Dramatic movie – Cake Maker http://cakemaker.org.uk/ Fri, 21 Jan 2022 01:33:29 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 http://cakemaker.org.uk/wp-content/uploads/2021/06/cropped-icon-32x32.png Dramatic movie – Cake Maker http://cakemaker.org.uk/ 32 32 ‘Stop-Zemlia’ review: Ukrainian drama captures teenage universality http://cakemaker.org.uk/stop-zemlia-review-ukrainian-drama-captures-teenage-universality/ Fri, 21 Jan 2022 01:16:00 +0000 http://cakemaker.org.uk/stop-zemlia-review-ukrainian-drama-captures-teenage-universality/

The Times has pledged to review movie theatrical releases during the Covid-19 pandemic. Because cinema carries risks during this time, we remind readers to follow health and safety guidelines such as described by the Centers for Disease Control and Prevention and local health officials.

Ukrainian filmmaker Kateryna Gornostai turns to her teenage years, in all its feelings, friendships and trial and error, for her directorial debut, “Stop-Zemlia,” an immersive portrait of high school life, a time when young adults manage to become themselves.

Opening with a series of portraits of its teenage characters drawn from documentary-style interviews sprinkled throughout the film, the narrative focuses on Masha (Maria Fedorchenko), one of the kids outside the popular gang, who finds close-knit company with her two best friends, Yana (Yana Isaienko) and Senia (Arsenii Markov). This trio is often nihilistic about the state of the world, but Masha leads a comfortable life. She experiences the kind of universal teenage angst that stems from her unrequited desire for connection, belonging, and, of course, the cute boy in the class, Sasha (Oleksandr Ivanov).

It’s tempting to compare “Stop-Zemlia” to the HBO series “Euphoria,” because these teenagers also wear colorful makeup and experiment with alcohol, drugs, sex, and self-harm (the only main difference: gun safety to prepare for army training). But there’s something quite innocent about this depiction, which doesn’t try to be an outrageous or searing portrait of youth, but to create an emotionally authentic depiction of this overloaded and sensitive age.

Emotional and subjective realism prevail in this otherwise naturalistic and observational film. Gornostai recounts moments of magical, dreamlike surrealism when Masha finds herself daydreaming or dissociating, imagining herself playing badminton on a theater stage or watching a sparkling black slime flow from a self-inflicted gash in the wrist.

Sometimes “Stop-Zemlia” (the name of a game they play which is a cross between tag and Marco Polo) seems a bit long, but it’s a pleasure to just hang out in this world with these characters, to feel so deeply what they do. At the end of the film, Masha asks the film’s documentarian, “Do you feel connected to your emotional state when you were my age?” The sensually crafted “Stop-Zemlia” is a great conduit for bringing out those visceral memories of teenage life.

‘Stop Zemlia’

In Ukrainian with English subtitles


Operating time: 2 hours, 2 minutes

Playing: Starts January 21, Laemmle Glendale; also on VOD

Movies trying to make sense of senseless violence http://cakemaker.org.uk/movies-trying-to-make-sense-of-senseless-violence/ Wed, 19 Jan 2022 00:05:04 +0000 http://cakemaker.org.uk/movies-trying-to-make-sense-of-senseless-violence/

More recent films that have tackled the issue of school shootings include the bold and brilliant 2018 drama Vox Lux, in which the pop-star protagonist is a shooting survivor, and the 2020 teen satire Spontaneous, which uses the metaphor of a school where students begin to explode spontaneously. Both, in different ways, explore the trauma that follows those who experience mass shootings and the remorse of the survivors they live with. Mass, which Kranz says is not inspired by any real-life event (“I pulled from so many different aspects and details of shootings that I had read about, just in schools, and I found aspects in everything that seemed truthful to the situation that conjured up in me”) also focuses on the indelible consequences of such events: six years later, the characters are not only devastated but also exhausted with pain. There is some hope for the characters to heal, forgive, and find joy in the future, but the film deliberately offers no easy answers or solutions.

