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Inarguably for me, the Fantastic Four are one of the most critical groups for Marvel expanding out their universe, the first family, the child of the beloved Jack Kirby, so have Marvel nailed them? Of course they have, the leading four were sensational in their roles, Johnny firstly, His essence, his character and his charm all encapsulated wonderfully by Joseph Quinn. He's the perfect bridge between the intellect and people power of the Fantastic Four and that was perfectly reciprocated by the script and by his performance. Another strong showing from the film was Vanessa Kirby's Sue, a mother, a wife, a superhero and a saviour. Reed is great his intellect is perfectly conveyed and the arc he takes on is prolific. Pedro is great. For me Ben is the weakest out of the family, he didn't undergo any major arc that felt anywhere enough impactful for me, dwindled too much on the surface level of his character rather that getting into what makes his tragedy so much more emotional. And the last character I'd like to touch on is Shalla Bal- I mean honestly she is incredible, given enough emotional depth to bring out the strengths of the character and just sheer skill in Julia Garner's acting, the line deliveries, incredible, and a nice dynamic with Johnny too.
But for me, the biggest strength has to be the visuals. Tell me, when has a Marvel film looked this good? Opting for a retro futuristic take on these characters is honestly one of the greatest decisions made by Marvel in recent years, every piece of set design, every prop, every extra and every single piece of dialogue flourishes because of the setting. The colour too, fabulous. Just tell me why most of the mcu is left so grey when we could be having this magnitude of vibrancy in all of the shots. The space sequence is specifically aided by this choice I mean every single frame of it is a feast on the eyes, the Silver Surfer's board journeying through space, honestly such a gift to look at. Galactus aswell he looks as perfect as he could, and the fact that some of his shots were practical helps the world feel lived in so much more. So I have no doubt in saying this is the best a Marvel film has ever looked.
And for the score... the whole journey home all I was doing was humming that theme. A masterpiece of sound design, each piece: Galactus' theme, the main score and everyone in between were perfect. Perfect not just for the setting but the family I'm astonished by the sound Design throughout.
My one very major criticism comes in the form of pacing, not because of a lack of breathing room just that the best parts of the movie went by too quick and I'm talking especially about the first half, the film was always going to be family orientated so the fact that we were thrown out of it and into action so many times just through me out the loop. Extending the run time and dwelling on key details a hair longer really would have helped selling the entire family dynamic and the status of the Fantastic 4 as heroes.
But here we are. Marvel once again hitting the spot in terms of films as we gear up closer to the next big event, and so it's safe to say Marvel's next group are in safe hands as it stands. Since their first outing finds itself emotionally good, visually outstanding and full of great action.
But for me, the biggest strength has to be the visuals. Tell me, when has a Marvel film looked this good? Opting for a retro futuristic take on these characters is honestly one of the greatest decisions made by Marvel in recent years, every piece of set design, every prop, every extra and every single piece of dialogue flourishes because of the setting. The colour too, fabulous. Just tell me why most of the mcu is left so grey when we could be having this magnitude of vibrancy in all of the shots. The space sequence is specifically aided by this choice I mean every single frame of it is a feast on the eyes, the Silver Surfer's board journeying through space, honestly such a gift to look at. Galactus aswell he looks as perfect as he could, and the fact that some of his shots were practical helps the world feel lived in so much more. So I have no doubt in saying this is the best a Marvel film has ever looked.
And for the score... the whole journey home all I was doing was humming that theme. A masterpiece of sound design, each piece: Galactus' theme, the main score and everyone in between were perfect. Perfect not just for the setting but the family I'm astonished by the sound Design throughout.
My one very major criticism comes in the form of pacing, not because of a lack of breathing room just that the best parts of the movie went by too quick and I'm talking especially about the first half, the film was always going to be family orientated so the fact that we were thrown out of it and into action so many times just through me out the loop. Extending the run time and dwelling on key details a hair longer really would have helped selling the entire family dynamic and the status of the Fantastic 4 as heroes.
