Tag: movies

Exploring Humanity in _The Great Flood_: A Film Review

One of the best things about Netflix is that you get to watch films and documentaries from all over the world. One such film is The Great Flood from South Korea. It was co-written and directed by Kim Byung-woo.

An-na, an AI researcher and recent widow, played by Kim-Da-mi, wakes in her apartment to find floodwater rising in the thirty-floor complex. With her six-year-old son Ja-in, she attempts to reach safety.

However, they are no ordinary mother and child. The child is a robot designed to experience emotion. This is critical to the whole film. An asteroid has hit, and human extinction is imminent. World governments knew what was going to happen and funded secret efforts to survive, including a space station and research into the creation of engineered human bodies and consciousness. An-na’s employer is also revealed to be involved in these projects, putting her and her child central to humanity’s future.

What stands out most is the film’s balance between scale and humanity. While the flood itself is rendered with striking visual power—ominous skies, rising waters, and carefully staged moments of chaos—the story never loses sight of the people caught within it. The narrative lingers on personal choices, moral dilemmas, and quiet acts of courage, allowing the disaster to feel not just catastrophic, but deeply personal. This focus gives the film an emotional weight that elevates it beyond a standard disaster movie.

The performances are uniformly strong, grounded, and convincing. Rather than leaning into melodrama, the actors bring restraint and authenticity, making fear, grief, and resilience feel earned. Small gestures and silences often speak louder than dialogue, and those understated moments are some of the film’s most powerful.

Technically, The Great Flood is impressively crafted. The cinematography captures both the beauty and menace of nature, using light, color, and movement to heighten tension. The sound design is particularly effective—the rush of water, distant alarms, and sudden quiet all work together to create a visceral experience that keeps the audience on edge. The pacing is deliberate, allowing suspense to build naturally while still delivering moments of urgency and release.

Ultimately, The Great Flood is a film about survival in the broadest sense: not just surviving a natural catastrophe, but preserving compassion, responsibility, and hope when everything familiar is threatened.

If nothing else, it is a great story. With AI coming to the forefront of our lives, I expect more films of this nature in the future. Four out of five stars from me.

Why You Need to Watch The Rip Right Now!

My dear readers, I have an urgent message for you. Stop whatever you are doing, subscribe to Netflix or a dodgy box, and watch The Rip. Quite simply, it is that good. An easy five stars out of five, and the best gangster type film I’ve seen in years.

The Rip is a 2026 American action thriller film written and directed by Joe Carnahan, who developed the story with Michael McGrale. The film stars Matt Damon and Ben Affleck as police officers within the narcotics unit of the Miami-Dade Police Department. They give stellar performances. It also stars Steven Yeun, Teyana Taylor, Sasha Calle, Catalina Sandino Moreno, Scott Adkins, and Kyle Chandler.

It is inspired by the true story of Miami-Dade County Sheriff Chris Casiano. This film tells the story of a group of police officers who, during a raid on a hidden cash operation, find their trust broken down as team members suspect each other of trying to steal a large sum of cash.

The Rip is a gripping, confidently made film that lingers long after the credits roll. From its opening moments, it establishes a tense, immersive atmosphere and never lets go, pulling the viewer into a story that feels both intimate and unsettling. The film’s greatest strength lies in how controlled and purposeful it is—every scene, every beat, feels intentional.

The performances are a standout across the board. The cast delivers raw, believable work that grounds the film’s more intense moments in genuine emotion. Rather than relying on exaggerated reactions, The Rip allows its characters to unravel in subtle, human ways, making their choices and consequences feel painfully real. This emotional restraint makes the film’s most powerful moments hit even harder.

Visually, The Rip is striking without being showy. The cinematography uses framing, lighting, and movement to reinforce the story’s themes, often communicating more through silence and composition than dialogue ever could. The film has a strong sense of place, and the environment itself becomes part of the storytelling, heightening tension and reinforcing the characters’ inner turmoil.

It is all brought to a well-thought-out and masterful conclusion. No need to thank me. Start Netflixing.

