what many would label a 'slow burn,' a term that, in this context, should not be misconstrued as a negative. Rather, it signifies a show that savours its storytelling, allowing the plot and dialogue to unfold at a pace that keeps viewers deeply intrigued. This measured approach does not impede the story's momentum; instead, it enriches the viewing experience, ensuring that when moments of action do occur, they are all the more impactful. Unlike typical action-centric series, Night Sky finds its strength in restraint, making each instance of excitement not just a plot point, but a meaningful moment that resonates with the audience.

I wholeheartedly recommend watching Night Sky. Despite its premature conclusion, the series manages to both pose intriguing questions and offer some resolutions, particularly in its final episode, which is exceptionally well-crafted. While it leaves the door open for further exploration, the journey it provides is complete enough to be rewarding on its own.

I am confident that Night Sky will continue to be unearthed by more viewers and recognised as the hidden gem it truly is, thanks to the power of word-of-mouth. Despite its current status, I hold onto the hope that it may one day be renewed, as it seems I have more confidence in the calibre of Amazon's shows than Amazon. Even without a second season, Night Sky is a rewarding journey that will stay with you long after the credits roll.

I had been anticipating watching Netflix's 3 Body Problem. Though I haven't read the novel by Chinese author Liu Cixin, I've heard good things about it, so I wasn't concerned with reviews mentioning differences from the book. Many great TV shows are not entirely faithful to the books they are based on, such as Game of Thrones, which was adapted by the same people who made 3 Body Problem. If it weren't for watching Game of Thrones, I would never have discovered the books, and now, after seeing this show, I am interested in reading the books.

I didn't know much about the book's plot, so I went in mostly blind, not knowing what to expect. It's interesting to note that this adaptation takes a British perspective. The show relies heavily on a well-written script and strong character development, creating a sense of suspense and intrigue without relying solely on large-scale alien battles and special effects. While the special effects used are impressive, the focus remains on the characters and their struggles in the face of a potential alien threat.

The show effectively creates suspense through its methodical pacing and gradual reveals. The characters' inner conflicts further heighten the intrigue, leaving you always guessing what will happen next. Beyond the aliens and spaceships, the show explores the complex themes of first contact and humanity's capacity for survival in the face of an existential threat. These philosophical questions add depth to the narrative and make you think beyond the action.

It took me only three nights to finish, and I was left wanting more! The story is expertly paced, leaving me eager to see how the characters navigate the coming challenges. However, Netflix has a history of cancelling shows with potential before they reach their full potential. Here's hoping they recognise the brilliance of 3 Body Problem and renew it for a second season and beyond, as I'm eager to see how the story unfolds.

Poor Things is a quirky black comedy that hinges on the outrageous premise of resurrecting a young woman (Emma Stone) through a brain transplant from a preserved fetus. Stone delivers a deserving Oscar-worthy performance as Bella Baxter, a woman with the body of a young adult and the mind of a child, navigating Victorian society with wide-eyed innocence and a surprising amount of sass.

The film isn't for the faint of heart. Prepare for dark humor, social commentary, and situations that are both hilarious and unsettling. Bella's journey takes her on an adventure with the roguish lawyer Duncan Wedderburn (Mark Ruffalo), leading them across continents in a whirlwind of bizarre encounters and laugh-out-loud moments.

Visually, Poor Things is a treat. The filmmakers employ stylish sets and contrasting cinematography techniques, including sections filmed in striking black and white. This adds to the film's unique atmosphere and whimsical charm.

Emma Stone shines brightly as Bella Baxter. Her portrayal of a woman with childlike wonder and vulnerability is nothing short of captivating. The way she embodies Bella's unique perspective anchors the film's humor and heart. The supporting cast also delivers strong performances.

Be warned: This is not your typical comedy. It pushes boundaries and tackles sensitive themes. If you're easily offended, steer clear. But for those seeking a wildly entertaining and thought-provoking film experience, Poor Things is a must-watch. It's funny, it's strange, and it will stay with you long after the credits roll.

As a cinephile with a penchant for the authenticity that subtitles bring to foreign films, I approached Funny Games with a particular interest. Despite my unfamiliarity with Michael Haneke's original 1997 Austrian film, the intrigue surrounding its English-language remake-also directed by Haneke-piqued my curiosity. This unique situation promised a blend of authenticity and accessibility, making Funny Games an exception in my exploration of cinema.