But here we are. Marvel once again hitting the spot in terms of films as we gear up closer to the next big event, and so it's safe to say Marvel's next group are in safe hands as it stands. Since their first outing finds itself emotionally good, visually outstanding and full of great action.
It's been just under a week since I've watched this and I've taken most of my time to reflect upon it, and all it's done is float and float in my head, I'm constantly reminded of what I watched. And when I walk out of a movie feeling like I want to become different person or having the movie stick with me for so many days, that is how I can determine just how special James Gunn crafted Superman.
Superman has always been one of those special characters for millions, including myself but I've never quite given myself the time to truly look in depth and explore the character, so with this film on the horizon I did just that, and of course James Gunn nailed it. How he managed to cast: Corenswet, Brosnahan, Hoult and Gathegi alongside the countless other supporting acts is beyond me. Since the chemistry they so masterly reciprocate is unimaginable. I mean I can go on and on about several scenes that embedded this for me. But I'd honestly argue there are just too many to name.
Why is this take on Superman so good? Well, Corenswet's emotional outpouring whilst still balancing the comedic esque moments prove this for me, because Superman is such a complex character with his patriotism despite his foreign origins, the moral dilemma Clark faces in the climax is just so engaging. Is Superman destined to destroy those he practically grew up alongside or does he take the side of his parents? Although I'd prefer more ambiguity on the legitimacy of the parents true message I think it works wonders in setting up further arcs for James Gunn to lay the foundations upon his Superman construct.
Speaking of starting up, where this film excels is laying the groundwork for what is to come from this new dc universe, by throwing us in media res the nature of this comic booky universe comes to life, there is no need to constantly remunerate these origins that audiences should be familiar with, the establishment from just a few lines of ominous text is more than enough. The opening shots are delightful and most of the film is visually bewitching, although I'm not fond of sone flying shots that's just down to personal preference not fault of the film maker. The reconstruction of John Williams's iconic score is amazing too and the theme is used and the greatest points throughout the film, such a great reimagining of the score.
So here we are, the beginning of a fresh start for DC with a man: me and hopefully many more have instated our trust in at the helm, because there is just very little at fault with this, in fact it's so incredibly crafted it just makes you want to be a better person, isn't that what Superman is about? Isn't that the real punk rock?
Superman has always been one of those special characters for millions, including myself but I've never quite given myself the time to truly look in depth and explore the character, so with this film on the horizon I did just that, and of course James Gunn nailed it. How he managed to cast: Corenswet, Brosnahan, Hoult and Gathegi alongside the countless other supporting acts is beyond me. Since the chemistry they so masterly reciprocate is unimaginable. I mean I can go on and on about several scenes that embedded this for me. But I'd honestly argue there are just too many to name.
Why is this take on Superman so good? Well, Corenswet's emotional outpouring whilst still balancing the comedic esque moments prove this for me, because Superman is such a complex character with his patriotism despite his foreign origins, the moral dilemma Clark faces in the climax is just so engaging. Is Superman destined to destroy those he practically grew up alongside or does he take the side of his parents? Although I'd prefer more ambiguity on the legitimacy of the parents true message I think it works wonders in setting up further arcs for James Gunn to lay the foundations upon his Superman construct.
Speaking of starting up, where this film excels is laying the groundwork for what is to come from this new dc universe, by throwing us in media res the nature of this comic booky universe comes to life, there is no need to constantly remunerate these origins that audiences should be familiar with, the establishment from just a few lines of ominous text is more than enough. The opening shots are delightful and most of the film is visually bewitching, although I'm not fond of sone flying shots that's just down to personal preference not fault of the film maker. The reconstruction of John Williams's iconic score is amazing too and the theme is used and the greatest points throughout the film, such a great reimagining of the score.
So here we are, the beginning of a fresh start for DC with a man: me and hopefully many more have instated our trust in at the helm, because there is just very little at fault with this, in fact it's so incredibly crafted it just makes you want to be a better person, isn't that what Superman is about? Isn't that the real punk rock?
