Film Review: The Last House (2026)

 

There's an abundance of tropes in The Last House, and most of the time, the film doesn't seem like it has any problem with that. Instead, it is content to try its best to create what I believe is a new, hopefully sci-fi horror franchise like A Quiet Place, but with a water/sea theme in this case. In that sense, the role of The Last House is to establish the lore - one day, after a storm came, everyone was locked into their house, with no way of escape. One family is determined not just to keep their sanity through that, but to even thrive under these absurdly difficult conditions that are only deteriorating. 

However, that approach does involve a small twist there, which is the passage of time through the story. For some reason, the very first trailer immediately signals this, killing the surprise. Those who enter the film without this prior knowledge will likely have a somewhat more interesting time, even though I suspect it won't be a massive change when it comes to the overall experience. Like the tropes it uses, the plot progression of these kinds of films is not very divergent.  

Thanks to a good cast and well-written dialogue, which never stray into banal or ridiculous territory, The Last House is a modestly entertaining but very predictable film. I'm not sure if the success it generates allows for a full franchise. Yet, it will likely have a long shelf life for streaming viewers who want something not overly clever, but watchable.  

Film Review: Project Hail Mary (2026)

 

Light and optimistic is probably the best way to describe Project Hail Mary, but these adjectives are not the only things that describe this excellent science fiction film. Below the endless optimistic atmosphere lies a more complex story of perseverance and determination through collectivism, rather than individualism, regardless of the circumstances. The story of the film supports this approach through its character-centric take on the famous book by Andy Weir. 

In this case, Weir created a world where no one is stuck on Mars, but humanity is stuck with a dying Sun. The only shot to reverse this planetary calamity is Ryland Grade, played by Ryan Gosling, a middle school teacher who figures out that the solution might be in a distant star system. There, however, challenges await, but so does one unexpected extraterrestrial friendship.

Phil Lord and Christopher Miller directed the film and somehow managed to blend their comedy background with this hard sci-fi story. But they also didn't turn it into a parody and instead blended both the drama and the humor into a truly unique output. I'm certain that Project Hail Mary became a hit due to its action and jokes, but I'm also sure that it will age really well because it, in the end, tells a tale about a journey and those who ended up alone in the endless dark, only to find each other. In a world where we’re getting more somber and dystopian stories like the one in Leave the World Behind, having a story about Rocky and Ryland is hugely refreshing. 

Odyssey: Returning Home | A Cinematic Short Film - Celebration of the Resilience of the Human Spirit

"Now I return not as the man who left, but as what remains. And still, he knows me. Not by my face, not by my voice, but by something time cannot break. Loyalty does not remember the years; it remembers the soul"

This is one of the lines from the start of Odyssey: Returning Home, a cinematic short film by Devendra Tak, presented on the Infinity of Space and Time YouTube channel. The film takes on the timeless story of Odysseus and his long journey home from the Trojan War. In this case, however, the same epic tale is not told only through its most dramatic and incredible moments. Instead, Tak, using the latest cutting-edge audio and video generating technology, tries to dive deep into the man that Odysseus was. Here, it takes a long and hard look into him and the motivations and regrets behind his decisions. 

Here, this presents the very essence of the question: what is to be human, to be a being that yearns to love and to be loved. The circumstances of this Greek hero might be drastic, but behind them is just a man, nothing more and nothing less. This is where the film truly shines - moments like Odysseus, now an old man, meeting his faithful dog and the lines from the top that come at that tearful reunion. 

Then, there is that flash of remembrance of him, not as the king of Ithaca, but as a father, teaching his son archery in a past that seems to him nothing more than a myth, or a tale of someone else who is no longer there. Yet, that love still beckons after so many decades and so many trials and tribulations. That love is still a beacon calling Odysseus to the only truly important place - home.

In these moments, the film explores not only the question of psychological identity, but also how the past, memory, hopes, and dreams all bind us into what we are. The grand cinematography that seems to always evolve and change also complements that notion perfectly. Yes, there are battles and raging seas, there are monsters and armed duels, but it is in the quiet contemplation that offers the most of what this short but very impactful film provides - through understanding this hero, we get the possibility to better understand ourselves. 

The film is set to premiere on Friday, 31 July 2026 and become available to all on the official Infinity of Space and Time YouTube channel. "The Long Way Home", the film's Original Soundtrack, is available now on all leading music platforms. If you enjoy works of art that explore the very essences of what it means to be human, watch Odyssey: Returning Home and set off onto a dream-like, impactful journey like few before it who took the challenge of reinterpreting Homer's timeless masterpiece.