Going in with minimal knowledge, only aware of a family's hostage situation at a lakeside retreat, Funny Games quickly captivated me. Despite being a slow-burn thriller, the film never lost my attention. While I don't actively seek out slow-burn films, they can be incredibly rewarding when done well. Thankfully, Funny Games kept me on the edge of my seat the entire time, so the pacing never felt sluggish. It even managed to surprise me with a few jump scares!

The psychological and physical torment inflicted upon the family is palpable. Their terror is so effectively conveyed that it's easy to empathise with their paralysis. The power dynamic between the captors, Peter and Paul, is chilling. Their menacing politeness masks a sadistic cruelty that systematically breaks down their victims' spirits.

This film thrives on strong performances, masterful camerawork, and a tight script. The entire cast brings their A-game, effectively conveying the escalating tension and desperation. The horror is largely psychological, leaving the audience to fill in the blanks of the violence, which makes it all the more unsettling. If you're looking for a gory slasher flick, this isn't it. Funny Games is a disturbing and thought-provoking exploration of human cruelty and the fragility of sanity. Highly recommended for those who appreciate suspenseful psychological thrillers with a lasting impact.

A Prophet is a well-crafted French crime drama that shines in its technical aspects. The cinematography is superb, with immersive close-ups and clever single shots that pack a lot of information into the frame. The acting is strong, particularly Tahar Rahim's lead performance as Malik. The slow-burn pacing, while deliberate, manages to maintain intrigue throughout the film.

However, the film attempts to cover a lot of ground in its runtime, which can feel overwhelming at times. While the themes of power, identity, and the brutal realities of prison life are explored, the film might not reach the level of profoundness some viewers seek.

A Prophet is a visually arresting and well-acted film, but its dense plot and lack of thematic depth might leave some viewers wanting more.

This film is a good choice for those who appreciate strong cinematography, compelling performances, and slow-burn narratives.

Some of the criticism directed at Mary & George appears unwarranted, potentially arising from discomfort with its gay storyline and homoerotic elements. Yet, this show stands firmly on historical characters and events, blending fact with creative freedom to craft a captivating black comedy. Its clever humor had me laughing out loud, a rare occurrence for me.

The series ventures boldly into LGBT themes, and while it features its share of sexual content, these scenes are approached with tasteful restraint. The instances of nudity, though certainly risqué by the standards of television 30 years ago, especially concerning same-sex relationships, are skilfully filmed. They often suggest rather than show, adding to the intrigue without overshadowing the comedic and scheming aspects of the story. Far from being hardcore pornography, the portrayal is mature and perhaps not suited for children, but it's handled with care.

Nicholas Galitzine's portrayal of George Villiers is remarkable and fitting. The historical description of Villiers by the Bishop of Gloucester as "the handsomest-bodied man in all of England" finds a perfect representation in Galitzine. His stunning appearance and history of playing gay characters, despite being straight, add a genuine and convincing layer to his role.

The show also stands out for its exquisite cinematography, breathtaking locations, and detailed costumes, all of which deserve praise and contribute to a high IMDb rating.

While some reviews indicate that Mary & George may not appeal to everyone, its comedic brilliance and exploration of gay themes within a historical framework should not be dismissed lightly. This gay-centric, humorous narrative offers laughter and enjoyment across sexual orientations, affirming that quality comedy transcends boundaries. Recognising the evolution of television content presentation, Mary & George should be commended for its progressive depiction of relationships and intimacy.

I attempted to watch Sense8 when it was released but couldn't get past the first episode. However, the show continued to appear in recommendations based on my taste. I decided to give it another chance, considering that the initial episodes can be confusing.

By the end of the second episode, much more of the picture had been filled in, and I'm starting to think this looks good.

It's possible that viewers may find it difficult to fully understand the series or feel confused after watching the first episode. This is because the script introduces several interconnected storylines right from the start, making it challenging to keep track of the evolving plot. However, I encourage you not to lose hope. The writers have expertly woven these different threads together, ultimately creating a coherent and captivating storyline. If you give the series a chance and allow yourself time to adjust to the initial complexity, you'll find that it becomes much easier and more enjoyable to watch. The intricate narrative that may have seemed intimidating at first, actually enhances the viewing experience.

Sense8 intricately weaves the lives of eight telepathically connected characters, transitioning between their stories in a manner that, while initially disorienting, showcases the script's strength through engaging and diverse storylines.