Indeed, their attempts to take control of what happened prove flawed: the male characters, in particular, know the events like the back of their hand, effortlessly reeling out times and places. “They think that if they know exactly what happened, they will understand it and it cannot affect them emotionally,” says Kranz. “It turns out to be wrong in some ways, and there’s still a lot of their grief and anger that they haven’t necessarily exercised.” In this way, the film seems to offer a meta commentary on the films that came before it, suggesting that recreating events, leaning into details, and focusing on the details of teenage gunshots and school reports, n will offer no real insight into these tragedies. For his part, when Kranz first conceived of Mass, he wasn’t interested in making a movie about mass shootings that showed any violence. “This film was born out of fear for my child and fear for my country and anxiety about the culture. I certainly wasn’t interested in depicting violence. I didn’t just want to observe – I wanted offer something else.”

What the Mass offers is a conversation, even if the answers never quite satisfy the person asking the questions. What happened in the shooter’s childhood? What did school miss? Where could the police or his parents have intervened? Mass doesn’t blame Richard and Linda (Birney and Dowd) for what their son did, but it doesn’t suck how much they still blame themselves. Linda appears on the verge of tears everywhere; Dowd plays her like a woman almost doubled in pain. Meanwhile, Birney explicitly states what Dowd embodies. “I regret everything,” admits Richard, “The worst imaginable outcome has happened. Any changes I could have made could have resulted in a different outcome. I regret everything.”

Beyond its characters’ meaningful but ultimately impossible search for answers, Mass offers the opportunity to come to terms with loss. It ends with a moment of utter silence, where the camera leaves the room and gazes into empty fields, a scene Kranz wanted to use to reflect on America’s collective grief. “I was looking for an image that could [come from] 40 of the 50 states and felt distinctly American. There is a forgotten survey strip, the field is dead grass with abandoned water wheels, there is a void. It is a landscape of mourning. It changes over time, but you never really walk away from grief. At the end of the film, there is hope that these characters can live more easily with this grief – there is an opportunity in the landscape to forgive and reconcile, and to heal despite unimaginable tragedy.”

Mass was released in the UK on Sky Cinema and in cinemas on January 20, and is now available to stream in the US

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Ram Pothineni and Lingusamy’s crime drama titled The Warriorr. See the first look poster http://cakemaker.org.uk/ram-pothineni-and-lingusamys-crime-drama-titled-the-warriorr-see-the-first-look-poster/ Mon, 17 Jan 2022 08:33:08 +0000 http://cakemaker.org.uk/ram-pothineni-and-lingusamys-crime-drama-titled-the-warriorr-see-the-first-look-poster/

Ram Pothineni’s crime drama with director Lingusamy was titled The Warriorr. The creators announced the title and unveiled the first look poster.

Ram Pothineni plays a tough cop named Satya in Lingusamy’s The Warriorr.

Ram Pothineni and director Lingusamy have teamed up for a crime drama. On January 17, the makers announced the film’s title and unveiled the first look poster. According to the latest announcement, Ram Pothineni’s next movie is titled The Warriorr. In the poster, he can be seen wearing the khaki and ready to smash a deal. The Warriorr is a bilingual film in Tamil and Telugu.


Ram Pothineni began filming his film with director Lingusamy in mid-2021. While Krithi Shetty plays the female lead, Adhi Pinisetty has been tapped to play the antagonist in this crime drama.

On January 17, Ram Pothineni took to Twitter to share the first look poster and announced the title of the film. He wrote, “#RAPO19 is #THEWARRIORR #RAPO19FirstLook (sic).”

Here is the post:

Going by the poster, Ram Pothineni tries out the role of Satya, a tough policeman in the film. The crew has resumed filming and the crucial scenes are currently unfolding at a steady pace.