Hey Chris TV Series - Balancing Family, Ambition, and Faith

 

Every life is always an endless stream of good moments, bad moments, and everything in between. Finding both the drama and the humor in those moments is often where great art is found, and the same applies to Hey Chris, a TV series available exclusively on Tubi. Its story focuses on Chris Kingston, a man devoted to his family. Chris is also very ambitious and a man of faith, who is constantly working to find the right balance in his life. But destiny is also ever-ready to throw some unexpected twists and turns, which the entire Kingston family has to resolve and overcome. 

 As a family comedy-drama, this series is all about the will and determination needed to keep a household together and resolve anything life has in store. It also deals with the realities of a regular family working, living, and loving in the modern United States. This makes it particularly impactful as it tells the tale of ordinary people meeting everyday problems, just as the same thing happens to countless others this very day across the US. The same allows for both the drama and the humor of the experiences of Chris and his loved ones to be even more relevant and impactful.

If this sounds like something you might be interested in watching, check out the official Facebook group of the series to get more information about the show. But, once you do that, head on to Tubi and watch Hey Chris right now to share the tears and the laughs with the Kingstons family!

Counterfeit Kids - Crime Drama Diving Deep into Emotional Realism

Set in 1980s Baltimore, Counterfeit Kids stars seemingly ordinary people. As a directorial debut of Screenwriter James Sclafani, it seeks to explore the characters and situations that are not overtly dramatic, but carry the hardship and difficulties that can be easily recognized in any context or time period or place. By doing this, it offers a slow-burning crime drama that is not only about real emotions and different mind states, but also characters who, because of that, seem all too real.

The film places the audience inside a foster home, where two teenagers dream of something better. They are Nic and Jude, both young and completely aware of the instability and toxicity of their newfound circumstances. This is especially seen in the form of the leeching and manipulative Jerry and Trisha, who run the same home. Nic is close to Jude, who is her best friend, but also conflicted about her relationship with her mom Trisha. During a time when Nic was suffering from leukemia, Trisha was there to take care of her. But, as time passed, that relationship turned toxic. 

 

On the other hand, Jude is a talented and resourceful artist who comes up with a simple idea - to use his skills to make counterfeit money. Nic, on the other hand, has both charm and personality that allow the pair to pass off the fake money in places like local stores and flea markets. As the scheme seems to work, Trisha and Jerry find out about it and decide to steal some of the counterfeit bills. This sets the film on an escalating path where Nic, in particular, will have to make some hard choices, especially when it comes to Trisha. 

This film is not a massive crime spectacle, and most definitely isn’t something that romanticizes the necessity and the drive to commit these illegal deeds. Instead, Sclafani draws on his previous experience to build a small but believable world of two young people who desire to change their lives no matter the cost. Instead of resigning to their cruel and unfair fate, both Nic and Jude are determined to change their fortunes, however possible. A story like that has an inherent, timeless power and with it, all-encompassing ability to connect to the audience. 

If this sounds like something you’d be interested in experiencing, Counterfeit Kids will screen at the New Jersey International Film Festival on Saturday, May 30, 2026, at 7:00 PM. The screening will take place at Rutgers University’s Voorhees Hall in New Brunswick, New Jersey. Tickets, as well as all relevant festival information are available here.

Film Review: The Long Walk (2025)

 

There's some truly deep cinematic magic in the way Francis Lawrence can make things ordinarily extraordinary. His first film, Constantine, did this quite literally, but his latest, another adaptation of a great literary work, returns to this topic. This time he does it from a completely different angle that is anything but magical. In the alternate contemporary world of Stephen King, a group of teenage boys begins a challenge where they need to walk continuously, getting shot by their military escort if they slow down, until only one remains.

This stripped-down version of so many Battle Royale tales is here much more visceral. King's novel is a minimalist masterpiece of absolute doom and this sense of being stuck in a hell of one's own choosing. The film fatefully adapts this notion into a film that keeps going, even though its cast struggles to fill the worn, bloody shows of the much more impactful individuals from the book. Lawrence solves the problem of limited time and exposure by focusing on the constant movement of both characters and the plot. 

