#filmreview — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #filmreview, aggregated by home.social.
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Kiki’s Delivery Service (1989) – Review
By the end of the 80s, Studio Ghibli was cooking, creatively speaking, but was still finding it tough to get the appropriate amount of traction at the box office. While disscussing something as crass as money when dealing with the type of creative alchemy that have given audiences back to back movies that casually enriched the soul, the simple fact of the matter is, Ghibli was still in its relative infancy and anime had yet to make that relentless, worldwide breakout that still wouldn’t occur for a few couple of years yet. However, with Kiki’s Delivery Service, the studio would finally enjoy financial success to go with the fact that in under a decade, they’d been doling out straight-up masterpieces while other animation houses (cough * Disney * cough) had noticably struggled during the decade.
Let’s not forget that Ghibli released both My Neighbour Totoro and Grave Of The Fireflies in the same year, a feat that showed the emotional dexterity of filmmakers who delivered polar opposite assaults on our emotional well-being. But what did it take to help the house of Totoro get flush? Nothing much, just a thirteen year-old witch and a flying broom.In a world where witches live alongside humans in harmony despite being relatively rare, we meet Kiki, a thirteen year-old girl who decides its time for her to attempt the tradition all witches her age must do – leave home and live an independent life for a year. While that seems a little much to ask any child, Kiki not only is kind and resourceful, but she has the ability to soar through the sky on her broom and has Jiji, her feline familiar, to keep her company. However, after leaving home she soon encounters a number of minor obstacles such as another, pretentious witch and a rain storm that causes her to first drift off course and then take refuge in a box car until the rain chooses to relent.
However, upon waking up, Kiki finds that she and Jiji have arrived in the city of Koriko and decides to stay and try to make a life for herself – but while she’s enamored of the view of the ocean that she has, her small town upbringing leaves her unprepared for how tough life and lonely can be in a bustling city. Still, the plucky child manages to find a place to live with a kindly woman and her husband who own a bakery and so figures out how to channel her paranormal talents into a form of self employment.
Using her talents of flying on her broomstick, Kiki starts up her own small scale delivery service as she can simply zip across the sky with a parcel and drop it off at it’s destination in no time at all. However, despite the kindness of a lot of her early customers and the constant attention of a local boy named Tombo, Kiki soon finds that forging a life in a big city can be fairly trying and as isolation and depression sets in, she finds that some of her witchy gifts are starting to leave her as the day to day pressures take their toll.The irony of Ghibli’s first financially successful film being about a thirteen year-old going out and starting her own business isn’t lost on me, but there was always a danger that anything that attempted to follow Isao Takahata’s emotion-flaying Grave Of The Fireflies was going to come across as unbelievably twee – after all, the lethally sad wartime drama had been repeatedly hailed as one of the greatest animated movies ever made and proved to be an unforgettable experience. However, the magic of Hayao Miyazaki is that he’s able to benevolently weaponise things that are ridiculously nice in ways that make even the most basic plots warm your heart. For example, on the surface, My Neighbour Totoro wasn’t really about anything really and just followed the lives of two young girls who were excited about moving house and casually had low-energy adventures with a burly, sleepy forest spirit. And yet, despite having no antagonist, no jokes and no action sequences to speak of, Miyazaki turned such unassuming touch points into genuine chicken soup for the soul.
Well, with Kiki’s Delivery Service pulls off the same trick by adapting Eiko Kadono’s novel into yet another beguiling fantasy that, technically speaking, doesn’t fall back on the majority of animated tropes popular at the time. Once again, Miyazaki shrewdly tells another tale that not only proves that he accurately can put himself (and the viewer) in the shoes of a prepubescent girl encountering the world for the first time, but he impressively doesn’t make it creepy either. On top of this, the movie scatters numerous instances about the film that sees a lot of good advice and protection offered to Kiki by an arry of vastly different, but all equally strong women. From Osono the baker generously giving our heroine a place to stay, to the kindly old women who call Kiki to deliver pies baked with pure love to ungrateful grandchildren on their birthdays, to her encounter with jean-short wearing artist, Ursula who lives in the nearby forest, the young witch is given countless life advice by strong mature women to counteract the rather cold and vapid reaction she gets from girls her own age.Once again, detailing how rich and glorious the animation is is now starting to feel somewhat redundant, but I’ll still say that no one in animation can animate grass blowing on a strong breeze quite like the hard working scribblers who work under the Ghibli umbrella – and if that looks good, imagine how good the flying stuff looks. Yep, Miyazaki’s documented weakness for all things that fly gets yet another outing, although its amusing that for all the high flying heroines that’s populated his films, Kiki has moments where her broom flying is actually quite ungainly due to external forces or the fact that has to improvise at one moment with a brush.