The Warriorr is a Tamil-Telugu bilingual, produced on a huge budget by Srinivasaa Chitturi under the Srinivasaa Silver Screen banner. Pavan Kumar will present the film. The clash between Ram Pothineni and Aadhi Pinisetty will be the highlight of The Warriorr. More details regarding the film will be available soon. Composer Devi Sri Prasad will compose the music for the film.

SEE ALSO | Director Shankar pays surprise visit to Ram Pothineni and Lingusamy film set

READ ALSO | Ram Pothineni is super excited about his upcoming film with Lingusamy. read post

Click here for IndiaToday.in’s full coverage of the coronavirus pandemic.

Almodóvar’s Spanish drama hits all the right notes http://cakemaker.org.uk/almodovars-spanish-drama-hits-all-the-right-notes/ Sat, 15 Jan 2022 17:35:00 +0000 http://cakemaker.org.uk/almodovars-spanish-drama-hits-all-the-right-notes/

Parallel Mothers, the 2021 Spanish drama written and directed by Pedro Almodóvar, is an unflinching look at motherhood, love, and loss.

by Pedro Almodóvar Parallel mothers beautifully expresses the happy highs and painful lows of motherhood, delicately told through the story of two single women who fatally shared a hospital room. The Spanish film masterfully combines vivid imagery and emotional tension to create a compelling story that avoids the genre’s usual clichés, stereotypes and other trappings. Disarmingly relatable and unpredictable, Parallel mothers is a an unwavering and unforgettable look at motherhood, love and loss.

Parallel mothers has a simple – if vague – premise: Janis (Penélope Cruz) and Ana (Milena Smit) come from very different backgrounds, but bond over their shared experience of giving birth as single mothers. Janis is the main focus and she faces some unusual challenges as a new parent. It gets further complicated when the child’s biological father, Arturo (Israel Elejalde), disputes the child’s supposed paternity. Ana, who is much younger, has her own struggles with her new role, due to her lack of an emotionally stable family life. In either case, the stress of parenting isn’t the problem; on the contrary, these parallel mothers have inner demons to face.


Related: The Tender Bar Review: A Winding But Heartwarming Coming of Age Story

Penélope Cruz in Parallel Mothers

Parallel mothers is an all-female film. With the exception of Arturo, all of the main and supporting characters – at least those who appear onscreen – are female. Men are overwhelmingly the fifth issue of the main plot interest: mothers and maternal experience. Fittingly, this is a deeply empathetic film that eschews fabricated conflict for a much more nuanced approach to storytelling. The initial setup and working scenes are tastefully done, leaning into performance rather than creating a faux conflict with busy camerawork or climactic music. The result is a compelling story that feels entirely believable while remaining unpredictable and thrilling.

Penélope Cruz is the heart and soul of Parallel mothers. Cruz is a frequent collaborator with Pedro Almodóvar, and their familiarity shows: the director perfectly captures every subtle gesture, every look and every breath. Cruz shines as a brand-new mother, but over time, she takes on the ashy, exhausted look of a single parent struggling to cope with the endless and deeply tiring responsibilities of parenthood. Milena Smit offers a satisfying counterpart to Cruz, demonstrating her own depth as an actor. The 25-year-old has a smaller role in the overall narrative, but leaves just as much of an impact, proving she’s a rising star to watch. The chemistry between the two crunches; that Smit could so easily share a stage with such a critically acclaimed actress without being upstaged is an impressive feat.

Parallel mothers was written by Almodóvar, who expertly tells the story through his thoughtful and precise direction. It takes care of every shot, filling the frame with vibrant colors, textures and patterns. Each hit serves a purpose. The characters’ feelings and experiences are expertly communicated through subtle moments: the way they stand, the distance between the characters, to the way the light falls on their faces, each image is a microcosm of life. interior of the characters. It’s wonderfully evocative from start to finish. One could watch without audio, without subtitles and still be completely absorbed in the story. That’s not to say the writing itself is lacking — rather, the writing matches the cinematography in expertise. There are many threads that are gradually woven into the overall story, with each revelation – no matter how shocking – being set up previously, while constantly defying audience expectations. It’s a difficult approach to film writing, but Almodóvar pulls it off.