With that, The Long Walk is a film that probably broke the record of lines being said by actors in motion and with it, made a disturbing work of art about grim perseverance. That perseverance doesn’t let up even when it fails to make anything or anyone anything but dead. But, that's ultimately also the story of life itself, isn't it?

The Last Unknown Boozers - Motion Comic Series on Challenges of Substance Abuse Recovery

No matter where you grew up or what your upbringing was like, chances are that you have some personal experience with substance abuse. It could have been someone you barely knew, but it could have also been a family member. In fact, it could have been - or still is - even you. In our modern world, substances like alcohol and narcotics are seemingly more present and widespread than ever, causing this issue to become more prevalent.  

At the same time, the fallout of their vicious addiction all too often reaches beyond the affected individuals. Instead, it impacts families, neighborhoods, and entire communities. That is why The Last Unknown Boozers: We don't drink, no matter what - not even a zombie apocalypse is such an important piece of contemporary art. This motion comic series deals with the problems one faces on the hard road of substance abuse recovery, but does it in a really unusual, novel, and interesting way. Check out the full first episode right here:

The series, written by Mike Zee, was produced with the help of Sober Mic and focuses squarely on the idea of the 12-step program to recovery. However, the series also starts with a zombie apocalypse. Here, a newcomer to the program meets two young men who have been sober for a while. In these extremely unusual circumstances, the ideas of sobriety, danger, addiction, and the everlasting desire to change for the better clash in front of the viewers.

The series is well-written and produced as a form of a moving comic book. Here, visually, the characters and their out-of-this-world zombie setting provide a great backdrop to the emotional and spiritual demons of addiction and self-destruction. Throughout the length of the series, which is available in its entirety on YouTube, this dynamic plays out as the 12 steps take place as well. 

If you're interested in sobriety and how one reaches it, check out the entire series on this YouTube playlist right now. It very well might be one of the most important things you discover on your road to becoming someone else.

Film Review: One Battle After Another (2025)

 

The latest and biggest film from Paul Thomas Anderson has that very rare characteristic of modern cinema - it gets better as time passes. Initially, the story of several members of French 75, a fictitious rebellious militant organization in the early 2000s, seems incredibly shaky. The visuals are there, but the essence of its violent actions, undertaken by a motley crew of insanely colorful characters, fails to build in any clear direction. 

It does, however, offer a glimpse into the main characters on both sides of the law, played well by Teyana Taylor, Leonardo DiCaprio, and Sean Penn. The problem is that it does it in a confused, insecure way that is neither fun nor disturbing. Instead, it presents some odd form of an alternative present that is mostly goofy and corny, even though it clearly resonates with the actual US political divide.

However, when the film moves to the present day, it kicks up a gear, mainly through the introduction of the revolutionary child of Charlene, played exceedingly well by Chase Infiniti. In the following mayhem, One Battle After Another becomes not just fun to watch, but also very moving. Here, the starting oddness combines well with the rest of the plot and delivers thrills just as much as great character development. In the end, both Anderson and his movie manage to win their final battle.

Film Review: Frankenstein (2025)

 

Guielrmo Del Toro is well-known for his vocal and very negative stance towards all manner of CGI effects, generative AI, and other digital-only movie-making tools. In his latest film, he tries his hardest to put his money where his mouth is, making the latest version of the classical Mary Shelly tale about playing god and being the victim of that playtime. 

The result is a very moving film with a fantastic showing by Jacob Elordi, who created one of the most iconic monsters/poets that the cinematic world saw in both this and the previous century. Oscar Issac also did exceedingly well with Victor Frankenstein, a man whose genius was only shadowed by his dark ambitions. Once more, we can see just how effective Issac is as the support character and lending his efforts to the film as a whole, not just his part in it.

However, it’s still Elodi who manages to provide such an original, animalistic entity. His monster is not a monster at all, but a being born unto a strange and violent world, who does not give up on seeking both meaning and connection. At the same time, Elodi manages to transform into pure and utter aggression, where his body becomes a weapon and his voice a harbinger of death. Throughout, his presentation is snake-like, both when it comes to his curiosity and his willingness to hurt others when he chooses to.

The film’s only odd downside is the strange post-production that Del Toro decided upon. Because of it, gorgeous physical sets and props, just like costumes, too often feel overly-cleaned and sparkling, as if most of the things we’re seeing are made from some weird CGI plastic. Yet, this doesn’t manage to drown out the performances, and ultimately, for a film about a man made from parts of others, this might be ultimately strangely fitting.