What a call from the BBC, an evening showing of Wallace & Gromit: Vengeance Most Fowl debuting to the local masses. Of course it excels at everything it attempted to. From a technical and just genuine enjoyment perspective its great.
Firstly, Aardman have managed to retain their exceptional status as he greatest stop motion producers we have seen in film. Challenges have been faced across the company by being lack of clay and so much more but again they provide. A spectacular 78 minutes of pure joy and love soaked into the most beloved British film franchise of all time, as they still achieve a 100% record for Wallace & Gromit. But how?
Now a foolish claim would be that these films are made for children, but it's simple to shut down masterful entertainment retaining the witty humour from previous entries keeping the established narrative contracts of both Wallace, the man trying to keep up with the times but runs to fast. And Gromit, less of a myopic take on situations. The dichotomy built between them is magnificent and in the closing sequence as it bridges through the sheer power of friendship and love brought a tear to my eye. Character development isn't everything but the sheer attachment you can have for this duo speaks for itself. Of course you can't speak about characters without mentioning Feathers. The foil. The comic relief. The sly penguin. Back to his best swiftly establishing himself amongst the great villains of cinema, his body language forged in the clay work sustains this construct, even minor head tilts or arm movements encapsulates so much fun and depth into a character who hasn't even opened his beak once, a true icon.
The filmmakers aren't subtle with there hidden allegories specifically the anti-AI message referenced in the films. The "norbots" evident microcosm of this, as clearly a flicker of there code creates potential travesty's if put into the wrong hands, emblematic of real world danger as pressure mounts amongst, ai. Hidden allegorical messages blanketed amongst a vastly entertaining feature, refreshing in the animation genre of film, and yet another top tier entry into what is rapidly becoming one of my favorite franchises in film.
Firstly, Aardman have managed to retain their exceptional status as he greatest stop motion producers we have seen in film. Challenges have been faced across the company by being lack of clay and so much more but again they provide. A spectacular 78 minutes of pure joy and love soaked into the most beloved British film franchise of all time, as they still achieve a 100% record for Wallace & Gromit. But how?
Now a foolish claim would be that these films are made for children, but it's simple to shut down masterful entertainment retaining the witty humour from previous entries keeping the established narrative contracts of both Wallace, the man trying to keep up with the times but runs to fast. And Gromit, less of a myopic take on situations. The dichotomy built between them is magnificent and in the closing sequence as it bridges through the sheer power of friendship and love brought a tear to my eye. Character development isn't everything but the sheer attachment you can have for this duo speaks for itself. Of course you can't speak about characters without mentioning Feathers. The foil. The comic relief. The sly penguin. Back to his best swiftly establishing himself amongst the great villains of cinema, his body language forged in the clay work sustains this construct, even minor head tilts or arm movements encapsulates so much fun and depth into a character who hasn't even opened his beak once, a true icon.
The filmmakers aren't subtle with there hidden allegories specifically the anti-AI message referenced in the films. The "norbots" evident microcosm of this, as clearly a flicker of there code creates potential travesty's if put into the wrong hands, emblematic of real world danger as pressure mounts amongst, ai. Hidden allegorical messages blanketed amongst a vastly entertaining feature, refreshing in the animation genre of film, and yet another top tier entry into what is rapidly becoming one of my favorite franchises in film.
A half done job at providing a look at aquatic slaughter
Under Paris for me misses the mark in providing a critical look on aquatic poaching and underlying governmental and police hypocrisy when it comes to the theme of animal slaughtering and the strive for a "PR stunt."
Certain sequences and scenes like the meeting with the Parisian government seem so inconstant and frankly fake, I watched the film dubbed rather than subbed but the exchanges just seem ridiculous, the ignorance is hyperbolic to an extreme, no matter how bad a government is they are absolutely not going to avoid a murderous shark being in the most visited city on planet earth, the only way they would do that is unfortunately for plot convenience. It's the same with the police in the first act, the juxtaposed attitude from act one and two based on the trauma hidden behind Sophias backround after one Google search was unhinged.
