As anticipation for the sequel mounted, Phillips returned to Venice in 2024 with Joker: Folie à Deux, a follow-up that aims to build on the original’s success while venturing into new narrative and stylistic territory. The film picks up where the original left off. Arthur Fleck (Phoenix), now firmly entrenched in the grim confines of Arkham Hospital, faces a high-profile murder trial for killing talk-show host Murray Franklin.
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n ‘Maria’, Pablo Larraín delves once again into the tragic, confined world of iconic women. After exploring the lives of ‘Jackie’ (2016) and ‘Spencer’ (2021), he now offers a poignant exploration of Maria Callas’s final days. Angelina Jolie, steps into the shoes of the legendary soprano and delivers a performance that is as haunting as it is subtle.
First things first: GIVE ANTONY STARR AN EMMY. The first three episodes felt like a warm-up for what’s to come. Episode 4 continues the dark, chaotic journey of our favorite fucked up heroes and this may be one of the Seasons best so far. Homelander takes a chilling trip down memory lane by visiting the underground Vought laboratory he grew up in. This is where we see the depths of his sociopathy, as he confronts the very people who tortured him as a child and no one is getting out alive here. Antony Starr’s performance as Homelander is a masterclass in portraying a deranged mind, delivering layers of menace and vulnerability without a single flashback. Instead, Homelander’s verbal recount of his past horrors makes for a deeply unsettling experience. Beginning the episode with that, already kept its audience on the hook. Meanwhile,the newest addition to the Seven Sister Sage could once again show what she is capable of this episode. Sages plan against Annie seems to work. After we have established that the enmity between Starlight and Firecracker was established, and the primary reason for that simply being Annie’s rude behavior during her fashion pageantry days when they were younger. Fair to say: Starlight gets her moment, her patience couldn’t hold back anymore after Firecracker revealed one of her most private secrets. She confront her, leading to one of the most satisfying fights of the Season 4 so far. Starlight’s confrontation with Firecracker is truly another standout moment. It’s satisfying to see her finally unleash her rage and stand up to the ridicule she has to endure. Her reaction feels incredibly real and relatable. It remains exciting to see what happens next, now that the politicans seem to step back in worry, of losing their republican votes. Also: The lobotomy scene between Sister Sage and The Deep is grotesquely fascinating, showcasing Susan Heyward’s chilling performance and the disturbing chemistry between the characters. The episode also expands on Kimiko’s mystery and Frenchie’s tragic confession to Colin. Although it is fair to say that we love and support queer representation on TV, the entire subplot involving Frenchie and Colin feels somewhat forced. We’re expected to empathize with Colin despite having just met him, resulting in also making the emotional weight of Frenchie’s confession unfortunately feel a bit rushed. Meanwhile Hughie fights for the life of his father. The doctor announces that Hugh has essentially passed away and has been put on life support. He has a few days left once they pull the plug. Hughies mother thinks it’s the humane thing to do, but Hughie doesn’t want to come to terms with the fact that his father is about to pass away. Therefore he has to cooperate with someone who still owes him: A-Train. The Plan: injecting Compound V into his father’s bloodstream to save him. Despite Butchers warning, the subplot ends in Hugh opening his eyes. We saw Hughie questioning his decision – so however his father got that injection remains a mystery. Personal Highlight: Homelander’s return to his childhood lab is hands down a personal highlight of this episode. It has been a while since a Show made one gasp and point at the screen the way his scenes did. Antony Starr is at his terrifying best, delivering a performance that truly deserves an Emmy. The way he recounts his traumatic past and exacts revenge on the lab employees is both haunting and cathartic. The line, “Get in the oven, Frank,” is stuck in my head. After torturing one Vought Employee after another Barbara shows up. Homelander isn’t done, though, because he wants Barbara to pay as well. She makes him hesitate for a second though and explains that since Vought knew that Homelander couldn’t be overpowered with force, they needed to get into his head. The best psychologists from all over the world were brought in to plant an insatiable need for appreciation and love deep into Homeland’s psyche. Although he tries to convince Barbara and himself that he has squashed all his human desires, she lets him know that it’s something he won’t be able to get rid of. He tests that and fair to say he traumatizes Barbara by painting the room with the innards of the Vought employees. This episode solidified Homelander as one of the scariest characters on television right now. His final scene, grinning maniacally with blood splattered all over, is the stuff of nightmares. Final Thoughts: The episode does a great job of setting up the stakes for the rest of the season. With each character hitting new lows, the path to the endgame is paved with chaos and unpredictability. Here’s hoping the upcoming episodes maintain this momentum and deliver a satisfying built up to the shows conclusion. Episode 4 is a thrilling, grotesque, and emotional rollercoaster that showcases The Boys at its best. Homelander’s chilling arc, Starlight’s fierce stand, and the disturbing new dynamics keep us on the edge of our seats, eagerly awaiting what’s to come next. LFG! 🔥