But for all the dazzling wonder and memorable characters (Jiji the sassy cat is effortlessly the movie’s MVP), once again it’s those deftly buried life lessons that hit the hardest and while Kiki finds that the confidence sapping effects of modern life is draining her powers as depression set in, it’s remarkable that Miyazaki’s simple message of being true to yourself is delivered so organically when other animation houses would probably base an entire six minute musical number about it. Most remarkable of all is the fact that I would argue that Kiki’s Delivery Service actually does low-key fantasy and growing pains even better than My Neighbour Totoro did and while that final rescue sequence seems a little tacked on compared to how organic Ghibli usually is, it makes the likes of Sabrina The Teenage Witch look like purest trash in comparison.Zipping out from under the emotional heft of Grave Of The Fireflies with yet another delightful flight of fancy, Kiki’s Delivery Service not only cemented Ghibli’s standing at the box office, but delivered yet another overwhelmingly warm cinematic endevor to boot. While the titular witch may not have too many spells of her own, her movie spins more than enough magic to compensate.
#1980s #1989 #Fantasy #Animation #Anime #Japan #FilmReview #StudioGhibli #HayaoMiyazaki #KikiSDeliveryService #MinamiTakayama #ReiSakuma #KappeiYamaguchi #KeikoToda
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Forgotten war film about D-Day that’s ‘more realistic than Saving Private Ryan’ | Films | Entertainment
The 1975 classic is hailed as ‘more realistic’ than Saving Private Rya…
#NewsBeep #News #Entertainment #archivalfootage #D-Day #D-Daydepiction #D-Daylandings #filmreview #forgotten #GB #morerealistic #overlord #Overlordfilm #SavingPrivateRyan #soldier'sjourney #soldier'sperspective #StuartCooper #UK #UnitedKingdom #warfilm #Warmovies #worldwar2 #WWIIrealism
https://www.newsbeep.com/uk/577594/ -
Film Review: TRON: LEGACY (2010)
Link: https://film-book.com/film-review-tron-legacy-2010/?fsp_sid=196355
#AdamHorowitz #BeauGarrett #BruceBoxleitner #EdwardKitsis #filmreview #GarrettHedlund #JeffBridges #JosephKosinski #MichaelSheen #MovieReview #OliviaWilde #RichardJefferies #SciFi #StevenLisberger #TRON #TronLegacy #TronLegacyFilmReview #TronLegacyMovieReview #TronLegacyReview #WaltDisneyPictures
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Poetry and music from the film ‘Wings of Desire’ (Der Himmel uber Berlin)
One of my favourite films of all time is the Wim Wenders film The Wings of Desire known in German as Der Himmel uber Berlin. It won the Best Film at Cannes in 1987.
Some of the magic of this film comes from the music (Nick Cave, U2), the acting (Bruno Ganz, Solveig Dommartin) and also from the poetry (Peter Handke) which is scattered throughout the film. The German poet Peter Handke is responsible for some of this evocative poetry, which is haunting and stays with you, lulling you into a dreamy state between sleep and waking.
I have never found German to be particularly pleasing to the ear, but this film made me hear the beauty in the language. Here are some of Peter Handke’s poems from the film along with excerpts from the film. I hope you enjoy them and are inspired to watch the entire film, Wings of Desire is a masterpiece.
Song of Childhood By Peter Handke
https://www.youtube.com/watch?v=7BpY6I9ZR3A
When the child was a child
It walked with its arms swinging,
wanted the brook to be a river,
the river to be a torrent,
and this puddle to be the sea.When the child was a child,
it didn’t know that it was a child,
everything was soulful,
and all souls were one.When the child was a child,
it had no opinion about anything,
had no habits,
it often sat cross-legged,
took off running,
had a cowlick in its hair,
and made no faces when photographed.When the child was a child,
It was the time for these questions:
Why am I me, and why not you?