From a visual perspective, some wide angle shots specifically of the Paris foreground looked too small. For a film hoping to portray the potential cataclysmic impacts the shark can have on the political status of Paris and deplete the size of the city in a wide angle stunt confused me. Mikas death also showed a laspe in effects a hard death to look at when it comes shark killings in cinema, rivals like The Meg and Jaws even had better looking deaths from the gaping mouth of this powerful mystery moving through the water. Other shots of the Senne however is where this film deserves credit, some superficial fin shots in the backround or subtle drip into the river are what really helps forebode and build tension across and throughout Paris. But that massacre scene when the clock hits one hour in does not go a miss, a lush volta which ups the tempo quick.
For themes and messages I'd argue the film houses to key themes and key contextual points. First of the sharks are visiblly used to show the power of nature under humans best efforts its break into the urban world and specifically thr autopsy scene where the shark is shown to have specialised into the Seines waters, survive and thrive helps capture the strength that the aquatic life, have, "demons to some." As humans could say. However I belive the 2024 release and title "Under Paris" are used to represent governmental fails by the political state of France. The 2024 Olympics showed scrutiny towards the Parisian government ahead of the Senie Triatholan, it's clear that the shark was emblematic of the pollution inside of the River Senie a symbol for corruption and powe amongst governments in a climate change look. And for me the ending worked. Helping to significantly represent the scale and power of the natural world and the fight against human and urban power. Its an incredible twist and for me watching the twist was impressive under the red flame specifically showing implications of foreboding imagery and themes of death.
As far as Netflix Originals go, Under Paris flops looking at the technical filmmaking at work but still manages to provide solid social commentary on political looks at Climate Change. Specifically in Paris.
B- 6/10 3 Stars 64.
Under Paris for me misses the mark in providing a critical look on aquatic poaching and underlying governmental and police hypocrisy when it comes to the theme of animal slaughtering and the strive for a "PR stunt."
Certain sequences and scenes like the meeting with the Parisian government seem so inconstant and frankly fake, I watched the film dubbed rather than subbed but the exchanges just seem ridiculous, the ignorance is hyperbolic to an extreme, no matter how bad a government is they are absolutely not going to avoid a murderous shark being in the most visited city on planet earth, the only way they would do that is unfortunately for plot convenience. It's the same with the police in the first act, the juxtaposed attitude from act one and two based on the trauma hidden behind Sophias backround after one Google search was unhinged.
From a visual perspective, some wide angle shots specifically of the Paris foreground looked too small. For a film hoping to portray the potential cataclysmic impacts the shark can have on the political status of Paris and deplete the size of the city in a wide angle stunt confused me. Mikas death also showed a laspe in effects a hard death to look at when it comes shark killings in cinema, rivals like The Meg and Jaws even had better looking deaths from the gaping mouth of this powerful mystery moving through the water. Other shots of the Senne however is where this film deserves credit, some superficial fin shots in the backround or subtle drip into the river are what really helps forebode and build tension across and throughout Paris. But that massacre scene when the clock hits one hour in does not go a miss, a lush volta which ups the tempo quick.
For themes and messages I'd argue the film houses to key themes and key contextual points. First of the sharks are visiblly used to show the power of nature under humans best efforts its break into the urban world and specifically thr autopsy scene where the shark is shown to have specialised into the Seines waters, survive and thrive helps capture the strength that the aquatic life, have, "demons to some." As humans could say. However I belive the 2024 release and title "Under Paris" are used to represent governmental fails by the political state of France. The 2024 Olympics showed scrutiny towards the Parisian government ahead of the Senie Triatholan, it's clear that the shark was emblematic of the pollution inside of the River Senie a symbol for corruption and powe amongst governments in a climate change look. And for me the ending worked. Helping to significantly represent the scale and power of the natural world and the fight against human and urban power. Its an incredible twist and for me watching the twist was impressive under the red flame specifically showing implications of foreboding imagery and themes of death.
