Robert Eggers' Nosferatu remake is visually stunning and admirably old fashioned in its staging and production values but despite staggeringly good casting it never really catches fire. Constrained by the original? By Bram Stoker? It's 15 rating (in the UK)? Either way it feels like every time the film threatens to take off, the pressure on the gas pedal gets lifted and the energy grinds to a halt. Given the cast - notably Nicholas Hoult in the leading role - that's slightly unforgivable, but it's an unexpected shift in style too for Eggers, after his delightful psychodrama The Lighthouse, that took risk after risk, yet here we have a leading man uniquely qualified for vampire movies and he doesn't really make an impact. Hoult tore the screen apart with Renfield - an original and sardonic take on vampire movies (with ties to Stoker's novel), and his experience in Skins, The Great and A Single Man have all shown off an unusually relaxed ability to investigate his characters' sexuality (very much a component of vampire films for many). Yet his Thomas Hutter here is an enigma - the ostensible hero without a personality, pretty but without a character. So little is asked of him it's hard to believe the same director coaxed such a dangerous performance out of Robert Pattinson just five years earlier. For Bill Skarsgard's Orlok to seduce him as well as his screen wife Lily-Rose Depp and leave Hoult barely noticeable is just bizarre. The ending of course is as predictable as the rain, for all its intensity offering no surprises or particular discomfort. That has something to do with Count Orlok playing the most tangential of physical roles in the production. His booming, surely digitally altered voice is occasionally hard to understand, and the decision to humanise his appearance feels downright odd. The production though is phenomenal, from the location shoots to the masterful lighting and the Czech sets - this looks out of this world, a period piece like few others. It just has next to no heart to it. The energy behind Renfield is nowhere to be found, the ghastliness of The Lighthouse is hinted at but never takes off, despite Willem Dafoe's relentless (and welcome) scenery chewing. It's a 2 hour watch that feels longer, it plays it safe when it needs real risks taken, and ultimately has a Hammer House of Horror quality to it - a cult aesthetic but lacking in the substance it deserves.

Very good season. Not as good as season 1 but the filmmaking was top notch and the performances were superb. 

The performances are stellar but this is a slow, cliche-ridden arthouse film that doesn’t really do justice to either the protagonists or the subject matter. Luca Guadagnino’s fourth consecutive film featuring queer American twink protagonists, the second with screenwriter Jason Kuritzkes is as compelling and uneven as his last two outings. Bones and All and Challengers were visually alluring, tonally seductive and brilliantly acted, but had almost no substance at all. Call Me By Your Name aimed to adapt a queer rites of passage story, which I'd argue it largely succeeded at, but since then Guadagnino's storytelling has felt less assured. Queer's Focus on Craig’s drug addled William Lee (an obvious William S Boroughs analogue) offers potential points of interest - what's behind Lee's disaffection in 1950's Mexico City? How is he so confidently out? What was a gay relationship with an age gap like in that age? What answers we get are retrodden from countless other stories, complicated by a descent into psychedelia and ultimately confusing artsy nonsense, leaving the film with a non-ending. Again. I'm happy with artsy nonsense - David Lynch is a hero of mine, and given this is a Burroughs story I expected confusion and psychedelia, but there are themes Guadagnino and Kuritzkes put into play that they leave largely open which I find annoying. And the epilogue is very annoying. Craig and Starkey are amazing though, even though the younger man has little to do. Their differing ideas about their identities aren't ever given the screen time they deserve, nor is there a resolution which fits comfortably with the drama. A lot has been said about the bravery of their sex scenes, but I'd argue they're no braver than any heterosexual scene, and Craig is predictably allowed to keep his modesty. There's little bravery there. It's a mesmerising film, but neither Craig's nor Starkey's characters go through meaningful change, even after their ayahuasca experience. Maybe the attempt to escape who they are is the point, but it doesn't feel enough to carry a 2+ hour screenplay. Craig (despite his appalling American accent - how is he failing to improve it?) will no doubt win awards for his performance, and Queer is an occasionally very lush cinematic experience (I love the soundtrack) but it's mostly a case of sound and fury signifying very little.

As devastating as it is sensitive, this is a remarkable documentary. So much of Reeve’s personal background, the interviews with Glenn Close, Jeff Daniel’s, his ex and his kids painted an unexpectedly revealing picture of a complicated man. His initial Superman success preceded a period where he felt he had a lot to prove, and was always competing, often with himself. It was his response to his life changing injury that others have remarked ignited his marriage, his parenting and his advocacy. The grief his surviving family still feel is both surprising but a testament to the qualities Chris and Dana lived their lives with. Clark met his Lois and whilst they both met tragic ends they lived genuinely super heroic lives. I was in tears often.

