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The idea of two friends trapped at the top of a 600-meter tower sounds, from the start, a bit far-fetched. It's not something most of us would ever do in real life, and maybe that's why it's hard to connect with the premise at first. However, the film manages to grip thanks to the constant tension and the sheer vertigo it conveys from the first climb to the final shot. It's the kind of movie you experience more for the physical reaction than for realism.

The script isn't exactly subtle. The dialogue is sometimes weak, and the characters' motivations feel somewhat forced, as if they were excuses to drag them up the tower. Even so, when the camera leans over the void and height becomes the true protagonist, everything else fades into the background. That's where Fall delivers: it makes your palms sweat even if you're safe on your couch.

Despite its limited premise, the direction makes the most out of it. The aerial shots, the sound of the wind, and the sense of isolation work perfectly. Even when the story throws in some far-fetched twists, the tension never fully disappears. It's survival cinema in its most basic form, but still effective.

The biggest issue is that after the first hour, the movie starts repeating itself. It stretches the suspense too long and risks losing impact. At those moments, you realize that trimming twenty minutes would have made it sharper. Still, it remains entertaining and manages to hold attention.

In the end, Fall isn't a masterpiece of the genre, but it doesn't need to be. It's a simple, direct experience that plays with fear of heights and pushes it to the extreme. For those looking for quick thrills and a dose of well-dosed tension, it does the job. It might not stick for long, but while it lasts, it delivers exactly what it promises: making you stare into the void with a knot in your stomach.

From the very first minutes, F1 makes it clear that it wants to grab you with the roar of the engines. Starting with Daytona, accompanied by that classic Florida radio station, is a brilliant touch that instantly pulls you into the racing world.

Joseph Kosinski proves once again that he knows how to capture speed and danger. Just like in Top Gun: Maverick, he turns the races into an unforgettable visual spectacle. The camera hugs the track, the tires, and the drivers, creating a sense of vertigo rarely seen on screen. It's not just technique: there's storytelling in every overtake and every turn.

Brad Pitt carries the film with magnetic presence. His character, a veteran with more wrinkles than illusions, works because the actor embraces age instead of hiding it. Watching him behind the wheel conveys both experience and risk. The supporting cast delivers, though it's clear the film is built around him.

The plot isn't groundbreaking. Familiar tropes are everywhere-from the aging racer to the inevitable rivalries. Yet, the execution, with spectacular staging and relentless rhythm, keeps it all engaging. What matters here is the emotion, the tension of each race, and the adrenaline that spreads to the audience.

What stands out is how the film balances spectacle with personal epic. It's not just cars circling a track: it conveys the sacrifice, solitude, and fleeting glory of the sport. This is big-screen cinema, designed to be felt with booming sound and sheer scale.

In the end, F1 doesn't reinvent the genre, but it raises it to rare heights. It's a film made to be enjoyed, with sequences that glue you to your seat and with Brad Pitt proving why he's still a star. A movie that floors the accelerator from the start and never lets up.

The fourth installment of Zombies confirms what many suspected: the franchise is starting to show signs of exhaustion. The story feels repetitive, the resources seem limited, and the increasingly tight budget is evident in every frame. Still, against all odds, it's not a total disaster. There are fun moments, and it maintains the upbeat spirit that made it a hit with younger audiences.

Narratively, the film once again emphasizes unity over hate and prejudice - a metaphor we've already seen throughout the series, but one that still holds value. This time, vampires and so-called daywalkers are caught in conflict, with Zed and Addison trying to bring them together, following the same structure used with zombies, werewolves, and aliens in previous entries.

Visually, it's as colorful and sugary as ever, with cheerful musical numbers that do the job but no longer surprise. The chemistry between the leads still carries much of the story, while the new characters try to bring freshness without fully succeeding.

Perhaps the most redeeming aspect is its message: reinforcing the idea that unity, empathy, and diversity are stronger than division. It may sound naïve, but in today's world it's not such a bad thing for a teen movie to underline something so basic and necessary.

Zombies 4 won't go down in history as great family cinema nor does it extend the saga's magic much further, but for its target audience - especially those who've followed it from the beginning - it still has a certain charm. And if it gets new generations singing, dancing, and talking about accepting differences, maybe it fulfills its purpose better than it seems.