As far as Netflix Originals go, Under Paris flops looking at the technical filmmaking at work but still manages to provide solid social commentary on political looks at Climate Change. Specifically in Paris.
B- 6/10 3 Stars 64.
Wow. Minute one to minute 120 the film keeps you upheld and hooked! Let that he through breathtaking use of colour, stunning sequences or a delightful plot it is a new high in cinema.
The fact I have had this film on hold for eight years now is beyond me. From the start, the highway sequence. Immediately immerses the viewer as if they are front row in a seat on Broadway. It continues, when both Emma Stone and Ryan Gosling land on screen together you enter a new high plastered with subtle audio hints and a special score to match them. A platonic chemistry between a duo like no other. Yet we cannot mention points of the film without referencing the closing sequence. Delightful. Impactful. Near perfection. The contrast of colour style and time jumps speak for themself. I could go on and on about the motifs cleverly picked aside certain features and moments in the film but they all tie into the key message unraveled beneath that very piano, that very bar and that very smirk plastered onto the face of Emma Stone. Love. And the undying will of chasing the love you sought after.
Now, colour. The beautiful purple grin smiling down on our two protagonists a reflection of the undying light and hidden relationship between the pair, purple, between Red and Blue. Love and friendship bridging and building the gap between the pair.
La La Land.
9/10 4.5 88 A-
The fact I have had this film on hold for eight years now is beyond me. From the start, the highway sequence. Immediately immerses the viewer as if they are front row in a seat on Broadway. It continues, when both Emma Stone and Ryan Gosling land on screen together you enter a new high plastered with subtle audio hints and a special score to match them. A platonic chemistry between a duo like no other. Yet we cannot mention points of the film without referencing the closing sequence. Delightful. Impactful. Near perfection. The contrast of colour style and time jumps speak for themself. I could go on and on about the motifs cleverly picked aside certain features and moments in the film but they all tie into the key message unraveled beneath that very piano, that very bar and that very smirk plastered onto the face of Emma Stone. Love. And the undying will of chasing the love you sought after.
Now, colour. The beautiful purple grin smiling down on our two protagonists a reflection of the undying light and hidden relationship between the pair, purple, between Red and Blue. Love and friendship bridging and building the gap between the pair.
La La Land.
9/10 4.5 88 A-
I can guarantee to you the second you hear both "Dwayne Johnson" and "Christmas" you know the whole plot. I wasn't expecting anything different to what we got. Heading to the theatre very sceptical over what I would be coming to see but I was pleasantly surprised to say the least. I thought Chris Evans was amazing however, he seemed like one of the only parts of the film who genuinely enjoyed himself throughout the shooting. He played how I knew and thought he would be dumb fun stupidity
The film is hilarious in my opinion I mentioned Chris Evans but Dwayne was decent and he two of them balance their specialties and traits perfectly that of course being action-comedy. I honestly couldn't see a genre come off working with these two besides that. Action is strong with decently co-hersed fight scenes, of course nothing new for the pair. J. K. Simmons for me is one of the weaker depictions of santa clause we have gotten in cinema, just doesn't feel like he fits into the film well especially for a PG-13 setting. The gold medal for my far and away favorite sequences in the film has to go to the Germany Krampus scenes Kristofer Hivju plays the Anti-Hero in stunning light and is a breath of fresh air for this film and offered a fairly good heap of comedy in the film.
But on the opposite end of the spectrum Gryla is so ugh. Dull, boring and nothing new. She's literally just a microcosm for the entire film something we've seen before muffled over with a Christmas blanket. I do wish we get something more for Dwayne Johnson across his film career instead of just fight, action, fight.
