78 reviews
The Walk-In sets out to tackle a serious issue: the growing threat of far-right extremism in the UK. Based on true events, it follows Matthew Collins, a former neo-Nazi who now works as an anti-racism activist, attempting to infiltrate and stop a white supremacist group from carrying out a violent plot. While the series' intentions are good, aiming to highlight the dangers of radicalization, its approach leaves much to be desired.
The first thing that stands out is the series' dramatization of neo-Nazi groups openly marching and demonstrating in public. While such groups undoubtedly exist, the portrayal of them as easily identifiable and brazenly active in the streets of the UK is, to put it bluntly, exaggerated. Most far-right groups today operate in the shadows, using online platforms and encrypted chats to spread their message-far removed from the kind of public Nazi marches shown in The Walk-In. The series risks inflating the threat by focusing on the spectacle rather than the more subtle, insidious methods of recruitment and radicalization that are far more common in today's climate.
For those who have lived in the UK and followed the political landscape closely, the portrayal of white supremacy as a visible, openly confrontational force feels out of touch. Instead of focusing on the quiet, dangerous ways extremist ideologies spread-through online echo chambers and hidden networks-the show leans into sensationalism for dramatic effect. This kind of exaggerated portrayal not only misrepresents the nature of the threat but also feels like a piece of politically charged content rather than a nuanced exploration of the issue.
While there is value in shedding light on the dark reality of far-right extremism, the series risks contributing to a narrative that may feel more like propaganda than a genuine attempt to inform. The danger here is that by making the threat of white supremacy seem like an obvious, easy-to-spot issue, The Walk-In distracts from the real, subtle ways these groups influence minds and shape society today.
Ultimately, The Walk-In serves as a reminder of the risks of sensationalizing complex issues. By pushing a narrative that plays into the fear-mongering of the far left, it feels disconnected from the reality that many of us live in. A more grounded, realistic portrayal would have been far more impactful, offering a clearer understanding of how extremism truly operates in modern Britain.
The first thing that stands out is the series' dramatization of neo-Nazi groups openly marching and demonstrating in public. While such groups undoubtedly exist, the portrayal of them as easily identifiable and brazenly active in the streets of the UK is, to put it bluntly, exaggerated. Most far-right groups today operate in the shadows, using online platforms and encrypted chats to spread their message-far removed from the kind of public Nazi marches shown in The Walk-In. The series risks inflating the threat by focusing on the spectacle rather than the more subtle, insidious methods of recruitment and radicalization that are far more common in today's climate.
For those who have lived in the UK and followed the political landscape closely, the portrayal of white supremacy as a visible, openly confrontational force feels out of touch. Instead of focusing on the quiet, dangerous ways extremist ideologies spread-through online echo chambers and hidden networks-the show leans into sensationalism for dramatic effect. This kind of exaggerated portrayal not only misrepresents the nature of the threat but also feels like a piece of politically charged content rather than a nuanced exploration of the issue.
While there is value in shedding light on the dark reality of far-right extremism, the series risks contributing to a narrative that may feel more like propaganda than a genuine attempt to inform. The danger here is that by making the threat of white supremacy seem like an obvious, easy-to-spot issue, The Walk-In distracts from the real, subtle ways these groups influence minds and shape society today.
Ultimately, The Walk-In serves as a reminder of the risks of sensationalizing complex issues. By pushing a narrative that plays into the fear-mongering of the far left, it feels disconnected from the reality that many of us live in. A more grounded, realistic portrayal would have been far more impactful, offering a clearer understanding of how extremism truly operates in modern Britain.
Just watched Ferrari, and yeah, it delivers. Not your typical high-speed racing flick-it's more of a deep dive into Enzo Ferrari's personal and professional chaos. Adam Driver is solid, but Penélope Cruz? Absolute powerhouse. She steals every scene with raw intensity. The tension between Enzo and Laura is just as gripping as the racing.
Visually, it's stunning. The 1950s Italy setting feels authentic, and when the racing scenes do happen, they hit hard. The Mille Miglia sequence? Brutal, tragic, and beautifully shot. Could it have used a little more racing? Maybe. But as a biographical drama, it does exactly what it sets out to do.
Visually, it's stunning. The 1950s Italy setting feels authentic, and when the racing scenes do happen, they hit hard. The Mille Miglia sequence? Brutal, tragic, and beautifully shot. Could it have used a little more racing? Maybe. But as a biographical drama, it does exactly what it sets out to do.