Film Review: Jujji (2024) - Gripping Pakistani Thriller on the Demons that Haunt us All

The world that Jujji presents immediately pulls the viewers deep into the dark, silent, and violent space. From the first shot and the slow, tension-building monologue of an apparently random street vendor, the film shows that it can more than handle its central mystery. 

The premise of this Pakistani thriller centers on a serial killer pursued by two police officers. One officer is young and motivated. However, despite the fact that he's driven by his sense of justice, he is fighting his own demons from the past and many somber realities of his country. His partner, on the other hand, is an older and more morally flexible police veteran, who provides a completely different perspective not just on the case, but life itself, and their role as officers of peace. 

Jujji is masterfully directed by Habib Shahzad, who does wonders with the photography of the film. Each frame is crafted almost perfectly and uses the most out of natural lighting. The same rings through in both day and night scenes, along with the fact that Shahzad never forgets about its characters. This is best seen in the flashback story near the end of the film, which shows a tragic rescue of a kidnapped girl. The entire muted sequence is a small masterpiece of atmosphere and suspense. 

Through this relentless focus on characters, each setting or situation, Shahzad still manages to revert to the people in it. This approach remains steadfast, regardless of whether they're the main characters or someone like a poor passerby who stumbles upon a lifeless body. 

Finally, it is amazing to see that Jujji manages to do so much with a film based on a true story in just under 80 minutes. This too is the testament of the directorial skill of Shahzad and the natural storytelling talent, which is why he never loses a single beat in the film. The same makes the film one of the best Asian thrillers in recent years and should place Pakistan on the international map of all cinema goers. 

Film Review: A House of Dynamite (2025)

Don't fear the nuclear reaper is what most of the characters in A House of Dynamite are constantly trying to say to one another. At the same time, they're doing it through bewildered, terrified, or tearful eyes, continually trying to phone someone in the government or their uknowing family members. 

All of this is taking place as a single nuclear missile is traveling towards the continental US, which is a cycle of about 20 minutes that the film shows three times. In each of those, the director Kathryn Bigelow presents a different set of individuals making decisions around the same launch. The first group tries to intercept it, the second to understand it, while the last, spearheaded by the President of the county, should react to it - in a nuclear fashion, naturally. 

The concept of the film is gripping, and its stellar cast makes good on the script's promise to keep us glued to it until the very end. But, there's also a rational and realistic void in there as well. We're never really in the mind of anyone for long, while some characters, like Cathy Rogers, a FEMA official with the Office of National Continuity Programs, make no sense whatsoever.

The best way to perceive A House of Dynamite is likely to understand it as a deep dive into the US nuclear doctrine by a top-notch reporter team from an outlet like The Guardian. It's incredibly well-researched, somewhat liberal-leaning, and intensely smart, but doesn't allow for any feelings nor does it linger very long after you read the final, cautionary sentence. 

Film Review: Monkey Man (2024)

The directorial debut of Dave Patel is pouring its heart and soul into the film’s energy. The work, even though ultimately a finely-crafted and dynamic film, still fails at the same time precisely because of the insanely high energy it provides. From the sights and sounds to even the dense music soundtrack and the nearly-tangible smells of modern India, Monkey Man keeps relentlessly pushing and pushing.

But it feels like Patel, who is starring in the film at the same time, tried hard to bring across a more poignant and deeper message about the state of the biggest democracy in the world. The story of a downtrodden boy who grows up into a man thirsting for vengeance is easy to understand, though hard to empathise with. The reason for this is that in the film, somehow, everyone seems to be suffering. That plight turns into a series of individual spaces from which no one can escape. 

This applies to the ritual character of Kid, but also to the beautiful women trapped in the glorified brothels of the upper floors of glamorous hotels. It applies to the corrupt cops on the street and to their commanders as well, whose hands are forever bloodied by the deeds they had or wanted to commit. Still, throughout all of this, castes are never mentioned, which is an odd blind spot for a film with these topics and societal context.

Chances are that for the film’s investors, it’s much more appealing to see a scenario where everyone is sort of bad in their own way instead of fully focusing on the powers that be. The main antagonist of the film could have played that role. But the script seemingly pulled away from pushing into the societal space where money is pouring in and very little pouring out, just like it has been for millennia.

Monkey Man is a stand-out action thriller that does both thrills and action really well. Yet, it is no White Tiger when it comes to its ability to address the current state of India’s wealth disparities. It does, sadly, just as little in showcasing what the future course of this unique but troubled nation could be.