While I was watching the initial episodes of the show, I found it frustrating that the dialogue would suddenly switch to different characters in a new scene just as I was getting into the previous one. However, the quality of the script was so good that it didn't take me long to become engrossed in the new storyline. This was not a problem in the second season and the later episodes of the first season, as viewers became more familiar with the characters and their stories.

The characters are well-written, and the actors portray them well. The show boasts a variety of elements, including martial arts, action, gunfights, romance, hackers, and breathtaking global locations ranging from Iceland to India.

The ensemble cast of Sense8 do remarkable performances that breathe life into their complex characters. Among the standout actors, Tuppence Middleton (Riley Blue), Brian J. Smith (Will Gorski), and Doona Bae (Sun Bak) deliver particularly compelling portrayals, capturing the essence of their characters' struggles, strengths, and interconnectedness. The chemistry among the cast is palpable, contributing significantly to the show's immersive and emotive narrative. Their collective performance made Sense8 not just a show to watch but an experience to be felt.

The series also features a wonderful cameo by Sylvester McCoy, who brings to life the character of Mr. Hoy with his unmistakable Scottish accent. It's a real treat to see a former Doctor Who showcasing his talents in Sense8, one of the standout sci-fi shows of its time. McCoy's performance offers a bridge between generations of sci-fi fans, allowing newer audiences to appreciate the enduring charm and skill of an actor who once traversed the cosmos in a different iconic role.

I was pleasantly surprised by how much I enjoyed this show, and the high IMDB rating it has received is well-deserved. The show has a comic-book vibe to it, which is executed brilliantly. Even when the plot gets cheesy or unrealistic, it is presented tastefully with perfectly delivered lines, impressive action sequences that rival those in a Bond movie, and a fast-paced storyline that keeps me engaged. I binge-watched the show in just a few days because it was difficult to turn off and go to bed.

Sense8 is imbued with numerous feel-good moments that set it apart from the typical tension-driven narratives where antagonists incessantly overshadow the protagonists. This series skillfully balances the scales of fortune. Although not everything goes well for the main characters, the show has many instances where they outsmart their enemies, leading to a sense of justice and friendship. These victories are important to the story and are presented in a way that makes people feel uplifted, reinforcing the themes of connection and resilience. Rather than keeping viewers in a constant state of worry about what might go wrong, Sense8 is a refreshing change where the heroes often have their moments to shine. This creates a thrilling and heartwarming experience that is empowering.

Netflix cancelled the show, but they produced a two-and-a-half-hour film to provide closure to the story. This was necessary because season 2 had ended on a cliffhanger, and it would have been frustrating for fans to be left without a conclusion. It's a shame that Netflix didn't continue the show, as it had the potential to be a great success. However, at least they filmed the final episode, which is truly fantastic.

With its captivating premise and fast pace, 'Manifest' quickly hooked me and kept me watching until the final episode.

Critics say Manifest tends to drag on like a soap opera with too many melodramatic elements, dramatic plot twists and inconsistent storylines, and that is a justifiable criticism.

Although Manifest begins with a promising start, establishing an intriguing premise, it does not take long into the first season to realise that it will not be one of those exceptional shows that captivate your attention and leave you eagerly anticipating the next episode.

That's not to say I didn't enjoy the show; I did; yes, the storyline was a bit absurd, and there are more holes in the plot line than there are holes in Blackburn, Lancashire.

While the dialogue can occasionally feel clunky and hinder the delivery, the actors capably navigate the material. It is a supernatural show, so the producers have the artistic liberty to venture into the absurd. However, at times, it goes beyond absurdity and becomes outright ridiculous. While watching, I felt that such a great concept deserved a better script. The show often resembles American cop dramas, where the cast explains everything through stilted dialogue.

Although I had some criticisms, I still watched and enjoyed every series of the show. Just because it at times resembles a soap opera doesn't mean people won't enjoy it - after all, some of the highest TV viewing figures are for soaps. While the script prioritises plot development over profound dialogue, it consistently delivers the necessary information and keeps the story moving at a good pace.