Sean Baker's Anora had the potential to be a sharp and engaging drama, but despite strong performances and a stylish presentation, the story ultimately feels unmemorable. The film follows Ani (Mikey Madison), a Brooklyn stripper who impulsively marries Vanya, the naive son of a Russian oligarch. What starts as a whirlwind romance quickly turns into a struggle as Vanya's powerful family intervenes, threatening to dismantle Ani's newfound fairytale.
The strongest aspect of Anora is its performances. Mikey Madison delivers a compelling lead performance, bringing authenticity and emotional depth to Ani. Mark Eydelshteyn also does well as Vanya, playing the rich but inexperienced heir with a mix of charm and cluelessness. Sean Baker's signature visual style, blending raw realism with cinematic flair, adds an engaging texture to the film.
However, where Anora falters is its story. The premise is intriguing, but the narrative never quite delivers anything truly impactful. The conflict unfolds in a predictable manner, and while there are moments of tension and humor, nothing lingers long after the credits roll. Unlike Baker's previous films, which often explore the struggles of the overlooked with depth and nuance, this one feels like it lacks a lasting emotional core.
It has also been described as a comedy, but that label feels misplaced. While there are occasional moments of wit, the film is far more of a drama than anything genuinely comedic. If it was meant to be funny, it certainly didn't land that way.
Overall, Anora is watchable and well-crafted, but it doesn't leave a strong impression. It's entertaining enough in the moment, yet it fails to make a significant impact, making it one of Baker's more forgettable works.
The strongest aspect of Anora is its performances. Mikey Madison delivers a compelling lead performance, bringing authenticity and emotional depth to Ani. Mark Eydelshteyn also does well as Vanya, playing the rich but inexperienced heir with a mix of charm and cluelessness. Sean Baker's signature visual style, blending raw realism with cinematic flair, adds an engaging texture to the film.
However, where Anora falters is its story. The premise is intriguing, but the narrative never quite delivers anything truly impactful. The conflict unfolds in a predictable manner, and while there are moments of tension and humor, nothing lingers long after the credits roll. Unlike Baker's previous films, which often explore the struggles of the overlooked with depth and nuance, this one feels like it lacks a lasting emotional core.
It has also been described as a comedy, but that label feels misplaced. While there are occasional moments of wit, the film is far more of a drama than anything genuinely comedic. If it was meant to be funny, it certainly didn't land that way.
Overall, Anora is watchable and well-crafted, but it doesn't leave a strong impression. It's entertaining enough in the moment, yet it fails to make a significant impact, making it one of Baker's more forgettable works.
"McVeigh" (2024) attempts to chronicle the descent of Timothy McVeigh into domestic terrorism, but ultimately fails to provide a compelling or insightful portrayal of its subject. Directed by Mike Ott, the film had the potential to explore the psychological and ideological motivations behind one of the most infamous crimes in American history. Instead, it delivers a hollow, underdeveloped narrative that neither informs nor engages.
One of the film's biggest flaws is its lack of character development. McVeigh's disillusionment with the U. S. government-particularly his anger towards the federal response at Waco-is a crucial aspect of his radicalization, yet the movie barely touches on it. Without a deeper look into his beliefs and frustrations, McVeigh comes across as a one-dimensional figure, reducing the film's impact. The supporting characters are similarly neglected, existing only to move the plot forward rather than adding any real depth or nuance.
As a thriller, McVeigh is disappointingly flat. There's little tension, and the pacing drags, making it a struggle to stay engaged. The lack of emotional weight or psychological insight leaves the film feeling empty, as though it merely goes through the motions without saying anything meaningful. Even Alfie Allen's performance as McVeigh feels restrained, likely due to the script's failure to provide any real substance for him to work with.
Overall, McVeigh squanders its potential. Instead of offering a gripping or thought-provoking look at its subject, it settles for a superficial retelling that neither informs nor captivates. A film tackling such a disturbing and complex event should leave an impact-this one doesn't.
One of the film's biggest flaws is its lack of character development. McVeigh's disillusionment with the U. S. government-particularly his anger towards the federal response at Waco-is a crucial aspect of his radicalization, yet the movie barely touches on it. Without a deeper look into his beliefs and frustrations, McVeigh comes across as a one-dimensional figure, reducing the film's impact. The supporting characters are similarly neglected, existing only to move the plot forward rather than adding any real depth or nuance.
As a thriller, McVeigh is disappointingly flat. There's little tension, and the pacing drags, making it a struggle to stay engaged. The lack of emotional weight or psychological insight leaves the film feeling empty, as though it merely goes through the motions without saying anything meaningful. Even Alfie Allen's performance as McVeigh feels restrained, likely due to the script's failure to provide any real substance for him to work with.