Nuremberg (2025): A Cinematic Exploration of Justice

Not for the faint-hearted, this film is currently being shown on Sky Movies. Nuremberg (2025) is a compelling and meticulously crafted film that succeeds both as a historical drama and as a deeply human exploration of justice, morality, and responsibility. From its opening moments to its final, reflective scenes, the film commands attention with quiet confidence and emotional weight.

One of the film’s greatest strengths is its restrained yet powerful storytelling. Rather than relying on spectacle or melodrama, Nuremberg allows tension to build through dialogue, performance, and ethical confrontation. The screenplay is intelligent and precise, presenting complex legal and moral questions in a way that feels accessible without ever being simplistic. The pacing is deliberate, giving viewers time to absorb the gravity of the events while remaining consistently engaging.

Nuremberg is a 2025 American psychological thriller historical drama film written, co-produced, and directed by James Vanderbilt. Based on the 2013 book The Nazi and the Psychiatrist by Jack El-Hai, the film follows U.S. Army psychiatrist Douglas Kelley (Rami Malek) seeking to carry out an assignment to investigate the personalities and monitor the mental status of Hermann Göring (Russell Crowe) and other high-ranking Nazis in preparation for and during the Nuremberg trials. Leo Woodall, John Slattery, Mark O’Brien, Colin Hanks, Wrenn Schmidt, Lydia Peckham, Richard E. Grant, and Michael Shannon have supporting roles in the film.

Russell Crowe, in particular, gives a breathtaking performance as Hermann Göring. The back and forth of his testimony is the central plank of the film.

Visually, Nuremberg (2025) is striking in its understatement. The cinematography favors muted tones and carefully composed frames, reinforcing the somber atmosphere without feeling oppressive. Production design is detailed and immersive, effectively transporting the audience to the post-war setting while maintaining a grounded, realistic feel. The score is used sparingly but effectively, enhancing emotional moments without overwhelming them.

What truly elevates the film is its thematic depth. Nuremberg does not simply recount historical events—it invites reflection on accountability, the rule of law, and the enduring consequences of moral choices. The film resonates strongly in a modern context, reminding viewers why truth, justice, and ethical responsibility remain essential values. Its relevance feels intentional and timely, adding an extra layer of significance to the viewing experience.

In the end, Nuremberg (2025) stands out as a thoughtful, mature, and deeply respectful film. It is not only an important historical portrayal but also a gripping cinematic experience that lingers long after the credits roll. Powerful without being preachy and emotional without being manipulative, it is a film that rewards careful attention and thoughtful reflection. Highly recommended for audiences seeking intelligent, meaningful cinema.

The film gets five stars out of five from me. Beware, there are some horrific images from the concentration camps in the film.

Have you seen it? Let me know in the comments.

Exploring The Life of Chuck: A Review of a Fantasy Drama

Hi, my readers, I hope you are having a good weekend. This is a different kind of film I watched recently that I found quite entertaining. And maybe you’ll like it too.

The Life of Chuck is a 2024 American fantasy drama film written for the screen, co-produced, edited, and directed by Mike Flanagan. It is based on the 2020 novella of the same name by Stephen King. The film stars Tom Hiddleston, Chiwetel Ejiofor, Karen Gillan, Mia Sara, Carl Lumbly, Benjamin Pajak, Jacob Tremblay, and Mark Hamill, with narration by Nick Offerman.

The film’s plot follows the formative moments in the life of Charles “Chuck” Krantz, chronicled in reverse chronological order, from his death, depicted as the end of the universe, to his childhood.

The film’s greatest strength is its unconventional narrative design. The story unfolds like a memory being gently rewound, each chapter revealing not only new information but also new emotional context. What initially feels mysterious and even abstract gradually becomes intimate and profoundly relatable. The structure isn’t a gimmick—it reinforces the film’s central idea that every life, no matter how ordinary it seems from the outside, contains multitudes.