Or Parallel mothers stands out, however, for its themes, which elevate the film beyond just a good or entertaining story. While ostensibly the feature is about motherhood, on a deeper level it’s about a shared history, destiny, and legacy. Janis’ relationship with Arturo begins because she needs his help to settle a case from her family’s past. Ana and Janis cross paths several times, completely by chance – but end up becoming intrinsically entangled, having bonded over a common tragedy. While many other films offer crisp, finished resolutions, Parallel mothers rejects this notion, instead arguing that events in the past can define our future in unpredictable ways. It’s a mature message for the public, and part of what makes Parallel mothers such a unique and charming film.

Next: Jockey Review: A Sports Drama Like You’ve Never Seen Before

Parallel mothers is 123 minutes long and rated R for some sexuality.

Our assessment:

4 out of 5 (Excellent)

Ghostface with flamethrower in Scream

Rian Johnson Retweet Teases His Reaction to Scream 2022

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5 twists and turns of ’90s horror movies that stand the test of time http://cakemaker.org.uk/5-twists-and-turns-of-90s-horror-movies-that-stand-the-test-of-time/ Wed, 12 Jan 2022 02:00:00 +0000 http://cakemaker.org.uk/5-twists-and-turns-of-90s-horror-movies-that-stand-the-test-of-time/

The 1990s spawned many beloved and gripping horror films. However, only a few of them are chosen for setting the audience’s expectations, only to overthrow them with a stunning twist at the end.

A good horror movie goes beyond the fear of jumping, but instead creates a healthy narrative, introduces meaningful characters, and gives clues to the plot’s resolution, all while keeping audiences on the edge of their feet. seats. A great horror movie does all of the above, but also takes viewers out of their comfort zone and offers a final twist that no one saw coming – these memorable ’90s horror movies do just that.


RELATED: 5 underrated ’90s horror movies


Wes Craven’s now cult slasher masterpiece kicked off a massive franchise, reinvigorated the genre, and featured a great combo of true bloodbath, dark comedy, and a guessing game. The film doesn’t take itself too seriously, grapples with established clichés, but still contains a lot of scares and an ultimate ending.

The story follows Sidney Prescott (Neve Campbell), a high school student and a perfect last girl who is harassed by a masked killer in a Halloween costume. The film does a great job of making audiences guess the identity of the abuser, while also overturning expectations. In the momentous reveal, Ghostface is the last seemingly impossible person or people audiences would suspect – a twist that is cleverly replicated and reimagined in the many sequels.

Students of the Faculty

When Robert Rodriguez, the creator of From dusk till dawn, Desperado, and Planet terror, joins Kevin Williamson, the screenwriter behind the majority of iconic ’90s slashers like Scream, scream 2, and I know what you did last summer, the result is a wild, wonderfully bloody, mixed and dark and hilarious roller coaster ride that is Faculty. The film features a superb cast including Josh Hartnett, Salma Hayek, Robert Patrick, Famke Janssen and Elijah Wood, an epic soundtrack, conscious humor, surprisingly impressive effects, and a great ending. It’s a sci-fi horror experience that you don’t want to miss.

The story follows a mismatched group of high school kids who suspect something is wrong with their teachers, only to discover that the faculty has been infected by mean-looking aliens. With the reveal of the Alien Queen’s identity comes an excellent dramatic twist, throwing the film back onto the wonderfully bloody tracks of the monsters in the bloody race to the finish line.

Paul in funny games 1997

The Austrian horror of Michael Haneke’s home invasion (as well as his 2007 American frame-by-frame remake of Tim Roth and Naomi Watts) follows two well-behaved young men who break into a vacation home and take a family hostage, forcing them to play a number of twisted games. The psychological horror film smashes the fourth wall squarely, with one of the killers, Paul, speaking directly to the audience and wondering what would make them keep watching such a sadistic movie.