Overall, McVeigh squanders its potential. Instead of offering a gripping or thought-provoking look at its subject, it settles for a superficial retelling that neither informs nor captivates. A film tackling such a disturbing and complex event should leave an impact-this one doesn't.
Grunt is an intense, unflinching look at the Iraq War that blurs the line between documentary and personal reflection. Directed by Sean Spencer, the film immerses viewers in the harrowing experiences of Hector Bravo, a 19-year-old infantryman navigating the brutal realities of combat.
One of the film's greatest strengths is its raw authenticity. Spencer seamlessly blends real footage with deeply personal moments, giving Grunt an almost dreamlike quality-where the chaos of war is juxtaposed with Hector's quieter, more introspective thoughts. The result is a film that doesn't just show war but makes you feel its weight, both physically and emotionally.
The cinematography is both gripping and disorienting, pulling viewers into the uncertainty and adrenaline of battle. Sound design also plays a crucial role, capturing the deafening roar of explosions and the eerie silence that follows. More than just an action-packed war film, Grunt explores the psychological toll of combat, making it a deeply human story rather than just a spectacle.
If there's a flaw, it's that the film can feel relentless at times, offering little relief from the intensity. While this serves the film's purpose, some moments could have benefited from a clearer narrative thread or more breathing room to process the emotions it stirs.
Overall, Grunt is a gripping, visceral experience that stands out from traditional war documentaries. It's not just about war-it's about the young soldiers who live through it, and the ghosts they carry long after the battle ends. An 8/10 for its immersive storytelling, emotional depth, and haunting realism.
One of the film's greatest strengths is its raw authenticity. Spencer seamlessly blends real footage with deeply personal moments, giving Grunt an almost dreamlike quality-where the chaos of war is juxtaposed with Hector's quieter, more introspective thoughts. The result is a film that doesn't just show war but makes you feel its weight, both physically and emotionally.
The cinematography is both gripping and disorienting, pulling viewers into the uncertainty and adrenaline of battle. Sound design also plays a crucial role, capturing the deafening roar of explosions and the eerie silence that follows. More than just an action-packed war film, Grunt explores the psychological toll of combat, making it a deeply human story rather than just a spectacle.
If there's a flaw, it's that the film can feel relentless at times, offering little relief from the intensity. While this serves the film's purpose, some moments could have benefited from a clearer narrative thread or more breathing room to process the emotions it stirs.
Overall, Grunt is a gripping, visceral experience that stands out from traditional war documentaries. It's not just about war-it's about the young soldiers who live through it, and the ghosts they carry long after the battle ends. An 8/10 for its immersive storytelling, emotional depth, and haunting realism.
System Crasher is beautiful, tragic, and heartbreaking. It's a raw portrayal of a young girl whose immense need for love and stability collides with the inadequacies of the systems meant to help her. The film draws you into Benni's chaotic world with an unflinching honesty, making you root for her, even as her actions often create heartbreak for those trying to help her.
Helena Zengel's performance captures the innocence and rage within Benni, making her a deeply human character whose pain feels all too real. The film doesn't offer easy answers, instead leaving viewers with a haunting sense of urgency and empathy for children like her. It's the kind of story that lingers in your heart, reminding you of the profound need for compassion in the face of complex challenges.
Helena Zengel's performance captures the innocence and rage within Benni, making her a deeply human character whose pain feels all too real. The film doesn't offer easy answers, instead leaving viewers with a haunting sense of urgency and empathy for children like her. It's the kind of story that lingers in your heart, reminding you of the profound need for compassion in the face of complex challenges.
The Desperate Pursuit of Eternal Youth Leads to Nightmar : I found 'The Substance' to be a visually stunning and thought-provoking film that effectively explores the themes of aging, self-acceptance, and societal pressures. Demi Moore delivers a powerful performance, and the special effects are impressive. While I enjoyed the film overall, I felt the ending was unnecessary and detracted from the otherwise strong narrative. Despite this minor flaw, 'The Substance' is a unique and memorable cinematic experience that's worth watching for those who appreciate bold and unconventional storytelling...
Su narates her documentry with a warm calm demeanour; the footage and photos bring to life her farthers geschichte and unltimatly her own story. A sobering watch that left me in deep contemplation... How could the German people be so erroneous ?
Su presents her documentary with a soothing and gentle tone, while the visuals of the footage and photos vividly capture the essence of her father's history and, ultimately, her own. The documentary is a thought-provoking experience that left me in a state of deep reflection, pondering the question of how the German people could have been so misguided. It is a sobering reminder of the importance of learning from the past to create a better future.
