samxxxul

They say "holding hands is more important than crashing," and in Cooper Raiff's messy, saccharine, beautiful, and self-aware series, "Hal & Harper"-less a show and more a feeling-you'll get a raw, bittersweet taste of just how true that is, delivered by characters stripped of their halos and laid bare.

Before you dive in, abandon all pathetic, cynical quips. Unless your spirit is forged of an emotionally fortified brick wall, utterly incapable of unleashing even a whimper of raw feeling, then maybe hit that 'off' button. Otherwise, prepare to be gently, almost imperceptibly, lured into this maelstrom, as Cooper Raiff's brand of bittersweetness CHA-CHA SMOOTHS right over ya.

Character Dives 1. Hal's Heart: Cooper Raiff, as Hal, injects a refreshing dose of himself-and maybe a bit of us-into the familiar indie film archetype. He's the ever-present brother, the one sneaking in windows late at night, a constant, comforting, and yes, sometimes annoying, force. It's a sweet subversion of the usual sister-for-brother dynamic. He'll grill Harper about her phone calls, a move some might call "overprotective" or "butthurt snob." But honestly, who gives a damn in this cynical world?

2. Ruffalo's Raw Grief: Mark Ruffalo is laid utterly bare as the single, grief-stricken, and adrift dad. Words offer no solace; he's clinging to Nietzsche's abyss. While some find shower time a happy, weird moment of solitude, for Ruffalo's character, it's mostly a pissed-off grief, anxious contemplation, and memories. Sure, he even has sex in the shower-"SAFE" sex with a hooker-but it's still undeniably sad. You'll feel a pang of pity, but mostly, you'll just want to give the guy a hug, especially after Episode 6, where his grief is a visceral echo, a second skin.

3. Harper's Heartbreak: Lili Reinhart's as Harper is a perennial misfit, a "slimeball" at times, yet with a fragile heart buried deep. Her dad and brother's names rightly top her "FAVORITES" contacts. She's constantly trying to re-thread herself back into the family fabric, lost, even seeking connection on Facebook. Like any normal human, she finds her own bathroom solitude, doing her "usual thing" (haha, masturbating). With sapphic relationships brewing, she also carries immense grief, often feeling lost. There are exquisitely beautiful, fragmented moments, like her imagining her baby brother in the bathtub-subtle, dreamlike cuts to a past that reveal memory as a fluid, unpredictable beast.

Not A Spoiler: Luckily, Hal (Cooper Raiff) is spared any bathroom-based existential ponderings. My theory? He'd be too busy, like normal guys do, either "self-caring with his pecker," frantically brainstorming his next big idea, doomscrolling for a troll fight, or verbally sparring with a pretentious arthouse snob. LOL.

And, it was genuinely funny when Hal, bruised from seeing his Asian chick with another guy, picks a fight and gets beaten. Oh, and I absolutely loved the "Elephant Man" reference. Of course, RIP David Lynch-I hope he's enjoying cherry pie and damn fine coffee wherever he is.

Another favorite cinematic nod is Cooper's desperate attempt at a "Mission Impossible" movie night with family, only to have Ruffalo and Betty Gilpin doze off and Lili Reinhart look utterly bored. Cooper's raw, unadulterated reaction is precisely mine; seriously, even my recent F1 marathon had me feeling the exact same way.

And now, the literary nods: from Gabriel García Márquez's "One Hundred Years of Solitude" (seriously, read it if you love books, or check out the Netflix adaptation) to a sharp Sylvia Plath name-drop between Hal and Harper. Nothing says sibling intimacy like shared existential dread and a dash of literary flair.

Another kudos: the episodes just start. No time for picturesque setups; it throws you straight into the thick of it, just immediate, unvarnished momentum. The sound design is expertly amplified too, a keen choice by Raiff.