The film is hilarious in my opinion I mentioned Chris Evans but Dwayne was decent and he two of them balance their specialties and traits perfectly that of course being action-comedy. I honestly couldn't see a genre come off working with these two besides that. Action is strong with decently co-hersed fight scenes, of course nothing new for the pair. J. K. Simmons for me is one of the weaker depictions of santa clause we have gotten in cinema, just doesn't feel like he fits into the film well especially for a PG-13 setting. The gold medal for my far and away favorite sequences in the film has to go to the Germany Krampus scenes Kristofer Hivju plays the Anti-Hero in stunning light and is a breath of fresh air for this film and offered a fairly good heap of comedy in the film.
But on the opposite end of the spectrum Gryla is so ugh. Dull, boring and nothing new. She's literally just a microcosm for the entire film something we've seen before muffled over with a Christmas blanket. I do wish we get something more for Dwayne Johnson across his film career instead of just fight, action, fight.
I'd honestly compare Halloween Ends to Halloween III: Season Of The Witch, because it sticks out like a sore thumb. To have a trilogy of what I would argue is the antithesis to what we are usually provided with in Halloween sequels, the David Gordon Green films provided back to back enjoyment for me, Ends for me always felt like well what it says on the tin. The "end" of one of the most iconic sagas in horror history. Laurie Strode and Jamie Lee Curtis' last dance in Haddenfield. Micheal Myers final shot against the most iconic Final Girl in horror history and well, it provides. For the final 30 minutes as this films third act.
But I mean come on. It takes the film DOUBLE the time for Michael to appear on screen compared to Halloween III: Season Of The Witch. But does this mean I dislike the character of Corey? Absolutely not. My issue with it is that he's introduced in Halloween "Ends", if he had have been a loosely prevalent character in Kills or Halloween 2018, I would have been more complasive. But he just comes out of no where. For me his constuct does check all of the boxes. He's a sensational microcosm for the trouble that Micheal had driven Haddenfield into but, I still think that is an emblem that should have been explored in Halloween Kills.
"Evil doesn't die, it changes shape."
Again Halloween Ends does a top tier job of addressing the horrors Micheal had sent onto the abstract field of Haddenfield, which remains my favorite Slasher setting, of course a key reason I felt Halloween Kills was a gem of the franchise. But Micheal is so dull in this, if they were playing on the causation of Micheal what is use of using him at all? It's so counterintuitive of what they were trying to achieve with the entry. He exists, but sat in a sewer to become Corey's little puppet. Shouldn't it be the other way round? Should Micheal be you know, powerful? That omnipotent re-occuring figure that haunts Haddenfield, he bags three kills and puts up a decent fight with Laurie then dies.
Finally. Laurie. Jamie Lee Curtis sustains and retains her slot atop the horror final girls. Fourty four years later she is still top class. Fighting off Micheal with what is basically her bare hands. I still believe Laurie is best written in the David Gordon Green trilogy and is overall a far character than both Rob Zombies and the original adaptations.
Change has never been a popular trope in the Halloween franchise, Ends was far from a satisfying end to the most beloved and iconic sagas in both horror and film history.
But I mean come on. It takes the film DOUBLE the time for Michael to appear on screen compared to Halloween III: Season Of The Witch. But does this mean I dislike the character of Corey? Absolutely not. My issue with it is that he's introduced in Halloween "Ends", if he had have been a loosely prevalent character in Kills or Halloween 2018, I would have been more complasive. But he just comes out of no where. For me his constuct does check all of the boxes. He's a sensational microcosm for the trouble that Micheal had driven Haddenfield into but, I still think that is an emblem that should have been explored in Halloween Kills.
"Evil doesn't die, it changes shape."
Again Halloween Ends does a top tier job of addressing the horrors Micheal had sent onto the abstract field of Haddenfield, which remains my favorite Slasher setting, of course a key reason I felt Halloween Kills was a gem of the franchise. But Micheal is so dull in this, if they were playing on the causation of Micheal what is use of using him at all? It's so counterintuitive of what they were trying to achieve with the entry. He exists, but sat in a sewer to become Corey's little puppet. Shouldn't it be the other way round? Should Micheal be you know, powerful? That omnipotent re-occuring figure that haunts Haddenfield, he bags three kills and puts up a decent fight with Laurie then dies.