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“You had a clean shot at him, right? With Soldier Boy? You didn’t take it. Was your eye on the ball?“ The highly anticipated fourth season of The Boys has finally debuted on Prime Video today, and it kicks off with a bang, releasing the first three episodes at once. The show continues its tradition of blending dark humor, biting satire, and (head-)explosive action. As the show edges closer to its conclusion, with a confirmed final fifth season, its penultimate season opening set the stage for what promises to be an intense ride. Season 4 opens with a gripping 16-minute intro that sets the tone for the rest of the season. New VP-elect Victoria Neuman delivers victory speeches on election night, the perfect opportunity for The Boys to attempt to take her down. With Neuman’s daughter Zoe’s newly developed powers – snakes shooting out of her face (after being injected with Compound-V last season) – and Butcher being a liability for the team due to his terminal illness, their mission quickly fails, making Neuman seem more indestructable than ever. However, this isn’t the only thing the team struggles with this season. The episode carefully lays out each character’s subplots: Billy Butcher (Karl Urban), haunted by hallucinations of his dead wife and the constant reminder of his limited time, becomes increasingly desperate and reckless, to Mother’s Milk’s dismay. At his wits end, M.M. ends up kicking him off the team, despite Hughie’s pleas to let him stay. New character Joe Kessler (Jeffrey Dean Morgan) serves as a reminder to keep his eyes on what really matters: saving the world. Yet Butcher desperately wants to save Ryan from Homelander’s influence and keep people from turning him into a weapon, and he tries everything in his power to convince him to leave his biological father. Speak of the devil, Homelander suffers from a midlife crisis, getting older and dealing with the with the pushback from the masses after committing a murder (from which he unsurprisingly gets proven innocent) is getting on his last nerve. Nobody in the Seven challenges him anymore and his son Ryan is struggling with the morality of Vought and the Supes. In his manic panic, Homelander seeks out Sister Sage (Susan Heyward), whose superpower is being the smartest person in the world. She comes up with a plan for his new success story and eventually joins the Seven. It is not clear what her true motives are, however she seems to be manipulating everyone at Vought. A truly intriguing new addition to the story, there must be more to her willingness to work alongside Homelander. Meanwhile, Annie January (Starlight) is still trying to reclaim her identity, but when questions of leadership for the Starlighters arise, she faces an internal conflict that ultimately makes her decide to make her comeback. Fan-favorite duo Frenchie and Kimiko both face their pasts to move forward. Frenchie starts a rushed romance with Colin, a fellow Narcotics Anonymous member, and struggles with revealing that he killed Colin’s family in his past. Hopefully the show will allow for more room for this arc, as it unfortunately seems very rushed and shallow. Kimiko decides the best way to deal with her traumatic past is to confront it head-on, leading to some of the episode’s most intense and iconic moments. Hughie grapples with guilt and anger after his father suffers a stroke, compounded by the appearance of his estranged mother, who adds little energy to the show thus far. The show’s humor remains sharp and unapologetic: The Deep continues to be a source of comic relief, with Tilda Swinton’s cameo as his octopus girlfriend, Ambrosius, being particularly hilarious. Noir’s Vessel has found a new host who finally talks (although he shouldn’t) and delivers a few hilarious one-liners. By now, it shouldn’t even be a surprise to see an auto-erotic depiction of the human centipede on our screens, but Kripke’s creativity surely remains intact. The ability of The Boys to draw parallels to real-world events is as strong as ever. From the January 6th Capitol storming to satirical takes on the Amber Heard-Johnny Depp trial, the series doesn’t shy away from controversy. New addition to the Seven, “Firecracker”, serves as a caricature of alt-right conspiracists. The self-aware nature of the show allows it to walk this fine line effectively. Antony Starr’s acting performances remain some of the strongest on television today. His delivery and micro-expressions continue to captivate. Season 4 of The Boys continues to deliver its unique blend of dark humor, social commentary, and high-octane action, making it a must-watch for fans and newcomers alike. The character development and intricate storylines keep the audience engaged, while the show’s willingness to tackle controversial topics head-on ensures it remains relevant and thought-provoking. With just one season left, the groundwork laid in this season promises an explosive and satisfying conclusion to a series that has consistently pushed the boundaries of superhero storytelling. You can catch the new season of The Boys with a new episode premiering weekly on Prime Video.