Funny games is intense, terrifying, disturbing, and asks tough social questions. It also features one of the most disappointing and unexpected ending twists. In a staggering power move, Paul squarely rewinds the scene where the captives finally manage to overwhelm and kill his partner, ruthlessly erasing their small victory and leaving the audience feeling equally helpless.

John Doe, Mills and Somerset in Se7en

David Fincher’s cult horror and crime thriller features a stellar cast that includes Brad Pitt, Morgan Freeman, Gwyneth Paltrow and Kevin Spacey, and follows the story of two LAPD detectives, Somerset and Mills, who track down a killer in series, whose explicit murders are based on the Bible’s Seven Deadly Sins.

Se7en is known for its grim narrative, grim visuals, compelling performances, and incredibly smart and heartbreaking ending. Unlike many other movies, including the aforementioned Scream franchise, Se7en twist isn’t based on the identity of the killer – in fact, he makes it into the final act. Instead, it revolves around the events that follow and the moral and personal revelations of the protagonists. It’s smart, ruthless, and needs to be experienced to be truly appreciated.

Malcolm and Cole in The Sixth Sense

This supernatural psychological horror is the epitome of a surprise ending or what has come to be known as the “Shyamalan Twist”. Directed by Mr Night Shyamalan, the film follows a child psychologist, Malcolm Crowe (Bruce Willis), whose 9-year-old patient Cole Sear (Haley Joel Osment) can see and communicate with the dead. Still haunted by his inability to save his former patient who committed suicide in front of him, Malcolm helps Cole understand and accept his supernatural gift.

The film’s ending comes with an original reveal, which is incredibly well-crafted and beautifully simple. To spoil nothing for those who managed to miss this spectacular ’90s horror masterpiece, suffice it to say that all the pieces of the puzzle come together and the whole narrative is turned upside down in a final cut to rapid fire. It’s really a twist to end all the twists and turns that few (including the director himself) have managed to replicate since.

MORE: 5 Most Anticipated Horror Movies Of 2022

Epic Games Store free game for January 13 revealed

Gods Will Fall is now available for free on the Epic Games Store, and the service is revealing what will follow next week on January 13.

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“Power of the Dog” is the best Golden Globes movie that no one has watched http://cakemaker.org.uk/power-of-the-dog-is-the-best-golden-globes-movie-that-no-one-has-watched/ Mon, 10 Jan 2022 04:48:50 +0000 http://cakemaker.org.uk/power-of-the-dog-is-the-best-golden-globes-movie-that-no-one-has-watched/

(Bloomberg) – Netflix Inc.’s “The Power of the Dog” won Best Dramatic Film and Walt Disney Co.’s “West Side Story” for Best Musical or Comedy at a Golden Globe Awards which was held in private with no live or online public, after a scandal prompted a Hollywood boycott of the event.

“West Side Story,” the remake of the 1961 classic directed by Stephen Spielberg, also won trophies for Rachel Zegler and Ariana DeBose as Best Actress and Best Supporting Actress. Jane Campion won the award for best director for “The Power of the Dog”.

The ceremony, held Sunday night at the Beverly Hilton in Beverly Hills, Calif., Had none of the high profile celebrity arrivals or cheeky guest comments it was known for in the past. After its longtime media partner, NBC, stepped down last year, the event’s owner, the Hollywood Foreign Press Association, initially intended to air the show on their website, but dropped out. even those plans last week.

The association has come under fire over the past year for its lack of diversity and business practices, prompting a boycott by stars, publicists and studios that have supported it for the past eight decades.

The group, made up of foreign journalists, has historically operated in secrecy. Last year, the Los Angeles Times reported that there were no blacks among its 87 members. The association recently welcomed what it said was its largest and most diverse lineup of 21 new members. Other reforms include a ban on free gifts and air travel from studios and other industry insiders.

AT&T Inc.’s HBO unit had a great evening, with trophies presented for Best TV Comedy, “Hacks” and Best Actress in a Comedy to Jean Smart in that same series. The network’s show “Succession” won Best Drama Series while Jeremy Strong landed Best Actor in a Drama for his work as the stubborn heir of media company Kendall Roy on that show.