Screwball comedy where it’s not needed, an undercooked romcom and a badly developed historical drama, it’s a film that means well but never really delivers. ScoJo is amazing but it’s not enough to overcome an uneven, overly long script. It needs at least to channel Hidden Figures but as much as I like Greg Berlanti he hasn’t put a production together anything like as smart.

It delivers what you’d expect from a cast this good but it’s a cynical script, tailored by algorithm and committee to deliver very little overall. There’s fun, laughs and action but it’s all been done countless times before, the plot is dull and the fixers’ characters aren’t even really interesting. It’s Jon Watts from Spider-Man: Far From Home - fun, likeable (George and Brad are still the best at what they do) but complacent and not essential viewing.

Só pode ser apreciado por quem já viu a primeira temporada do anime, pois a parte que é um resumo da primeira temporada corta muita coisa (obviamente), então é muito confuso para quem nunca tiver visto. Os dois primeiros episódios da segunda temporada exibidos foram EXCELENTES. Foi muito bom ter essa experiência nos cinemas, Solo Leveling me diverte bastante, e a adaptação da segunda temporada ficou ainda melhor que a primeira.

This show gonna go on for 10 seasons at this rate. And ima watch every one of them 😭

Amazing game, top tier graphics and gameplay.

Banger

A strong but strange experience. Almost Shakespearean at times, it’s a powerful morality play and character drama with Oscar worthy performances. It absolutely bites off a little more than it can chew in the tensions it toys with in looking at morality in the Catholic Church, but its ambitions are still laudable. Not for everyone maybe but Fiennes will absolutely get an Oscar nomination nod.

Engaging for about the first half but deeply lacking in plot, no further understanding of the aliens or any background into how humankind understood how to face them. Nyong’o is phenomenal even though her character is deeply undermined from the start, and Quinn delivers his character well enough but Eric isn’t much of a character. The cat steals the show.

Absurdamente lindo esteticamente e musicalmente. É possível ver sua inspiração em A Bela e A Fera.

Adaptação INCRÍVEL dos quadrinhos para formato de filme, além da mudança para um mundo mais moderno, mas ainda mantendo a essência da história e seus personagens. Muito lindo, me emocionei muito, e a trilha sonora é viciante.

Eu já vi vários dramas médicos em formato de seriado. E esse daqui facilmente ocupa meu top 3. Porque esse mostra a dificuldade real que muitos hospitais enfrentam pelo Brasil, com poucos recursos e muitos pacientes a atender, equipe médica completamente sobrecarregada ao ponto de começarem a adoecer também. Preciso destacar e muito o especial sobre COVID, EXCELENTE!!!

Mil vezes melhor que as adaptações para filmes. Enfim estão fazendo justiça para a obra mais famosa do Rick. Só não dei nota mais alta porque infelizmente a série demorou demais para vir, e eu cresci. Então coisas que não me incomodariam enquanto eu era adolescente ou jovem adulta, agora começam a pesar contra. Enfim, nota totalmente pessoal. Se você é fã dos livros, vale completamente a pena assistir.

Essa review só considera a season 1. O hype da época não foi a toa, é realmente muito boa. Pena que toda a crítica da série ao capitalismo foi jogada pela janela em prol de fazer mais e mais dinheiro com a fama do seriado.

Surpreendente. Animação muito bem feita, história envolvente, me prendeu absurdamente rápido.

Definitivamente não esperava que o Snow tivesse uma história tão interessante na sua juventude. O ponto ruim é, como você já sabe que tipo de pessoa ele vira no futuro, você provavelmente não vai se importar tanto com ele e mais com os personagens ao redor dele. O ponto bom é, com o conhecimento de como os Jogos funcionam no futuro, muita coisa vai se conectando e fazendo sentindo ao longo do filme. É um jeito brilhante de mostrar o porquê as coisas funcionam daquela forma na saga original.

Very much a tale of two halves - the first driven by spectacle and enjoyably whimsical performances, making up for problems with the plot. The second half is bloated, and manages to be self-indulgent despite the deeply impressive stunt work by Cruise himself. Ultimately MI:7 Part 1 suffers from the same problem that Westworld S03 never overcame - if a sentient AI is the villain how do you successfully deliver a human ally with believable motivations to ally with it? As awesome as Morales is, his script so far hasn't allowed it - his relevance to Cruise is through retcon alone, which isn't enough. Hayley Atwell however rules, and the film is worth watching for the Rome car chase alone!