If you're one of those people who hate inconsistent storylines and gaping holes in the plot, then Manifest might not be for you, but then again, it might be, as who doesn't love picking holes in the storyline of a big TV show. It's perfect viewing if you want something easy to watch that's fast-paced and has plenty going on; for the faults with the script and unlikeliness of some of the character developments, it's a well-made show and I think the 7/10 rating it has is very fair; not the best show, but it's good fun and perfectly watchable. Despite its flaws, Manifest offers a fast-paced and entertaining escape for viewers who are happy to go with the flow and not expect the next Stranger Things.

Apparently, this film had a $15,000 budget. I would have believed it if you told me $15.

The film is long, boring, hard to watch, badly made, oh and did I say boring.

It's not arty, the Emperor has no clothes on, and this film is awful. It doesn't even score on the 'It's so bad it's funny' - if there were a 0-star rating, then that's what I would give. It's films like this that give Indy films a bad name; there's absolutely nothing going for this film, it fails on everything. Terrible cinematography, has no story, and is boring as hell. I cannot single out the worst part as that the whole thing is a mess.

I can't believe this trash made its way onto Amazon Prime; at least it was free, but I still resent the 100 minutes of my life it stole. The only reason I watched it to the end is because I wanted to leave a bad review, and I never review a title unless I watch it from start to finish.

Green Room delivers a punchy narrative that underscores the importance of a solid premise in indie filmmaking. In this gritty thriller, the premise sets the stage for an intense rollercoaster ride that keeps viewers on the edge of their seats throughout.

To avoid spoilers, I must stress that going into "Green Room" blind is the best approach. The film's brisk pace ensures that there's always something happening, even in the slower moments, which remain remarkably gripping. It's a testament to the filmmakers' skill that they maintain this level of engagement without succumbing to unnecessary embellishments or forced profundity.

The cinematography and performances are pivotal in maintaining the film's tension. Striking the delicate balance between style and substance, Green Room avoids the trap of overindulgence, delivering a raw and authentic experience that feels both immersive and impactful.

While the premise might not break new ground regarding originality, its execution is where Green Room truly shines. The familiar setup of a group of friends facing perilous circumstances is given new life through the filmmakers' ingenuity. Their ability to rejuvenate this well-worn trope is truly impressive.

Adding to the intrigue is the unexpected presence of Patrick Stewart in a role that defies expectations. Stewart's portrayal is as commanding as ever, demonstrating his versatility as an actor. His involvement in the project speaks volumes about the quality of the script and its ability to attract top-tier talent. Known for being selective with his roles, Stewart's presence in "Green Room" hints at the film's caliber and underscores its merit as a standout piece in the indie landscape.

To sum up, Green Room is an excellent illustration of how a compelling concept, combined with skilled implementation, can take a low-budget independent film to great heights.

"Stay," directed by Marc Forster and starring Ewan McGregor, Ryan Gosling, and Naomi Watts, stands as a cinematic enigma that delves deep into the complexities of the human psyche, blurring the lines between reality and perception. The film's narrative, while slightly confusing at times, is underpinned by a well-structured script that meticulously weaves together its intricate plot with enough momentum to keep viewers engaged and focused.

The cinematography in the film "Stay" is pretty decent. It uses unique visual techniques to create a surreal and dreamy atmosphere that perfectly complements the exploration of existential themes in the movie. The visuals are crucial in pulling the audience into the psychological realm of the characters, making the experience engaging and immersive.

While "Stay" might not cater to everyone's tastes, particularly those seeking straightforward entertainment, its value lies beyond conventional cinematic pleasures. The film challenges its audience to actively participate in the unraveling of its complex narrative, offering a rewarding experience for those willing to engage with its depth. The ambiguous ending and the film's overall ambiguity serve not as a flaw but as a testament to its ambition to provoke thought and discussion about consciousness, reality, and existential dread.

The performances by McGregor, Gosling, and Watts are noteworthy, each adding layers of emotional depth to their characters and enriching the film's enigmatic narrative. The actors' portrayals have played a significant role in keeping the audience engaged and invested in the film, despite its many plot twists.

"Stay" is a film that demands attention and rewards viewers who appreciate cinema that challenges and provokes. It's a hidden gem that, while not achieving blockbuster status, has found its audience over time and continues to provoke discussion and admiration for its unique approach to storytelling and its visual artistry.

While some viewers may find it confusing, those who explore its depths will have a richly rewarding experience that lingers long after the credits roll.

I'd seen all British adaptations of Harlan Cohen's books so Netflix recommended me the Spanish adaptation of The IInnocent, and I'm glad it did; I liked all the British ones, but I thought this is the best so far.