Other winners included Will Smith, Best Actor in a Dramatic Film for “King Richard” and Nicole Kidman for Best Actress in a Dramatic Film for “Being the Ricardos”. Andrew Garfield landed best actor in a musical or comedy film for “Tick, Tick … Boom!” Jason Sudeikis got Best Actor in a Television Comedy for “Ted Lasso”.

Overall, Netflix took home four awards in the movie category and one in TV, while AT & T’s HBO took home six awards in TV and its Warner Bros. division. got two in film, according to a list of winners published by the association.

(Updates with the top studios in the last paragraph)

© 2022 Bloomberg LP

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Ajith’s “Valimai” release postponed due to increase in COVID-19 cases http://cakemaker.org.uk/ajiths-valimai-release-postponed-due-to-increase-in-covid-19-cases/ Thu, 06 Jan 2022 13:14:43 +0000 http://cakemaker.org.uk/ajiths-valimai-release-postponed-due-to-increase-in-covid-19-cases/

The action drama, directed by H Vinoth, was originally slated for a Pongal 2022 release

Ajith’s upcoming action drama released Valimai has been postponed indefinitely.

Due to the surge in COVID-19 infections and complications caused by the Omicron variant, the makers have decided not to release the film for Pongal 2022 as originally planned.

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“All we wanted at all times was to see the happy and happy audiences and fans in the theaters. At the same time, their safety and well-being has always been at the forefront of our decisions. In view of the sharp increase in COVID infections worldwide and in accordance with the regulations of the authorities, we have decided to postpone the release of Valimai until things return to normal, ”producer Boney Kapoor posted in a Twitter note.

“Get vaccinated, wear a mask and stay safe,” the post added.

Valimai joined the list of other greats such as RRR, Radhe Shyam and the Hindi remake of Jersey to postpone its theatrical release.

The news will be a blow to Ajith fans, who were already disappointed due to several delays in the film’s production and its impending release.

In Valimai, the actor plays a policeman who confronts a gang of rogue bikers. The film also stars Bollywood actor Huma Qureshi, Karthikeya, Bani, Sumithra, Achyunth Kumar, Yogi Babu, Raj Ayyappa, Pugazh and others.

In the making for two years now, Valimai is directed by H Vinoth who had previously worked with Ajith Kumar in Nerkonda Paarvai and is known for films such as Sathuranga Vettai and Theran Adhigaram Ondru. Yuvan Shankar Raja composes the music.

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What is the music in Morbius? It’s Beethoven’s Für Elise – and here’s why http://cakemaker.org.uk/what-is-the-music-in-morbius-its-beethovens-fur-elise-and-heres-why/ Tue, 04 Jan 2022 16:59:00 +0000 http://cakemaker.org.uk/what-is-the-music-in-morbius-its-beethovens-fur-elise-and-heres-why/

4 January 2022, 16:59 | Updated: January 4, 2022, 5:05 PM

Enigmatic anti-hero Michael Morbius becomes the latest individual to enter the Sony Pictures universe of Marvel characters. But what does the music tell us about his next film …

The long-awaited next film of 2022 Morbius, a Sony Pictures production in association with Marvel, tells the story of Dr. Michael Morbius, a biochemist who searches for a cure for his rare blood disorder.

However, when a dangerous remedy infects Morbius with a form of “vampirism” – which grants him pseudo-vampiric superhuman abilities and physical traits – a darkness within him breaks loose.

The film’s first trailer highlights these events on the soundtrack by one of classical music’s most famous composers: Ludwig van Beethoven.

But why this room, and what significance could it have?

Read more: Spider-Man: No Way Home – who wrote the soundtrack and what are the famous songs?

by Beethoven For Elise in Morbius

Composed in 1810 by Ludwig van Beethoven, For Elise is without a doubt one of the composer’s most famous works.

