Recensioni di Haleyun

This isn't a worthy sequel to Train to Busan but it is entertaining, for the most part, on its own. This film went the whacky route, probably due to the success of zombie shows and video games. The apocalyptic angle, with depraved survivalists, st Ms from the Walking Dead while the circus death games mimics TWD and the "humor" of Dead Island or Dead by Daylight. There are no villainous women. Being in the same environment, the three females are intelligent, better fighters, and thoughtful, immensely skilled in driving, robotics, weaponry, and forgiveness. So many focused scenes of mom or daughter straight man-handling the gear shift or the pedals. This also causes the stoic calmness to come off as a lack of personality in the female character. The men are either depraved wild dogs, cowardly, or mentally unstable. If they hold any driving or gun talent, it's partnered with psychoticness. So in the same exact settings, women thrive while men regress. Should we steer clear of modern day South Korea with such a mentality? To be fair, the main male can fight but his backstory is less than stellar on two occasions. I'd dare say the travesty is all the CGI used for the action and landscape.

"We are the ships, you are the river."

There's a moment here, of a taboo nature no doubt, that borders a fine line betweenthat of binding the devil's work through calling on God and that of sacrilege of using the Lord's Prayer during a questionable scene of forced intercourse. Who would have thought that pigeon and cow "matter" mixed with human "matter" would be so explosive? Well, those who know would, but still. It is a little tiring from each of the warring factions to state regularly "assume that I already know" or "don't worry how we know so much, we just do".

Winter wants to be. Wolf too. To know the magic of the Sokofka and like myths. An esoteric bond is forming between the wolf and the Winter virgin, but mysticism is fleeting when the dark arts are of such a taboo nature. Godders though, may keep the minutes of false piety but battles his inner diva from surfacing publicly. This is a bit of disconnect from Delaney's character, as he shows a bit of compassion to one man who has a taboo desire for him while being condescending and harsh to two women who desire him in their own taboo ways. The introduction of a new Irish mistress is an obnoxious menace that works but her manipulation by the Crown cannot be gone quick enough. She's a realistic fighter though, no overindulgence in modern feminism to show she can take any man on but willing to struggle even when the weight is too much. "They knew that she was not a wh*re and that she will fight back." Still, the web of intrigue with the Crown's hate towards the East India, East India's ire towards the Americans, the Americans rebellion of the crown, all three against each other, and Delaney Trading right in the middle, is making for a compelling telling.

I don't think I've ever seen Beethoven's music used like this and it honestly contrasted and complimented the content enjoyably. During the estate court hearing, the sister's husband refers to Delaney with a word that many living folks forget was often used against white people as well as black. It's interesting to see it addressed if even as a subtle nuance to the dialogue. "We've all been owned and we've all owned somebody". The taboo content is starting to reveal itself more. Dumbarton's reference to green America as an angry nation is potent for that era and though I don't foresee it ultimately getting the fairest representation by tale's end, America certainly should have been angry in that era.

An intriguing start, the grey atmosphere of London is well-painted, with no immediate heroes to cheer for and a an expected environment of taboo characters that will be enjoyable to watch them tear each other down. I don't generally care for such but when it is told well in a fictional tale, it can be engaging. To complain of anything, why does Delaney walk everywhere like a slow, stiff bodybuilder? Why is his hat and jacket fitted to make his movement so stiff and to be smaller than everyone else around him?

The righteous heathen and the evil Christian is an overplayed trope that doesn't have the sincere effort of research and the weight of nuance for the engagement of tribal beliefs that actually left most adherents feeling a lack of satisfaction, a heirarchy of peasantry and gender roles, adherents that found value in Christianization. In this case, the betrayer wears a cross but does the bidding of a pagan conquest under the Khan. The complexity of the times deserves a more fair treatment that gives us characters of either belief, willing to show us the negatives of the over-romanticized heathen tribes and the advancements of Christian missionaries and converts.

Writer 1: "We really should get Dan to do something drastic that he cannot come back from but we got to be able to keep him in the show to torment the cast of characters. What do we do?"

Writer 2: "I got it: divisive subject matter that paints a black-and-white picture of a nuanced atmosphere and completely throws sensitivity to the wind."

Peyton certainly had reason to cry this episode but the writers have had her bawling her eyes out in every episode so it holds little sincere weight here. Plus, it was really just a vehicle to enflame the lover's triangle between Lucas, Brooke, and Peyton. The writers did not even try to set up a fair representation of how all kids are bullied at some point, regularly through public schools, but most "get past it". Jimmy's character was a throw away character to show that the writers/show creators/actors are completely detached from the public, and still play themselves up as the main characters regardless of what tragedy they instigated.

There is a degree of satisfaction here, in regards to how Shannon Presby's Loren McWilliams reacts to the situation, with Loren immediately refusing to put up with the crap from the bullies, especially Eddie Dutra, even going as far as to break into a bully's home for recompense. What doesn't work is the overly southern characterization of the Floridians, especially the bad boy gang. James Spader however, has a cool, menacing Southern gentleman villiany, yet also pretentious on occasion. It is not grand cinema nor is it so thought-provoking that you found a new trajectory for life, but it is entertaining enough and agreeable in the violence against the aggressors.