The story starts off with a young law graduate, Mateo Vidal who finds himself in prison for the accidental killing of another young man in a fight. After serving his sentence, he gets his life back on track. He marries a young woman from South America, Olivia. But things soon take a turn for the worse with Olivia, and Mateo finds himself in a web of intreage and deception.

One of the standout aspects of Harlan Coben's storytelling, which The Innocent exemplifies perfectly, is his ability to weave bizarre and complex circumstances in a way that, while immensely captivating and sometimes bordering on the incredible, never feels far-fetched or beyond the realm of possibility. Coben masterfully crafts scenarios that are as enthralling as they are plausible, making it easy for the audience to suspend disbelief and get drawn into the narrative whirlwind. The characters in The Innocent, much like in his other stories, find themselves entangled in extraordinary situations that are skillfully grounded in the intricacies of human behavior and the unpredictability of life itself.

I don't speak much Spanish, however the subtitles never detracted from the immersive experience; on the contrary, I quickly found myself engrossed in the plot and deeply invested in the characters' fates. My engagement with the story was so intense that I ended up binge-watching the entire series in just two days, staying up into the early hours of the morning to finish the last episode. The Innocent is rife with guesswork and twists that keep you on the edge of your seat, marking it as a truly great show that is very well made. This Spanish adaptation not only met my expectations but exceeded them, becoming my favorite among all the adaptations of Harlan Coben's books.

"Air," a film centred around the iconic Michael Jordan-Nike shoe deal, defies expectations to deliver a remarkably enjoyable experience. As someone not deeply versed in basketball lore, I approached this film with a degree of scepticism, unsure of how a story about a sports shoe could captivate my interest. However, the film swiftly alleviated my doubts, presenting a light-hearted, feel-good narrative that skilfully weaves the tale of how Nike successfully roped in Michael Jordan - arguably the greatest basketball player of all time - for the now legendary Air Jordan shoe.

Air has a captivating and intelligent screenplay that manages to keep you invested and rooting for the conclusion, despite the historical outcome being common knowledge. The film's ability to maintain suspense and engagement is a testament to its storytelling. It adds depth to what could have been a straightforward corporate story by portraying the negotiations, behind-the-scenes strategising, and personal dynamics.

The movie does a great job of highlighting the cultural influence of the Air Jordan brand, which has generated billions of dollars since then. It's not just about the business deal; it's also a look at how a cultural phenomenon was created. The film's light-hearted approach makes it easy for a broad audience to enjoy, whether you're a basketball fan or not.

The movie "Air" is a perfect example of how a good story can captivate audiences. Although it may seem like a movie for a specific audience, it actually has a universal appeal with its inspiring and heartwarming narrative, which includes moments of triumph, struggle, and human connection. If you're looking for a movie that's both entertaining and enlightening, "Air" is definitely worth watching.

I recently watched Saltburn, which was listed as Amazon's number 2 trending film in the UK on Christmas Eve. Although I knew very little about the movie, I assumed a movie trending well at the start of the holiday season would likely be a good film. I'm pleased to say it didn't disappoint.

The film starts at Oxford University, where a seemingly shy yet intelligent working-class boy from Liverpool befriends charming aristocrat Felix, who is on the same course and then invites him to spend the summer with his eccentric and incredibly wealthy family's gigantic estate.

As the summer goes on, tensions rise within the household as Oliver finds himself in the middle of it all and secrets are revealed. However, as the film progresses, it becomes clear that not everything is as it seems with Felix or Oliver.

The performances from the entire cast were exceptional, but I want to give a special mention to Barry Keoghan, who played the leading role of Olive Quick. Also, Richard E. Grant was his usual brilliant self as Sir James Catton, the Lord of the Manor, although he is not a Lord.

I read that the film was advertised as an LGBTQ movie. However, in my opinion, it's not strictly a gay film or a romantic comedy. While some characters are presumed to be gay or bisexual, there are many references to sex and romance, both for gay and straight characters. It certainly has some homoerotic moments and scenes that gay men may enjoy, including a very naked Barry Keoghan, but it's not an LGBT movie. However, it does have some undertones of that genre. It's a black comedy that, unlike so many films that try to be provocative and funny, actually succeeds in its attempt.

This is an excellent film, and I can't say too much about it without giving spoilers. There are a lot of surprises in this movie, and I'm already looking forward to watching it again.