Now, about the "School stuff": While the unconventional casting of Raiff and Lili Reinhart cosplaying and living as kids, instead of opting for a traditional age-appropriate approach, might be "cringe" for some, Raiff somehow makes it cool. He avoids typical Hollywood kid clichés and even finds magic in some school conversations with other kids. He ditches flashy timelines and big budgets for raw honesty, avoiding to MILK the "I WAS THERE, I FEEL SEEN" pandering.

The Downside: Some folks will get that "OMG FEELING" of a tidy full circle in the last two episodes. I felt they wasted too much time, particularly the detour at the Indian friend's house, and the music was a bit of overkill. The non-linear storytelling is its strength and its slight downfall, sometimes strangling itself with its own cleverness. I personally enjoyed the approach and the editing, but a bittersweet ending would have been preferable to the Hollywood "TADA, Baby!" and the other overly convenient "fate" coincidences.

Nevertheless, this series might not be for everyone, but it's largely impressive as is. Even by indie standards, I highly recommend giving it a watch! There's genuinely something for everyone to love, including some great gags. I particularly enjoyed the writing at Hal's friend's granny's funeral-though I was definitely hoping for more gallows humor! I'm really excited to see what Cooper Raiff does next.

Cult of the Cobra (1955) honestly doesn't even deserve its B-movie status; it's a tar pit of tedium that'll make you hiss in utter boredom.

The story kicks off with our clueless American GIs. These fellows, bless their misguided hearts, paying some heavy cash, go crashing a cobra ceremony. They act like total boors, with one of them even trying to act like a marvel and wanting to click photographs, the way he hides it! LOL. And what do we get for this grand show? A woman in some sad, cheap-looking snake tights! Pathetic! But wait, half a star, yes, I'm giving just for the snake dance choreography during that ceremony. It was... worthwhile. Barely.

My other half star, is reserved for Faith Domergue as Lisa Moya. She's supposed to be this "exotic" Indian priestess. LOL, I felt she was like a wannabe Simone Simon from Cat People (1942), trying to be all serpentine and sultry but mostly just looking confused.

And the movie tries to evoke the legendary Lamia - you know, the goddess whose children were destroyed by Hera! Fun Lamia trivia: She was also, according to some legends, one of the world's first vampires! Imagine the terrifying folklore potential here! But nope, we get this. Such a waste!

And the funniest part is the pathetic sock-puppet cobra! Man, I used to cringe at these monster in B-movies, even the Legendary Bela Lugosi's bats in The Devil Bat (1940), but after seeing this snake, I have a newfound respect for them!

And, Leonard Strong, who I assume has a whole filmography of playing "ethnic" characters (and was actually better in Bengal Brigade (1954), which I saw recently!), probably had to act extra hard just to look checked out.

Anyway, this film is wasted potential with what seemed like a great set (pity it was filled with this drama). They had a compelling mythological figure, a decent-looking cast, and absolutely nothing interesting for them to do.

You'll find yourself making your own Faith Domergue shock reaction gif just from the sheer mediocrity of it all! My advice? You can watch it, especially when the snake attacks happen; those shaky camera moments are such an overkill! It's the perfect time to have a good nap in between. Otherwise, slither away! Don't even bother!

Ugh! Even a malfunctioning AI toilet would generate better cringe-inducing dialogues than this stinker. This film is nothing like Part 1. I should've watched the trailer and avoided it.

Of course, Desingu Raja Part 1 was at least a decent dump-it had a few funny moments-so I foolishly gave Part 2 a chance. Big mistake. Now I just pity myself for wasting time and only wish if I could rate this 0/10..

I walked out before the movie ended because my brain reached its sewage tolerance limit. And trust me, I can handle schlock, gross-out humor, or dark comedy in films made purely for trashy fun. I've laughed at fart jokes and vomit gags, but this was cinematic sewage. One word describes it: crap. And I'm being nice here. This garbage should not be seen by human eyes.

The only selling point is the title. Beyond that? Just a steaming pile of poop.