Su presents her documentary with a soothing and gentle tone, while the visuals of the footage and photos vividly capture the essence of her father's history and, ultimately, her own. The documentary is a thought-provoking experience that left me in a state of deep reflection, pondering the question of how the German people could have been so misguided. It is a sobering reminder of the importance of learning from the past to create a better future.
If you like Black Mirror this ones for you (but not as good), its not a horror, its a sifi mystery ....the cinematography, visual style, and production design are rather good but the plot was unfortunate albeit starting very well ....a simulated world with a portal on the top of a hill...come on really ? Oh dear.
American psychological thriller film directed by Olivia Wilde from a screenplay by Katie Silberman, based on a spec script by Carey Van Dyke, Shane Van Dyke, and Silberman. The film stars Florence Pugh, Harry Styles, Wilde, Gemma Chan, KiKi Layne, Nick Kroll, and Chris Pine. It follows a young wife living in a company town who begins to believe there is a sinister secret being kept from them by the man who runs it.
American psychological thriller film directed by Olivia Wilde from a screenplay by Katie Silberman, based on a spec script by Carey Van Dyke, Shane Van Dyke, and Silberman. The film stars Florence Pugh, Harry Styles, Wilde, Gemma Chan, KiKi Layne, Nick Kroll, and Chris Pine. It follows a young wife living in a company town who begins to believe there is a sinister secret being kept from them by the man who runs it.
I was captivated very quickly with this movie... it became progressively dark and sad.... the challenging part about this movie is that the narrative is disturbingly true, especially in the US ..... I suspect many parents will worry for their daughters after watching this, I know I do.
Most of the events are fiction, namely the school shooting and bomb plot. However, Knoll later revealed that the gang rape was based on her own harrowing experience as a teen.
Knoll said she was in high school during the mass shooting at Columbine High School in Colorado took place, an event she said always stuck with her - but that's not why she included it in her book. "I still had the idea in my head that what happened to Ani wasn't bad enough, because that's what happened to me.
Most of the events are fiction, namely the school shooting and bomb plot. However, Knoll later revealed that the gang rape was based on her own harrowing experience as a teen.
Knoll said she was in high school during the mass shooting at Columbine High School in Colorado took place, an event she said always stuck with her - but that's not why she included it in her book. "I still had the idea in my head that what happened to Ani wasn't bad enough, because that's what happened to me.
Although the acting was rather impressive and I was tempted to give this one a wide birth, my only question was why? I'm in a similar scenario, but I wouldn't think of turning it into a movie. What does it have to offer the viewer? Not a lot in my opinion-not a beginning or an end, simply a window in time with no sense or direction.... as for the script, this could have been taken from a five minuet window from a farther for justice meeting. Who is the target audience, exactly? Why wasn't the introspective aspect of the characters explored? What would you call the genre ? It lacks suspense plot, music and cinematography.
This was clearly done on a budget, having said that the script and the acting was rather good; the editing an the final scene was a little bodged ... I enjoyed the mix of characters and the narration.
At times I ran the movie 2x its normal speed as it was so slow ... the acting was ok the story was uninspiring... I felt like it was a project showcasing 2 actors which this was their 1st film . The plot was interesting but it never really got out of 2nd gear.
While I think this was an OK documentary, I think his death was inevitable , the family is cursed.
Family incidents led Senator Ted Kennedy to wonder, in a televised statement about the Chappaquiddick incident in 1969, whether there really was a "Kennedy curse." Some of the events endured by the Kennedy clan include: in 1941, Rosemary underwent a non-consensual lobotomy intended to prevent her from embarrassing the family with her violent mood swings, convulsions, and intellectual disability. The operation left her incapacitated for the rest of her life. Joseph Jr. Died in 1944 when the Navy bomber he was piloting exploded in mid-flight. Kathleen died in a plane crash in France in 1948. John and Robert were assassinated, in 1963 and 1968 respectively. In 1964, Ted was nearly killed when his plane crashed in an apple orchard near Southampton, Massachusetts. Legislative aide Edward Moss and the pilot were killed in the crash.) Ted was seriously injured and spent months in a hospital recovering from a severe back injury, a punctured lung, broken ribs and internal bleeding.
In later generations, Robert's son David died of a drug overdose in 1984; and son Michael died from injuries sustained in a skiing accident in 1997; John's son John Jr. Died in a plane crash (along with his wife Carolyn and sister-in-law Lauren) off the coast of Martha's Vineyard in 1999; Kara Kennedy and Christopher Kennedy Lawford died of heart attacks, in 2011 and 2018 respectively; and Saoirse Kennedy Hill died of a drug overdose in 2019.