Its recognizable theme is a popular choice in movies and TV shows, with series such as You (Netflix) and movies such as gentlemen and Rosemary baby using work.

However, the Morbius The music for the trailer is based entirely on the 200-year-old piano work, and the arrangement, which includes strings, brass, glockenspiel and dramatic percussion, adds a weird and exciting undertone to the teaser of less than three minutes.

The music for the trailer is composed by Jamie Stevens and Vikram Gudi Publisher, and produced by Elephant Music, and the soundtrack for the film is written by Jon Ekstrand (Life, 2017).

Read more: Fresh Prince cast ‘went silent’ as Will Smith played Beethoven in improvised scene

Jared Leto stars in Morbius

Jared Leto stars in Morbius.

Image: Alamy

What is the significance of Beethoven’s play?

You could argue that the choice of Sony Pictures trailer music could be because Beethoven’s famous work is in the public domain.

However, some fans have argued that the choice of For Elise is actually a reference to how the Morbius storyline will develop.

For Elise begins as a melody for beginners on the piano, the melody mainly sticking to a melody that passes between the two hands on the piano. However, in its entirety the piece becomes much more complex, with a much faster straight hand line and the need to quickly switch from chord to chord.

Fans associated this growing difficulty with the plot of the upcoming film, suggesting that while Morbius’ Cure might seem straightforward at first, the effects become more and more difficult to deal with over time, much like the trifle becomes more and more difficult to play. .

Fans were also quick to point out that at the start of the trailer, Jared Leto, who plays Morbius in the upcoming film, hums the first line of For Elise, thus cementing its importance to the film beyond the music of the trailer.

Morbius hits theaters on April 1, 2022.

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Movie review: SWAN SONG (2021): Mahershala Ali shines in slow but unique cloning drama http://cakemaker.org.uk/movie-review-swan-song-2021-mahershala-ali-shines-in-slow-but-unique-cloning-drama/ Sat, 01 Jan 2022 00:39:31 +0000 http://cakemaker.org.uk/movie-review-swan-song-2021-mahershala-ali-shines-in-slow-but-unique-cloning-drama/

Swan song review

swan Song (2021) Movie Review, a movie directed by Benjamin Clearly and featuring Mahershala Ali, Naomie Harris, Awkwafina, Glenn Close, Nyasha Hatendi, Adam Beach, Lee Shorten, Dax Rey, Ace Levere, JayR Tinaco, Jessica Hayles, Luke Camilleri and Christine Freedom.

Set in the not-so-distant future, Benjamin Cleary’s new film, Swan song, features Mahershala Ali in the kind of lead role he deserves although the film is sometimes slow and the picture only occasionally lives up to the potential offered by its compelling premise. But, despite everything, Ali is an actor from an actor, and audiences will follow the character he plays in the new film, Cameron, until the film’s emotionally powerful conclusion.


Naomie Harris portrays Poppy, Cameron’s wife, and Harris has never looked better than in her fascinating work in this new film. The movie opens with their “cute meeting” on a train and these two characters are just played well and have great on-screen chemistry together. We want to see them together from the start thanks to the personalities of the two leading performers who are truly at the top of their game.

Soon Cameron finds out that he has a disease invading his brain and he will soon die. Cameron does not reveal this information to Poppy or their son Cory. Enter Dr. Scott (Glenn Close) who can clone Cameron with all of the same memories and feelings and send the clone to replace him and be with his family. There is a catch, however. Cameron cannot reveal that a clone would be sent to Poppy and Cory, so Cameron must remain silent if he is to complete this course of action.

It is complicated. The Cameron clone will ultimately never know that he is taking over Cameron’s life and so the family unit can hopefully continue for the best. For the real Cameron, however, there is heartache and suffering as he knows that he himself wouldn’t be there for his family, but rather for the clone. Granted, the clone is a duplicate of him, but it’s still a very touchy subject that the film presents to viewers.