There are chapters to the film. The first is Act 3, Thanks, Chuck

Chuck mostly doesn’t appear in this Act. Middle school teacher Marty Anderson notes unusual things happening around the world, from natural disasters to the worldwide loss of the Internet. Several billboards and advertisements popping up everywhere display a picture of an accountant named Charles “Chuck” Krantz, accompanied by the words “Charles Krantz: 39 Great Years! Thanks, Chuck!” Marty’s ex-wife, Felicia Gordon, calls him, and they ponder if the end of the universe is upon them. Marty describes Carl Sagan’s Cosmic Calendar, a method to visualise the age of the universe in a single calendar year. Both of them begin seeing more disasters and supernatural occurrences.

After losing telephone service and electricity, Marty goes to Felicia’s home so they can stay with one another in the universe’s final moments, watching as the stars vanish one by one. The end of the universe is revealed to be connected to 39-year-old Chuck, who is bedridden in a hospital, dying from a brain tumor. He is accompanied by his wife, Ginny, and his son Brian. Chuck passes away as Ginny tells him, “39 great years. Thanks, Chuck. Meanwhile, Marty tells Felicia, “I love you,” just as the universe abruptly ends.

You realize that what you have been watching is the destruction of Chuck’s mind.

The next two Acts deal with important moments in Chuck’s life, both sorrowful and joyful. By the end, you realize that Chuck was no boring accountant, but lived a full life. Even if he died at just 39 years of age.

I give it four stars out of five. Now, stop wasting your life, and go watch some TV!

Documentary Review: I’m Chevy Chase and You’re Not

Those of my readers around in the eighties will probably remember Chevy Chase. I remembered him from comedic films from the time period, but it had been many years since I even thought of him.

So, I said I’d give this documentary film a try. Its name is “I’m Chevy Chase and You’re Not.” From the start, it becomes clear that his bad reputation as a coworker will be a big focus, as well as his past drug abuse.

The film does an excellent job of reminding you just how seismic Chase’s impact on comedy really was. Saturday Night Live doesn’t just get a nod—it gets a victory lap. Watching early clips of Gerald Ford tumbling down stairs and Chase anchoring Weekend Update is like seeing comedy history being invented in real time, mostly held together with duct tape and confidence. The documentary smartly lets these moments breathe, trusting the material to remind you why Chase was, for a time, the funniest man in America.

Then come the movies, and oh, what a parade it is. Caddyshack, Fletch, National Lampoon’s Vacation—the documentary rolls through them like a greatest-hits album where every track is either iconic or inexplicably quotable. There’s a genuine joy in revisiting how Chase perfected the art of the smug, clueless, yet weirdly lovable leading man. His comic persona—equal parts charm and chaos—gets the credit it deserves as a blueprint for generations of comedians who followed.

But then there are the drugs. And he did a lot. And he could be mean. The drug abuse, his comedy, and this meanness all likely have one source – an abusive mother. He developed it as a coping mechanism. It is one he still uses as he makes jokes to deflect difficult or awkward moments, even in his eighties. Still, even his meanness comes off as him being a bit of a rascal.

When the stories get messy. You come away with the sense that Chase’s imperfections didn’t cancel out his contributions—they complicated them, humanized them, and, strangely, made his successes even more impressive.

By the end, the documentary feels less like a verdict and more like a well-earned, slightly crooked standing ovation. It celebrates a man who made millions of people laugh, sometimes by falling down, sometimes by being the joke, and sometimes by being in on it all along.

It gets four out of five stars from me.

If you’ve seen it, what did you think?

Review of the Film 28 Years Later

Hi, ladies and gentlemen. Yes, I’m still on my Christmas holidays. That is probably why you are hearing so much from me at the moment. On the plus side, I watched this film earlier and thought I’d share my thoughts.

For those who don’t love zombies as much as I (weirdos), this is a sequel to the iconic film 28 Days Later. A truly great film.

The premise in this universe is that in 2002, animal activists infiltrate a top-secret laboratory of scientists to release animals, and in the process unknowingly release chimpanzees infected with a pathogen, resulting in a rapid outbreak. The scientists were studying a highly contagious and powerful disease named the Rage Virus. This virus spreads throughout the UK, turning much of its population into de facto zombies.  Great stuff, I know.

Fortunately, it’s only the UK that has been affected (not overly worrisome), and it is in quarantine. This is a bit more serious than leaving the EU.

