mitchmitchell

In reflecting upon the succinct yet ostensibly significant three-minute investment by Netflix in this cinematic undertaking, pivotal inquiries arise regarding the very essence of its content. Does the possession of visual elements alone suffice to elevate it to the echelons of profound cinematic art, or is there an imperative for a narrative depth that authentically engages the audience?

The opening sequence, featuring Anthony Hopkins' exposition-laden voice-over, beckons an assessment of its efficacy. Does this approach effectively captivate the audience, or does it risk consigning crucial details to the recesses of forgetfulness? Can the pronounced emphasis on names, places, and temporal intricacies be perceived as compensatory for narrative shortcomings, thereby limiting the audience's immersive experience?

Broader scrutiny of contemporary entertainment prompts consideration of the prevailing dichotomy between depth and superficiality in narrative execution. Are discerning viewers increasingly confronted with a dearth of substance beneath the veneer of cinematic experiences? Is the intrinsic nature of entertainment evolving toward narratives that pivot on experiential engagement rather than reliance on mere exposition?

The scrutiny extends to the directorial prowess of ZS, prompting a re-evaluation of his acclaimed credentials. Does the absence of compelling storytelling in this instance cast a shadow on his perceived abilities? Is the laudable exception, 'Day of the Dead,' more indicative of collaborative success than the sole merit of the director?

Turning attention to Netflix's role as an arbiter of content, questions emerge regarding the platform's pursuit and discernment. Does the platform's voracious appetite compromise qualitative considerations? Is there an apparent indifference to nuances that differentiate mere visual stimulation from genuine artistic expression?

In conclusion, the plea for ZS to contemplate an exit from the industry is juxtaposed with the metaphorical image of a sunlit deck chair-a symbol of respite from the demands of the cinematic milieu. The assertion that 'no one will miss' is presented as a contemplative acknowledgement, suggesting a detachment from the film maker's contributions and a recognition of the industry's potential evolution beyond his influence.

It's not trying to be anything other than mediocre and average, and as such it does not have to be taken seriously or with any sense of contention.

If it was trying to be anything momentous, then it would be classed as a huge failure, but because it is simply trying to be average, in an effort to rationalise the subscription fees being asked, then it's fine.

It is not good, it is not bad, it is just an average 5/10 piece of disposable light entertainment.

I'm sure women will like the 'talking points' more than the story it has been pinned onto, because the story is weak and would make most human beings green around the gills.

A shame, then; that it could not have pinned it's talking points onto a decent story well told, and so become green around the biceps, where it needed to be.

The actress is far too old for this type of character, which surely should have been played by someone in their late 20's early 30's - young and keen to make a difference in the world at the beginning of her career - instead of bitter, jaded and chasing after guys half her age...

Kinda creepy to watch someone of that age hooking up with what amounts to an intern...

The essence of a Universe is hard to understand if your telescope only looks at one star in the sky.

Kamala Lopez tries very hard to make us understand an interesting topic from many vantage-points, but fails in delivering a broad and balanced documentary for which this topic clearly needs and deserves. The main problem is it begins with an assumption that; equality does not exist. The documentary then takes us on a tour-de-force of heart-string-pulling, instead of focusing on global issues affecting the entirety of human equality in all countries.

Instead of anecdotal individual stories of how people feel about something which happened only to them, we seek actual documented facts and statistics in totality across the globe. What is also skewed, is that instead of getting both sides, Kamala Lopez decides to focus only in something which supports the premise for which it then propagates.

As such, large portions of this documentary could have been cut and replaced with the larger global picture of equality - which is significantly more important and worthy of our attention.

I hope if Kamala Lopez attempts to look at the topic again, she will buy a bigger telescope and then, we will see something worthy of our attention.