In April 2020, Robert's granddaughter Maeve Kennedy McKean, a former official in the Obama Administration, and her eight-year-old son, Gideon Joseph Kennedy McKean, disappeared in Chesapeake Bay after embarking in a canoe to retrieve a ball. Maeve McKean's body was recovered the following week, and her son's two days later, about 2.5 miles from her mother's home on the Chesapeake Bay.
Family incidents led Senator Ted Kennedy to wonder, in a televised statement about the Chappaquiddick incident in 1969, whether there really was a "Kennedy curse." Some of the events endured by the Kennedy clan include: in 1941, Rosemary underwent a non-consensual lobotomy intended to prevent her from embarrassing the family with her violent mood swings, convulsions, and intellectual disability. The operation left her incapacitated for the rest of her life. Joseph Jr. Died in 1944 when the Navy bomber he was piloting exploded in mid-flight. Kathleen died in a plane crash in France in 1948. John and Robert were assassinated, in 1963 and 1968 respectively. In 1964, Ted was nearly killed when his plane crashed in an apple orchard near Southampton, Massachusetts. Legislative aide Edward Moss and the pilot were killed in the crash.) Ted was seriously injured and spent months in a hospital recovering from a severe back injury, a punctured lung, broken ribs and internal bleeding.
In later generations, Robert's son David died of a drug overdose in 1984; and son Michael died from injuries sustained in a skiing accident in 1997; John's son John Jr. Died in a plane crash (along with his wife Carolyn and sister-in-law Lauren) off the coast of Martha's Vineyard in 1999; Kara Kennedy and Christopher Kennedy Lawford died of heart attacks, in 2011 and 2018 respectively; and Saoirse Kennedy Hill died of a drug overdose in 2019.
In April 2020, Robert's granddaughter Maeve Kennedy McKean, a former official in the Obama Administration, and her eight-year-old son, Gideon Joseph Kennedy McKean, disappeared in Chesapeake Bay after embarking in a canoe to retrieve a ball. Maeve McKean's body was recovered the following week, and her son's two days later, about 2.5 miles from her mother's home on the Chesapeake Bay.
A lame plot with no twists and average acting .... its just a poor effort with no imagination at all .... wast of money and time... one could say a missed opportunity, not with this plot, the actors involved could have been put to better use.
Great movie , I did a similar journey in 1988 - 91 - Asia - Oz, Central and South America .... I couldn't video my experience ....thanks for sharing your journey it was touching ....
How they've spun this out to last for 2 hours is beyond me .... I binned it after 50 mins ... its a borderline peado film.... did they class this a comedy? Its more like a drama ... and after 50 mins nothing much has happened other that a middle aged man grooming a school leaver.
While the dubbing is an unfortunate aspect for none English speaking films I do prefer the move to be dubbed. An interesting story about the most famous gun in world ... the acting is just above average (6/10) the the script cinematography and plot is above average.
Martin John Bryant aka Nitram the now convicted Australian mass shooter who murdered 35 people and injured 23 others in the Port Arthur massacre, one of the world's deadliest shooting sprees, in Port Arthur, Tasmania, between 28 and 29 April 1996.
Caleb Landry Jones who played as Nitram was captivating from the start; an fascinating character study of a deeply disturbed person with very limited means of a happy life ... an impressive testimony of this devastating event ... predictable yet realistic, sad but unnerving .. I could watch this 2x.
Caleb Landry Jones who played as Nitram was captivating from the start; an fascinating character study of a deeply disturbed person with very limited means of a happy life ... an impressive testimony of this devastating event ... predictable yet realistic, sad but unnerving .. I could watch this 2x.
A movie which demonstrates an actors craft, while the plot has some depth I found this to be a narcissistic meandering roller coaster of a movie ... by the end I suspect the aficionados will be on bended knee while the proletariat will be long asleep.
At first I felt it was a waist of great cast because of the repetitiveness, I skipped some parts as it was literally identical .... in the end the acting and cinematography was great... and the ending fight, well I had to watch this in slow-motion.
I'm big fan of Idris and westerns .. Idris work is captivating unfortunately the writing is very boring. I tried to watch this several times but unfortunately the prospect of washing dirty dishes was more appealing.
A forgotten story which is depicted very well considering the budget constraints, I was very surprised to see the death toll breakdown . I could very easily watch this again ... its better than 7/10 but less than 8/10.
I had to stop after the first 15 mins ..... Fabien Dufils' depiction of Sarah (Michelle Girolami.) didn't grip me in anyway ... we are dropped in at the deep-end in a totally unbelievable scenario. Ha Fabien gone with a B movie format it would have been a least funny.