Anyways, this film starts with lots of kids in a room watching the Teletubbies, a perfect way to tell us the time period. Except for one lucky survivor, all the kids get killed. I almost shed a tear, seriously.

The film then jumps forward to the present. The movie understands that the real horror of an apocalypse isn’t just the chaos—it’s the long-term admin. Systems are breaking down. People are adapting in weird ways, going all medieval and shit. Societies are rebuilding themselves with duct tape and unresolved trauma.

At the heart of the film is a son’s love for his mother. It was all going so well, till then. She’s very sick, and the son thinks a doctor is a solution. It gives them a reason to go on a journey, but the kid seems happy to risk everything on blind luck. It’s a major weakness for the film, as well as the lack of understanding of the father.

They should have continued the film as it started – the father-son relationship.

Another criticism is that many of the scenes didn’t look apocalyptic. Too few trees, the grass was too short, and the roads’ surface too perfect. 28 years later, my ass. I expect more from a film.

For those reasons, it’s three stars from me.

Have you seen it? Why not message and let me know?

Star Wars: The Rise of Skywalker Review

Well, I finally got around to seeing this. This lapse would be very difficult to explain to my ten-year-old self. But was it worth the wait?

Star Wars: The Rise of Skywalker (also known as Star Wars: Episode IX – The Rise of Skywalker) is a 2019 American epic space opera film produced, co-written, and directed by J. J. Abrams. Produced by Lucasfilm and Bad Robot, and distributed by Walt Disney Studios Motion Pictures, it is the third installment of the Star Wars sequel trilogy, following The Force Awakens (2015) and The Last Jedi (2017), and the final episode of the nine-part “Skywalker saga.” And what a saga, it has proven to be.

Rey continues her journey with determination, compassion, and the kind of emotional resilience that would make any Jedi Master weep proudly into their robe. Her arc is full of self-discovery and inner conflict, and the movie treats her struggle with genuine sincerity. She’s not just swinging a lightsaber—she’s wrestling with identity, legacy, and the age-old Star Wars question: “What if my family history is… a lot?”

And in fairness, her family history is complicated to say the least. You see, it turns out Palpatine is her grandpa. These Jedi and Sith seem to be all related.

Meanwhile, Kylo Ren remains one of the most entertainingly conflicted characters in the entire franchise. Adam Driver commits so hard to every glare, whisper, and emotional breakdown that you half-expect the Force to file a noise complaint. His journey is dramatic, intense, and surprisingly touching—proof that no one does “angsty space villain with great hair” quite like him.

The one thing that doesn’t come off is the kiss between Rey and Kylo Ren or Ben at that stage. It comes out of nowhere, and to be frank, brothers and sisters have had more sexual chemistry in this saga.

The supporting cast brings warmth, humor, and that classic Star Wars camaraderie. Finn is earnest and heroic, Poe is charmingly reckless, and their banter gives the movie a breezy, adventurous feel—even when the fate of the galaxy is, once again, hanging by a very thin thread. New characters slide in with confidence, while familiar faces return like old friends who immediately start helping you move furniture without being asked.

Visually, the movie is a feast. Lightsabers glow dramatically, starships collide with operatic flair, and the Force has never looked so… forceful. Every frame feels designed to be replayed, paused, and pointed at while someone says, “Okay, but that part was actually really cool.”

And yes—this film is emotional. It wears its heart on its Jedi sleeve. Themes of hope, legacy, redemption, and chosen family run through the story like the Force itself. It reminds us that the past matters, but it doesn’t have to define us—a message that feels very Star Wars and very earned.

This is a film for all ages that leaves you feeling all warm inside.

Four stars out of five from me. My ten-year-old self gives it a million.

Mission: Impossible – The Final Reckoning: A Review of Epic Action

Ladies and gentlemen, Tom Cruise is back as Ethan Hawke in Mission: Impossible – The Final Reckoning, and he’s back with a bang. This dropped on Sky only yesterday, and I was immediately psyched up to watch it. You know what you are going to get – great action scenes.