Late Bloomer - Award-Winning Short Film on (Very) Short Relationships

 

Meeting new people is never easy or simple. In the case of Late Bloomer, this process is not only daunting but sometimes even ends up in utter failure. In a matter of only five minutes, this short film jumps headfirst into the subject of finding intimate relationships out of thin air. However, unlike most Hollywood cliche romantic flicks, Late Bloomer takes a very somber, although hilarious, approach.

The film opens up with an apartment where two people, Selma and Kane, played by Erin Fleming and Merrell Molly, are waking up. The film quickly showcases the fact that they only recently met at a funeral and immediately after that hooked up. Now, in the aftermath of the same fling, they are both awake and presumably sober, which allows the harsh reality to set in for both of them. 

Directed by Robert Murphy, Late Bloomer is incredibly fun and engaging for a work of art that is barely five minutes long. Even as a short film, it managed to capitalize on the chemistry between the characters, especially that notion of both Kane and Selma feeling that the thing that they had is close to something tangible and long-lasting, but at the same time, it's just not there. Of course, Kane is more than happy and willing to keep it in the same space, but the prospect of that happening seems very slim. In this setup, Molly does a great job in particular, making his character thread a fine line between being desperate and charming, all the while providing a great sense for comedic timing. 

Sharp and witty, Late Bloomer once more shows that a good cast and a wholesome script that avoids both overreaching and underdelivering is a great formula for a compact cinematic work of art. Using that approach, it paints a picture of interpersonal relationships that is very modern and speaks of our contemporary world, but at the same time provides a timeless snapshot of an encounter. This encounter might end as Henry Longfellow's poem describes it, ships passing in the night, but that being said, the same fictional night still provided us with a fantastic short film.

With so much going for it, it’s no wonder that the title has already received critical acclaim. The film won the Best Micro Film award at Cal Film Festival 2025, along with other recognitions. You can watch the entire Late Bloomer right here - if you like it, don’t forget to share it with your film-loving friends as well!

Film Review: The Order (2024)

Bleak US thrillers set in the contemporary political and social landscape often pleasantly surprised me over the last few years. These can have an implied political message, like The Standoff at Sparrow Creek has, or they can be dealing in direct, borderline activist commentary like How to Blow up a Pipeline. The Order is a lot less willing to dive into the clear politics of the white nationalist movement in the US, but it still packs an engaging punch when it comes to its characters.

In the film, led by Jude Law and Nicholas Hoult, an FBI agent begins to track and gradually dismantle a white supremacist group that is slowly turning into a terrorist army. Based on the notion of The Turner Diaries effects on the angry young men of the inner US, as well as its impact on the hate groups preparing for a race war, the film covers actual events from the 1980s and their deadly impact on numerous families and individuals.

Justin Kurzel, who directed the film, allowed much of the story to take shape through its main characters, played by Law and Hoult, who act as the main driving forces, but on opposite sides. Here, Law in particular managed to create a transfixing character as the rundown, tired, but endlessly determined Agent Husk. That, along with a tense, minimalistic cinematography, produced a fantastic and very balanced thriller, which doesn't lose any steam towards the end. Ultimately, despite its hands-off approach to modern politics, The Order's story is still very much relevant for the contemporary US political landscape. 

Film Review: Conclave (2024)

 

Electing a new pope of the Catholic church is all about rituals, Conclave shows us. But, what ritual is more ancient and more sacred than the ritual of politics, where powerful players jock and muscle for the leading position? In the film, directed by Edward Berger, the process of choosing a new pontiff ebbs and flows with the internal politics of the Catholic factions. Will the conservatives take over the reins, or will the liberals prevail and move the dogma into a more inclusive and powerful chapter? 

The key element of those struggles is Thomas Lawrence, played by Ralph Fiennes, who presides as the dean over the College of Cardinals. Once they agree, the election of the pope is over and the new leader of the church will take his spot at its head. To the outside world, that is the moment when the black smoke above the Sistine Chapel turns white. 

However, Lawrence’s position begins to complicate as he comes into possession of new information about the wishes of his close friend, the recently deceased pope. With each voting cycle that fails to find the new head of the church, the doubts and fears of Lawrence intensify. As this happens, Finnes masterfully presents this emotional turmoil by embodying a person who otherwise seems like calmness and reason personified.