This started out a little on the whacky side, as befits the era, and from the impression that the trailer gives you. It then goes into humorous and sometimes slapstick fare, but it ultimately had a charm about it in regards to three people trying to simply do better for themselves. Shelley's character had a childish innocence about her that made her endearing many times, but also made it kinda awkward when she was half-naked and cooking breakfast. Winkler did a good job of being that typical man who does what his wife and mom says, rarely standing up for himself, and finding his autonomy, a coming-of-age for a young man. Keaton played up the aloof never-do-well, even convincing us that he did in fact mean well, but his step father verbally abused him into mediocrity. Shelley never had a father to tell her she's worth more than just her body, and Winkler's father was the only positive he had growing up, three different scenarios playing out together.

It had the spirit of homage but ultimately it suffered from an incohesive plot line and campy character acting. The bikes, the cuts, the landscape, very outlaw bikerish, and I am sure the nudity and crotch-grabbing main character has some place in the universe, though it is surely is overdone for cinematics. I did not believe that any of them were who they portrayed even though they tried their best to crudely focus on "getting your wings" and violence. The lack of camaraderie, however, never allowed for any character's death or betrayal to matter for much. Rockstar did a better job at biker culture than this and it wasn't even that great of a game.

The film's story hinges on the sacrifice/crucifixion of Christ, on God's relationship to Creation and to the Chosen, but also gives no exposure to such an atmosphere within the landscape. According to a lot of the visuals and the absence of God, of Lucifer being the game changer, the power of the blood of Jesus should not have been so. This noir-like set-up is intriguing and attractive, and the grim religious storyline is still appealing with "half-breed" angels and demons, but you can't be exposed to scripture, a believer, and think the heaven and hell representation was anything other than pure Hollywood manifestation. There's a spiritual world out there, unseen, an environment of angels and demons, and whether they whisper in your ears or sit on your shoulders, I will let that be a story for Hollywood to tell, but don't take this mythology of film as gospel. Satan can't release you from hell to go to heaven, especially without God's will, and Satan cannot extend your life against God's will. In the end though, the movie is agreeable that He works in mysterious ways whether some like it or not.

She's Remarkable, and Our Only Savior. Part 2,000.

Showcase the worst of humanity, in order to justify that they're not worth saving. Create magical creatures and environments that are more righteous than the humans created. Let the world that doesn't deserve her, be saved by a teenage savior girl.

Logically, if the Dragon Pact is a lie, and the dragons are wrongfully killed, they would spawn two dragons in its place. But the dragons are dying out, so the logic falls unless slaying them is actually good for them and they are actually attacking the populace. In addition, the idea that wild reptilian creatures are more noble than humans falls flat. Orphans not wanted, magic misunderstood, technology and consumerism more deadly than fire-breathing predators, this tale simply is too on-the-nose with its propaganda, especially as there are no husbands and wives, no parents with children, and even no siblings. Literature and cinema love broken homes and muddied landscapes that call out things as arcane while demonizing modern conveniences. This seems like a smack in the face of modern British culture, and a reimagining of knight tales, all to target a strict age range of adolescents with Main Character Syndrome.

I applaud that they show a Prince being forced into marriage, which was just as common as the Princesses but gets much less airplay. Also, showing the vehement hate that some women tend to have towards other women was pretty spot on, even if the main one looks like ancient Dracula in Francis Ford Coppola's film. Closeted men mocking women as "just girls", who shouldn't be hunting or teaching, was an interesting angle, albeit still awkward in the writing. The Prince's call at the farm for every girl, any age, doesn't bode well these days, if ever. And the presentation that the shoe is too small to fit these girls doesn't add to the magic of a form-fitting skipper, but to the "any age" weirdness. What weighed it down more than anything was the idea that Cinderella is the smartest and best at everything, even better than the men/boys, knowledged in all things animal, while also being the victim with no spine. A cliché that far outweighs reality but seems to be a cultic kool-aid that cinematic writers indulge in often. On top of that, much of the symbolism flirted with, or outright wallowed in, gender confusion, from the Prince being enthralled with a woman in drag, with Cinderella dressed as a mustached hunter, with the boys suddenly gazing into each other's eyes while playacting as girls dancing, with the styler Baron's highly eccentric manners, to the dance instructors overly effeminate flourishes, etc. This film was targeted and trailered for the audience that loves Cinderella and the fairytale ending of the beautiful Princess/girl that gets the handsome Prince, but chose instead to trick them into a reimagined sermon. There are still some good angles here, as the Prince is in love without asking his father's permission, which turns out to be just like his father. If the film could have focused on the timeless romance of the boy and girl, man and woman, and left out the miserably modernly obnoxious side characterisations, this would have been a more romantic and enchanting story that people initially were sold on.

