Ernad_Fakic

I believe that is exactly the right question to ask after this film. What do I mean when I say "new Marvel"? I mean that Thunderbolts dives into profound themes of the human condition and offers spiritual reflections we have not had the chance to see in the MCU so far. So this is something new for all those who have complained about the supposed "superficiality" of these films. With the introduction of a new superhero, The Sentry, the film dares to go beyond standard action and steps into spaces of loneliness, isolation, childhood trauma, the search for meaning, existential fear, the pursuit of light in darkness, and the tendency to escape into destructive patterns. Very layered.

When I say "old Marvel" I am thinking of that recognizable blend of action, serious stakes, and well-crafted humor, the kind we saw all the way up to Endgame. In Thunderbolts, that formula works again at the familiar level. It will be interesting to see how the MCU handles The Sentry, potentially its most powerful superhero yet. It is still too early to say whether this film marks a full return to the old glory, but one thing is certain, this is a serious project and a well-paved path toward something big. A fantastic film.

Anthony and Joe Russo usually know what they're doing when they have a big budget at their disposal. The Electric State is a fun sci-fi epic, but nowhere near deserving of the massive budget I had heard about. And when I checked and saw that it cost $350 million, my jaw hit the floor. It's incomprehensible that something with just surface appeal-offering disposable entertainment we'll forget by tomorrow-gets that kind of money. That's more than Dune: Part Two cost or even Nolan's upcoming Odyssey, which is set to be his most expensive film to date...

As for the movie itself, the story is pretty generic, with just enough finesse to avoid being a straight-up copy of something we've already seen. The acting is fine for an adventure flick. The humor is hit or miss-mostly worn-out, but occasionally really effective. The dialogue leans way too much into being overly sentimental and melodramatic. The effects blend seamlessly with reality, which is the least you'd expect from a $350 million budget. The music and atmosphere are nice.

That's about it for The Electric State. I had fun with it, and there was enough going for it to keep me from calling it a bad film. So yeah, it gets a heart.

"...He's a journalist that wants to write about the demolitions. - But does anyone actually care to read about it? - Honestly, not many."

And just like that, No Other Land became my favorite Oscar winner from the last ceremony, as this film may be one of the most significant and best documentary works for humanity in the 21st century. A joint effort by Palestinians and Israelis, led by Yuval Abraham, Basel Adra, Hamadan Billal, and Rachel Szor, set out to document the heartbreaking events in the occupied West Bank, where Palestinian villages are illegally and forcibly demolished, homes and schools disappear, and farmers' land is seized-leaving them with caves as their only refuge in the land where they were born. Exile or a bullet-those are their remaining options, all for the purpose of creating space for IDF military training grounds...

A film that exposes the greatest human disgrace of our time, revealing how deeply evil, oppression, fascism, and racism can take root in the human heart, but also how vast, yet powerless, human suffering can be. It also reminds us that, without a tyrannical regime, a life of mutual solidarity, respect, and friendship is not only possible but natural. This is something that manifests a cry for freedom, for our attention... a cry for something that should be a fundamental right of every decent human being.

Without exception, you all must watch this.