Gradually, here’s where the film makes its transition from a documentary-like feature to a political thriller. On that road, Berger avoids taking any paths that even hint at violence - despite violence occurring on a grander scale - and keeps the film about people, their ambitions, and their beliefs. This, as Conclave shows, is a much more complicated and self-examining issue than it first might appear. Through that process, the movie builds into an impressive feature about the nature of power and human needs that fuel it, even though the same tale is told through a lens of ritualistic but very brutal politics.

Film Review: The Bikeriders (2023)

There's so much true star power in The Bikeriders. People like Tom Hardy, Austin Butler, and Jodie Comer lead the cast in the main roles. Supporting roles are filled with names like Norman Reedus and Michael Shannon. With all of those people, you'd think anyone would have a hard time making a bad movie. That's true when it comes to The Bikeriders, but its director, Jeff Nichols, did not manage to make a great movie either.

The fault isn't in Nichols - he too is a brilliant artist, who made excellent films like Mud or Midnight Special. His scope and interests are extensive, which is why he chose a proto-bike gang story as his main theme for this film. Set in the middle of the 20th century, The Bikeriders tells the tale of the older Johnny and the younger Benny as they ride their beloved bikes, drink beers, and slowly turn into a violent criminal venture.

Now, there's a lot of space in the public imagination when it comes to outlaw bikers. Sons of Anarchy created a pop-culture niche all on its own. But, The Bikeriders feels most similar in my view to Hell's Angels: A Strange and Terrible Saga. This book was written by Hunter S. Thompson and also shows an interesting but deeply unsettling look into the world and minds of bike gang members. Comer's female perspective was likely a way to make the film more appealing and unexpected in its narrative delivery, but it didn't move it far from its basic premise of complicated dudes on powerful bikes.

In Thompson's book, just like in Nichols' film, there is a sense of authenticity and the stories of characters do grip the audience, but only as individual vignettes. As a whole, The Bikeriders doesn't resonate as a documentary piece, while as a fictional tale, it drives the viewers around but in the end, doesn't take you anywhere. I guess some films are about the journey, and not the destination.

Hi How Are You? (2023) - Meditative Journey into the Heart of Love

Having a feature-length movie recorded on nothing but iPhones and doing so primarily in selfie mode might sound like a strange idea. However, the movie Hi How Are You shows that ultimately, like ever, the substance overcomes the format. In this romantic drama with a strong undercurrent of science fiction, two souls reconnect with each other when a hangover Lou, who is in Paris, decides to call Mani, a rock star from Iran who's in New York. At the same time, a celestial body called MX6292 apparently sets itself on a collision course with the Earth. 

Through conversations ranging from video calls between friends to amateur scientists calling into news channels, the unusual video format works well. The film includes many characters that slowly revolve around Lou and Mani, while at the same time, something much larger is taking place in the endless void above. Interestingly, the film also uses plenty of VFX and superimposed elements in its shots, like billboards and other details in external locations, which all work surprisingly harmoniously with each other.

The film was written and directed by Clemy Clarke, who is a French filmmaker living in Los Angeles. Clarke brought an interesting blend of sensibilities to the film, showing something hard to pinpoint geographically, both literally and metaphorically. However, the film's overall ambiance and sensitivity to a changing, interconnected world, which can still feel so lonely, is incredibly poignant.

Through many languages, covering English, French, and Farsi, Hi How Are You? tells a very natural story of relationships that forever change and evolve, but which still yearn for that essential connection and the love that lies behind it all. Because of that, the element of the mysterious celestial body works so well on focusing the otherwise very loosely threaded story. The film's tragic and powerful culmination, which is fully steeped in music, is, in the end, all about that human connection.

In a very shrewd manner, Clarke bridges so many of these surface ideas of what it is to be alive in this strange and modern world of ours. She then funnels them all towards the core of the film - which is a love story, told from such a strong, universally human, perspective. In the end, the tale of this touching film shows us that it really is all about - love.

Watch Hi How Are You? on Amazon Prime today!

Film Review: Nosferatu (2024)

The wholehearted dedication that director Robert Eggers provided to gothic horror during the making of Nosferatu is mind-blowing. This director, who has so far been somewhat of a mixed bag for me - The Lighthouse, for example, was a thoroughly unenjoyable experience - went above and beyond to do justice to its source material. In this case, this is not the Bram Stoker novel, but its unauthorized German adaptation from 1922, called Nosferatu.