When I was younger, I enjoyed Disney's Beauty & The Beast. It's still endearing but this film more to my liking as an adult, and as a fantasy fan. The recent American live-action left a lot to be desired so I commend this French production for its enchanting and enthralling showing, plus it doesn't have to sell it as a 'brave, beautiful, and brilliant young woman" nor under overused descriptions of "strong-willed", "fierce", 'independent", or "tough". I missed the the magnetic characters that were cursed as household furniture and such but the multitude of big-eyed mystery creatures were adorably likable. I appreciate that Belle was not the sole focus here, though she was very important. I like that she had at least one brother who was relatable in doing the right thing, but all her brothers ultimately shared in her journey in making things right The brothers don't get much screentime in other viewings. The landscape was hauntingly magical, with cool effects in the forest, the vines, the statues, and the Beast. Though I thought the relationship between Belle and the Beast could have been built up more to be believable, it is still a warm romance.

"Legend has it, beneath the land of extreme cold buried countless treasures. The secret of the treasures was hidden inside an iron box. The box was guarded by Hu Yidao, a martial artist with unparalleled skills, that could only be matched by Miao Renfeng. Tian Guinong, a self-proclaimed Emperor, coveted the treasures. But he feared Hu Yidao. His subordinates came up with a wicked plan to lure Miao Renfeng into a duel with Hu Yidao. That day, the villains gathered in a snowy mountain to set up the death trap."

An adaptation of "Fox Volant of the Snowy Mountain" by Jin Yong. With a lot of chance happenings and unlikely outcomes, dramatic encounters partnered with immediate stop in actions to emphasize the intensity, this was actually an entertaining watch. I thought it was heading into who-done-it territory or even a slow-burn horror but ultimately it was an action tale of vengeance. Eight Villians, all with their own secret powers, serving under Lord Tian Giunong, seek the treasures of the dangerous Feir Mountain, the domain of the mythical Flying Swordsman, who only preys on villians. These Eight, however, are splintered into two factions, loyal to their own desires, or holding secrets beyond their inner powers. There is a missed opportunity for a buddy-cop adventure for two of the strongest martial arts swordsman but that only goes to the credit of the story for making them an interesting angle.

There are some reflective words throughout for the protagonist, moral lessons about oppression and perverted sexual obsession, poetic moments where death dealers listen for the sword of a master assassin to cry but not for the cries of a lost enemy queen. It was entertaining and stylish, a mixture mainly of mystical Japanese warriors and aimless western era American circus performers, and eventually even what could appear to be an eskimo with skills. I will say though, for the fellas: don't stand back and let a woman fight a man who clearly is a brutal murderer. Encourage and teach self defense for all but outside of fantasy cinema, don't leave someone you care about to fend for themselves against something that is almost certainly capable of destroying them.

The ambition was there but not carried out well. Wigs, modern dresses, and bad acting keep this from being an endearing tale though it doesn't prevent it from being watchable. What really weighs it down is the highly overdone trope of spirited princess being more courageous and brave than warriors, even calling them cowardly in righteous indignation. Many comments are made about not being a son, not being able to do what men do, but even in her dying breath, she will obey the laws of their people when Agnar challenges Sven for her hand. Historically, such gender expectancy was rare when seemingly pushed by men, as patriarchal systems put structure and roles on men, not women, and women of royalty pushed feminine culture with such expectancies for the women of their societies, more than men did, even having girls yearning to be able to marry up and be honored above others. This actually hasn't changed. The choice of Jane March as Freya, to world a sword and battle a beast, also made this less believable because she can barely lift a sword in real life with her frailty.

This film is led a lot by emotionally tense moments, for example: a lead up to a massacre at a ranch is a mixture of emotions for a windy atmosphere where one is concerned by the flight of birds from the bush, while another is in wonder by the birds, and once a lone survivor watches in shock at the peaceful aftermath of carnage, five menacing figures reveal themselves one-by-one from the same bush as the birds, with a torrent of wind and dust making the sole noise. Other examples would obviously be the lack of dialogue from Bronson, creating a calm before the storm by simply playing his harmonica.

Jill McBain's story is a harrowing, haunting sadness that does a good job of showing a woman at a loss for her once idyllic life. It's done well by the intoxicating Claudia Cardinale. Once a Bourbon Street prostitute from New Orleans, now a lady and a wife, she has the opportunity to go back to life that once was, or build her husband's dreams in a wild landscape facing the steel of the future.

Irish Brent McBain knew the railroad was coming through his land, his future town. Aspirations for a Sweetwater Station are high since his land has the closest water around for steam engines.

A sedentary man who yearns to be as wild as the ocean waves, crippled railroad tycoon Mr. Morton isn't above using fear and manipulation to get the land he needs for his lofty tracks, but he isn't about barbaric tactics that leave people dead. Mr. Chio Choo would rather make a deal than a coffin.

Outlaw "Cheyenne" Gutiérrez is a wanted man, even when he isn't the man at fault, but he knows he isn't the man that a woman deserves. He'll just make believe it isn't nothing.

Harmonica bears the burden on his shoulders of the ghost of tragedy, seeking vengeance with the haunting soundtrack of breathy harmonica. Hopefully he will come back for some sweetwater someday. Someday.

Outlaw Frank wants it all: land, power, lust, sadistic savagery.