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“The Fall Guy,” is an unabashed celebration of cinema, a concoction of action, comedy, mystery, and romance set in the pulsating world of stunt professionals. Leitch deftly mixes and matches genres, peppering the film with clever in-jokes and nods to both revered classics and forgotten gems of the past. Check out our Review to Leitchs newest action packed film.
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Denis Villneuves Dune: Part 2 continues Paul Atreides’ journey as he leads the Fremen against House Harkonnen on Arrakis. Embracing his role as the prophesied messiah, Paul faces political intrigue and personal challenges. A film that needs to be seen on a big screen.
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Denis Villneuves Dune: Part 2 continues Paul Atreides’ journey as he leads the Fremen against House Harkonnen on Arrakis. Embracing his role as the prophesied messiah, Paul faces political intrigue and personal challenges. A film that needs to be seen on a big screen.
“Dune: Part Two” an astonishing sequel to an unadaptable novel – A Review Read More »
The 90s. Owen (Justice Smith) doesn’t have many friends but once he meets Maddy (Brigette Lundy-Paine) at school he gets drawn into the world of the Pink Opaque, a melodramatic fantasy show that Maddy is obsessed with. The two friends start to meet up more regularly to watch the Pink Opaque together. Over the years they become more anymore obsessed with it until the line between reality and fiction slowly starts to fade.
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The Outrun“ delves deep into the beauty of the Orkney Islands. Untamed landscapes, sculpted by the dance of earth and sea, serving as a refuge and place of recovery for Rona (Saoirse Ronan).
“Is this how your kind treats feelings of loneliness?” “It’s one way I suppose.” Stuck out in space all by yourself on an important mission. Your wife is not returning any of your calls, and a malfunctioning toilet deprives you of a restful night’s sleep. Suddenly, a mysterious spider-like creature pays you a visit to talk about your life’s most profound turning point. Spaceman, the latest Netflix Sci-Fi Drama by director Johan Renck (Chernobyl), takes audiences on a journey of isolation, introspection, and loneliness in the vastness of space. It is an adaptation by screenwriter Colby Day of the absurdist Czech novel “Spaceman of Bohemia.” Premiering at the Berlin Film Festival as part of the Berlinale Special Gala section, the film introduces us to Czech Astronaut Jakub (Adam Sandler), grappling with loneliness during a lone space mission to investigate purple clouds of glowing particles. The isolation and solitude in space, as well as the radio silence from his pregnant wife Lenka (Carey Mulligan), takes a toll on him and pushes him to the brink of insanity. Peter (Kunal Nayyar), responsible for Jakub’s wellbeing, tries to reason with him to keep the mission under control. As Jakub teeters on the edge of madness, he meets Hanus (voiced by Paul Dano), the spider-like alien who teaches him about the universe’s origins and makes him look at the reality of his troubled marriage. What follows is a narrative that unfolds with a thought-provoking, Kafkaesque touch, presenting a captivating premise that is somewhat predictable – it’s a story about metamorphosis, forgiveness, and discovery of what truly matters to you. Sprinkled in are a few bits of Comedy and satire, jokes that land nicely, but aren’t as consistent as they could’ve been. Adam Sandler, well-known for his comedic expertise, navigates the dramatic landscape with moments of brilliance – especially the passive, quiet scenes were acted out in a very profound way. Carey Mulligan, skilled at delivering powerful performances in tragic female roles, leaves a lasting mark, despite the criminally limited screen time. However, the film sadly doesn’t escape the outdated trope of using women as plot-device for the development of male protagonists. The standout element of the film is Paul Dano’s Hanus, who becomes an unexpected and intriguing companion for Jakub. The initial discomfort induced by the creature’s arachnid appearance quickly transforms into a wholesome presence as it begins empathizing with Jakub and, in human fashion, turns to snacks to soothe the pain. A shared love for Hazelnut spread and the desire to discover more about one another forms a friendship between the two, a highlight of the film. While Spaceman may have its moments of predictability, the film does succeed in creating a thought-provoking exploration of human emotions in the isolating expanse of space. Considering that there wasn’t a whole lot of depth to the narrative and that the most enjoyable moments were those that elicited genuine laughter, I can’t shake the feeling that this would have excelled more as a straightforward comedy film. Spaceman releases on 23 February in limited US and UK cinemas and will be streaming internationally on Netflix by March 1st. Featured Photo Credit: Courtesy of Netflix © 2023.
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