Finally. Laurie. Jamie Lee Curtis sustains and retains her slot atop the horror final girls. Fourty four years later she is still top class. Fighting off Micheal with what is basically her bare hands. I still believe Laurie is best written in the David Gordon Green trilogy and is overall a far character than both Rob Zombies and the original adaptations.
Change has never been a popular trope in the Halloween franchise, Ends was far from a satisfying end to the most beloved and iconic sagas in both horror and film history.
"Friday The 13th (2009)" is a great take of rebooting a franchise into the more modern cinematic era. Telling the story of the 1980 horrors by 'Pamela Vorhees' then enters the re-done Jason who really shines in this remake. This movies crown jewel has to be the man in the hockey mask once again terrorising Camp Crystal Lake. Although not following the direct story of the 1980 flick, the reboot captures the infamous Jason as he should have been in the original movies, like an urban legend until he arrives and utilises survival skills he would have known to create some very well done kills. The one glaring issues this movie has is its cast of teens, seemingly a problem with most Friday The 13th films the movie doesn't really have you rooting for the characters the only well thought out and developed character to me was 'Clay Miller'. Jason Vorhees is very well changed in this movie, rather than loosely trudging everywhere, Jason feels like he's chasing the characters in some well thought out chase scenes throughout the movie. The movie doesn't outright feel like a simplistic slasher flick instead feels like a well thought out genuinely scary film.
After 6 years away from the movie theatre screen Jason Vorhees returns to Camp Crystal Lake in one of horrors better done reboot. "Friday The 13th (2009)" stands out as one of the better Friday flicks surpassing its original by far.
7/10.
After 6 years away from the movie theatre screen Jason Vorhees returns to Camp Crystal Lake in one of horrors better done reboot. "Friday The 13th (2009)" stands out as one of the better Friday flicks surpassing its original by far.
7/10.
Scream (2022) is an excellent title in the ever lasting scream franchise. To begin, the title several complaints have been raised over its identical name to the 1996 film. However it is clearly a play on the horror genre as every Scream movie has addressed the state of the ever changing genre in this movie covering requals which is the subject for its name. Now away from that "Scream (2022)" is an excellent continuation of the Wes Craven movies not just by reinforcing legacy character like Neve Campbell's "Sydeny Prescott" & Courtney Cox's "Gale Weathers" but also introducing the newer townspeople cast of Woodsboro. These new well developed characters like Jenna Ortega's "Tara Carpenter" lead us perfectly into "Scream VI" which played out a well driven plot as a result of there development in this movie. This movie although a direct continuation of the past movies this film feels like a reboot of the plot. The 3rd act brings on an excellent twist relating to "Scream (1996)".
Playing on the requel development in horror "Scream (2022)" makes another return to Woodsboro. Featuring new and old this movie is an excellent play on the franchise going back to the original formula as the Slasher keeps the bodies flowing as ghostface ravages.
8/10.
Playing on the requel development in horror "Scream (2022)" makes another return to Woodsboro. Featuring new and old this movie is an excellent play on the franchise going back to the original formula as the Slasher keeps the bodies flowing as ghostface ravages.
8/10.
Lord Sugar pioneers what is an excellent show for the masses. In some forms can be educational for business hungry minds. However from a reality TV perspective The Apprentice is a form of comic relief for many despite accusations of scripting I still feel it makes for quality television as they create products that could be frowned upon and reactions from the several candidates. We now reach Series 18 and the show continuesly finds humour and education in the buisness field. After hearing some previous insights on what it was like to be on the show it seems very harsh as for the rules they impose onto the candidates which could be the reasoning for the woefully bad products that come out of the Apprentice in some stages.
Lord Sugars infamous show tells the tales of buisness from the man who knows it all granting a £250,000 investment for Britain's best buisness mind in flawless format.
8/10.
Lord Sugars infamous show tells the tales of buisness from the man who knows it all granting a £250,000 investment for Britain's best buisness mind in flawless format.
8/10.
