jabandrade

Bad, terribly bad, so bad it hurts your bones.

A waste of the talents of Idris Elba and Johnathon Schaech, who seem, respectively, bored and amused by so much nonsense.

The beginning even hinted at something interesting-but what we see is a shallow, predictable, and poorly utilized script. The screenwriter, it seems, was captivated by the characters at the prom and completely forgot to develop a story that made sense.

The actors playing the teenagers are incredibly weak. The protagonist, in particular, delivers a mediocre performance, lacking charisma or presence. What could have been a creative and entertaining horror film turns into a mishmash of juvenile clichés, empty lines, and throwaway scenes that are exhaustingly repeated.

The only saving grace is the performances of the two veterans-especially Johnathon Schaech, who seems to have gotten the joke and delivers an ironic performance, as if to say to the viewer, "This is really bad, but I'm having a blast." At the very end, the police team tries to breathe life into the story by hunting down the criminal, but by then the damage has already been done.

Idris must really regret having participated in this.

A really very weak film.

Don't Worry, Darling is a great film starring the talented and dazzling Florence Pugh, with a great supporting cast - including the great Olivia Wilde and a surprising Harry Styles. The story revolves around a seemingly perfect community built around a mysterious company of "innovative solutions", whose real function is never fully revealed. Everything there works perfectly, as if it were programmed. But this harmony begins to crumble when Florence's character begins to suspect that there is something deeply wrong in that place, especially after witnessing the outbreak of a neighbor. At one point, one of the characters says something like: "The real world suffocates our true self in such a way that we start to aim for something perfect, even if unattainable." This phrase sums up the film very well - which, little by little, proves to be a criticism and at the same time a study of the human desire for an idealized life, where one can simply breathe, without being tied to an exhaustive and repetitive routine of work, accounts, obligations and slaves of a system that oppresses them indefinitely. In fact, the world we live in. But this desire for freedom, however legitimate it may be, always takes a price. Few manage to escape the system and those who invariably try to face consequences.

Sinners is not just a horror film with vampires. It is, above all, an ode to black music, to resistance and to the soul of a people who have been singing, fighting and surviving for centuries.

Technically, it is a very well-made film, with an engaging rhythm, effective action and moments of tension that work perfectly within the genre. But the horror here is just the path - a symbolic and painful path - to something much greater: the message.

The fight against the vampires, with intense and well-directed survival scenes, is clearly a metaphor for the real, historical struggle for freedom of black people. The monsters that feed, control and persecute are more than supernatural creatures - they are representations of racism, oppression, of the system that tries to suffocate bodies, souls and voices.

And that is where the music comes in.

The film pulses to the sound of blues, gospel, jazz, soul - as if each note were a prayer, a memory, a scream or a whisper of pain and strength. The blues modulates the film from the beginning, like the soul that cradles each scene, each movement, each silence. And it is impossible not to get goosebumps when realizing that, more than a soundtrack, the blues here is a character. It sets the tone, it narrates, it resists.

The climax, with a touch of Tarantino - stylized, vengeful, cathartic - is a gift. A poetic and brutal settling of scores. And the ending... oh, the ending! A powerful symbol, an intimate, almost spiritual return to that phrase that tears at the heart: "the hardest, but the best day of my life." It is hard not to be moved.

Sinners is a genre film, yes, but it is also a film of the soul. A manifesto, a celebration of black music, a powerful metaphor of struggle and survival. A film that honors the pain and strength of a people with blood, sweat and blues.