Will Cameron tell Poppy (who is pregnant) that he is dying or will he allow her to have the security and love that the clone can bring her? This is the question that this film asks the viewer. It’s hard to predict which direction Cameron will turn next, but sometimes the plot moves quite slowly, so audiences want them to make up their minds a bit faster. However, the movie is more about Cameron than what will happen if Cameron comes up with the idea of ​​the clone. Ali is a master craftsman who adds real depth to both Cameron and the Clone who are essentially the same character, but you’ll have to see the movie to find out for sure.

Awkwafina plays another patient of Dr. Scott, Kate, who finds herself in a situation similar to Cameron’s. She forms a bond with Cameron and their scenes together are well orchestrated. This is one of Awkwafina’s most dramatic roles and she struggles with it at times, although she ends up creating a believable character that is very different from the ones she has previously played in movies like The Great. The farewell. Awkwafina is decent here nonetheless, and we feel sympathy for her character’s predicament. Glenn Close, playing Dr. Scott is just OK, but she provides some of the reasoning behind Cameron’s potential choices through her dialogue here.

Swan song reminded me a bit Vanilla Sky sometimes with its formidable concept. Although in Vanilla Sky, the character of Tom Cruise is finally frozen, not cloned, the two main characters of these films find themselves in a very distinct dilemma concerning the future of their existences. Ali has the harder of the two roles because no matter what his character does, the original Cameron is going to be gone for good. However, he must do what is right for his family, but is it right? The film will make you search your own soul for answers. It’s a unique premise that is ultimately well played.

While Swan song is, at times, slow paced, it becomes difficult not to get emotionally invested in the material. Mahershala Ali is one of the best actors working today, so watching this movie is worth it, although it could have used more advantage in some scenes towards the end of the movie. Still, you’ll have a lot to say after seeing the tear of a sobering movie, Swan song.

Evaluation: seven/ten

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The Tender Bar – Movie Review http://cakemaker.org.uk/the-tender-bar-movie-review/ Thu, 30 Dec 2021 06:36:28 +0000 http://cakemaker.org.uk/the-tender-bar-movie-review/

When you reach George Clooney’s seniority levels in show business, you seemingly have the chance to unleash as much mediocre, forgettable directorial effort as you want.

His latest entry in his series of films destined to fade from collective consciousness (we remember Suburb?) is The tender bar. This tasteless dud is based on the memoirs of the same name by JR Moehringer. True to the book, it chronicles the life of JR (Ranieri and Sheridan, younger and older respectively) as he navigates the pains and joys of his coming of age on his native Long Island. Fatherless and having grown up in a cash-strapped household with his mother, Dorothy (Rabe), his true tastes of life and comfort come from time spent at the titular bar owned by his uncle Charlie (Affleck). This is where he continually returns for fellowship as he grows up and tries to find his true calling. Or something.

The screenplay written by William Monahan just never really takes off and manifests its emotional coming-of-age intention into something quite mundane. The real dramatic ambitions of the thing are decidedly modest; the film is concerned with the everyday moments and tribulations of life, although it is so remarkably modest that you wonder what it is for. Maybe these events make more sense on the page, but being filtered through Clooney’s milquetoast director sensibilities, they’re utterly lifeless and awkward. Even the bar that JR returns to is supposed to carry so much emotional weight because the story never makes much of a special impression, just a recurring place that we return to every now and then when the movie is ready to inject some life into it. the frame with Affleck. It is true that he does a great, serious performance, and it’s nice to see him come back to something so low-key, even though he and his team of bar friends somehow look like a rejection. Many Newark Saints to throw. Coupled with JR’s hilarious and mundane voiceover that accompanies the runtime, it feels like it’s made for TV at times.

There are little pleasures to be had in some of these scenes, as well as with some of the more vivid formal and editing choices. The occasional sudden zoom or quick comedic cut creates brief moments of respite, and it’s hard to really hate a movie aiming for such a benevolent emotional resonance. But whatever small wisdoms or truths are here, they are wasted in a great nothing of a story trying to make sense of them.

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