From Wikipedia:

Mission: Impossible – The Final Reckoning is a 2025 American action spy film directed by Christopher McQuarrie from a screenplay he co-wrote with Erik Jendresen.[7][8] It is the direct sequel to Mission: Impossible – Dead Reckoning (2023) and the eighth installment in the Mission: Impossible film series. The film stars Tom Cruise in his final portrayal of Ethan Hunt,[9] alongside an ensemble cast including Hayley Atwell, Ving Rhames, Simon Pegg, Henry Czerny and Angela Bassett.[10][11] In the film, Hunt and his IMF team continue their mission to prevent the Entity, a rogue artificial intelligence, from destroying all of humanity.

Imagine if your toaster became sentient, hacked the world’s nuclear codes, and then asked nicely for world domination. Now replace the toaster with The Entity, a rogue AI that threatens to blow up everything except dessert buffets. Ethan Hunt is all that stands in its way.

It’s a long film. I mean, very long at a running time of 170 minutes. Personally, I watched it over two days and thoroughly enjoyed it. One sitting would be a significant endurance test.

The action scenes are what really set this apart. The underwater cinematography is incredible, as are the shots on the planes. Additions to all the great shots and stunts Tom Cruise has given us over the years.

On that subject, we do get quite a few flashbacks of previous films. Much like a tribute to the franchise’s greatest hits.

I give the film five stars out of five. It’s like Tom Cruise.

Do you agree? Do let me know.

Four-Star Movie Review: Fun Light Entertainment

Hello, my dear readers. Guess you are all looking forward to Christmas right about now. I finished this gem called “The Adams Project” last night and thought I’d do you all a quick post. It’s been a while. What can I say? Alcohol comes first.

The plot zips around like it’s had too much coffee—time travel, futuristic jets, evil corporations—but it never forgets to slow down for heart. The real secret weapon is the banter between adult Adam and his younger self, which feels like watching your inner monologue argue with you in real time. It’s funny, oddly touching, and painfully accurate.

One of the funniest parts is where he convinces his younger self to stand up to a bully, only to get pummeled. Of course, that could be my strange sense of humor..

The film is quite uplifting, never getting particularly dark. His being mean to his Mum is about the worst of it, and he gives her a big hug at the end. The action scenes are good and will keep your heart beating away.

A small bit of romance, but it never gets in the way. Down with that sort of thing.

Four stars out of five for me. Good light entertainment.

Liam Neeson is superb in Memory (2022 film)

Liam Neeson is back in action in the 2022 film, Memory. Like seriously, this guy is a film-making machine at this stage. In this one, he stars as a septuagenarian hitman called Alex Lewis who is—plot twist—forgetting things. Not metaphorically. Not “I forgot where I put my keys.” We’re talking medically, tragically, narratively, forgetting things. Which is bold, because the man’s entire cinematic brand is “I will find you,” and now the movie dares to ask: but what if he occasionally forgets why?

Alex is hired for a job that he doesn’t really want to take, only to discover that the target is a child. In a move that instantly promotes him from “professional killer” to “professional killer with ethics,” he refuses the hit. He gives a warning that the girl is to be left alone. When another contract killer completes the task and goes after him, he turns his very specific set of skills on the people who ordered it. Meanwhile, his memory is deteriorating faster than a phone battery in the cold, forcing him to leave himself notes like a lethal, cardigan-wearing version of Memento.

This is where the movie shines. Instead of pretending Neeson is still 30, Memory leans into age, regret, and cognitive decline—and somehow makes them tense, sad, and weirdly wholesome.

The action is grounded, tense, and refreshingly free of superhero nonsense. Neeson doesn’t leap off buildings—he moves with purpose, like a man who knows his knees won’t forgive him later. Every fight feels heavy, deliberate, and earned.

The supporting cast (including Guy Pearce and Monica Bellucci) adds gravitas, though let’s be honest: this is Liam’s movie, and everyone else is just trying not to get emotionally or physically outmatched.

Oh, and the ending is perfect.

The best film I’ve seen in some time. Five stars out of five from me.

Have you seen it? Let me know what you think.