The film, today iconic for its visuals but unknown to many, did slight adjustments to the story of Count Dracula and Eggers decided to focus on that rendition completely. Besides that, he also stayed true to the dramatic and often tragic concepts of gothic horror and romanticism in general, providing a script that must have been read in a very odd and offbeat way. Finally, Eggers managed to mix into that a lot of pan-Slavic, pagan-rooted notions and rituals, focusing on Eastern Romania and the region of Transylvania. For the making of the film, this brilliant director even found inspiration in art like the Yugoslav TV movie The She-Butterfly, an obscure work of Balkan filmmaking.

The cast fully embraced this brilliant script. Bill Skarsgård, Lily-Rose Depp, and Nicholas Hoult are top-notch in their lead roles, while Willem Dafoe is simply mesmerizing in every scene he appears as the wise and learned Albin Eberhart von Franz (Van Helsing, in the original tale). Throughout the film, breathtaking cinematography follows the storyline to the heartbeat, even with its drastic changes in scenery and settings, covering castles from high mountains, strange ships on high seas, and beautiful salons from high German society. Even the ending, which will disappoint many who are looking for regular vampire horror tropes, is a tiny masterpiece in its own right.

Many stated for some time that Robert Eggers is one of the leading film directors of his generation. I can honestly say that I didn’t fully see things the same way for a long time, despite many hints and glimmers of that greatness. Then, I watched Nosferatu and so should you.

Acceptance is the Beginning - Crowdfunding Campaign for a Powerful Faith-Based Film

 

Stephen L. Satterfield is a true movie industry veteran, with over 30 films under his belt. He began his career back in 2017 and has worked as a producer, writer, and actor since then. Back in 2022, he wrote a script called Acceptance is the Beginning, and now, with the help of an Indiegogo campaign, he is working to turn it into a reality. Here's how Stephen describes his upcoming project:

Acceptance is the Beginning is truly about sharing the message and promises of Christianity. I do warn that the film has an unapologetically evangelical perspective, and I ask all to consider that when donating as I respect free will, too. The main character is depressed and without faith and hope. The main character also has an opportunity to unwittingly share his problems and his grief with an angel and demon.

The premise of the film looks really interesting and engaging, especially from the perspective of the Christian faith. At the same time, Stephen aims to produce his work where he also resides. That means that the film should be shot in the coming summer at a location in the US, more precisely in Tulsa, Oklahoma.

Here's where the crowdfunding campaign comes in. Stephen is raising the first target of a very modest $500 in a flexible Indiegogo campaign and it is presently at 59 percent, with 28 days to go. If you'd like to see Acceptance is the Beginning see the light of a day as a finished project, consider helping Stephen either by donating directly on the film's Indiegogo page or by spreading the word about the campaign on social media!

Film Review: I Saw the TV Glow (2024)

As someone born in the 1980s, I too, just like I Saw the TV Glow, can attest to the power of great television. In my case, the shows of choice during my childhood include a narrow band of science fiction, mainly seen in The X-Files, Star Trek: Deep Space 9, and Star Trek: Voyager. In these shows, as a kid, I found almost total immersion, where I truly got lost in each episode into a very believable world that is so much unlike my own reality.

I Saw the TV Glow focuses on that mental and emotional space for its two main characters, Owen and Maddy. Both of them are growing up in the US suburbs and finding life incredibly challenging as teens in 1996. However, what also binds them together is The Pink Opaque, a fictional TV show that features two characters with a psychic connection who are fighting an ever-present, but subtle evil force seen in the form of Mr. Melancholy.

The film was written and directed by Jane Schoenbrun, who clearly also understands the power and horror of finding escape from both the real world and the physical bodies that inhabit it. The experience of watching I Saw the TV Glow is thus very odd, as it mixes tones of teen bonding and finding solace in each other's company, with a sharp sense of dread and despair, even utter horror. The latter come from the lifestyles that are to a point forced on the main characters, as well as their controlled and asserted perceptions of themselves.

Here, in this space filled with so many feelings, the fantastic musical soundtrack only enhances this unique experience of belonging and very much sticking out. Both main characters, played by Justice Smith and Brigette Lundy-Paine, do a great job in trying to communicate this sense of split self to each other and the audience, which is so hard to explain with words. That is why both of them, just like the film in its entirety, succeeds brilliantly in showing just a glimpse - but still a powerful one - of lives where people never belong, yet yearn so much to do nothing more than fit in somewhere.