Why am I here, and why not there?
When did time begin, and where does space end?
Is life under the sun not just a dream?
Is what I see and hear and smell
not just an illusion of a world before the world?
Given the facts of evil and people.
does evil really exist?
How can it be that I, who I am,
didn’t exist before I came to be,
and that, someday, I, who I am,
will no longer be who I am?When the child was a child,
It choked on spinach, on peas, on rice pudding,
and on steamed cauliflower,
and eats all of those now, and not just because it has to.When the child was a child,
it awoke once in a strange bed,
and now does so again and again.
Many people, then, seemed beautiful,
and now only a few do, by sheer luck.It had visualized a clear image of Paradise,
and now can at most guess,
could not conceive of nothingness,
and shudders today at the thought.When the child was a child,
It played with enthusiasm,
and, now, has just as much excitement as then,
but only when it concerns its work.When the child was a child,
It was enough for it to eat an apple, … bread,
And so it is even now.When the child was a child,
Berries filled its hand as only berries do,
and do even now,
Fresh walnuts made its tongue raw,
and do even now,
it had, on every mountaintop,
the longing for a higher mountain yet,
and in every city,
the longing for an even greater city,
and that is still so,
It reached for cherries in topmost branches of trees
with an elation it still has today,
has a shyness in front of strangers,
and has that even now.
It awaited the first snow,
And waits that way even now.When the child was a child,
It threw a stick like a lance against a tree,
And it quivers there still today.Motorcycle Accident – Wings of Desire
Bruno Ganz plays a lonely angel who roams the streets of Berlin and provides comfort to mortals in need. In this scene, he materialises on the street to attend a motorcycle accident and remind a dying man of the eternal memories in his psyche, and perhaps of collective memories. These are beautiful moments, sublime voices and images.
https://www.youtube.com/watch?v=3bZXO_xmnJc
Wings of Desire – Music by U2 and Nick Cave
Wim Wenders, the film’s director, is known for using evocative music in film as well. He famously used Nick Cave the Bad Seeds in a scene of the film (the band were living in Berlin at the time). U2 also recorded one of their most underrated songs ‘Faraway (So Close) for the film as well. For the band themselves, this song has still remained a solid favourite and a classic and yet is still one of the lesser known U2 songs of the 80’s.
https://www.youtube.com/watch?v=ZPf6SWcENWo
Content Catnip
Follow me on Mastodon Watch my videos Donate to my Ko Fi #art #film #FilmReview #History #Music #musicReview #poetry #storytelling #WimWenders #writing -
The Final Straw Radio Podcast | A weekly Anarchist Radio Show & Podcast [Unofficial] @[email protected] ·Vicky Osterweil on Disney, Intellectual Property and Storytelling
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Now playing on the blog: A deep dive into the 1932 classic "Shanghai Express". 📽️
From the high-contrast lighting to the intricate costume design, this film is a masterclass in atmosphere. Does it hold up as von Sternberg’s best collaboration with Dietrich?
Full review: https://www.movieyet.com/2025/11/shanghai-express-1932.html
#FilmReview #VintageCinema #1930s #MastodonMovies #ClassicFilm #MovieYet
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Now playing on the blog: A deep dive into the 1932 classic "Shanghai Express". 📽️
From the high-contrast lighting to the intricate costume design, this film is a masterclass in atmosphere. Does it hold up as von Sternberg’s best collaboration with Dietrich?
Full review: https://www.movieyet.com/2025/11/shanghai-express-1932.html
#FilmReview #VintageCinema #1930s #MastodonMovies #ClassicFilm #MovieYet
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My workplace, where I receive vocational training, just had an activity. I attended for the screening of Rogue One: A Star Wars Story, in what was my first time since first watching in in theaters in 2016. I now realize how well written it is. I did not just watch a masterpiece, but it felt really believable for a Star Wars film, Leia's portrayal not withstanding. Overall, Rogue One is an above-average film, and one of the better ones in the series.
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My workplace, where I receive vocational training, just had an activity. I attended for the screening of Rogue One: A Star Wars Story, in what was my first time since first watching in in theaters in 2016. I now realize how well written it is. I did not just watch a masterpiece, but it felt really believable for a Star Wars film, Leia's portrayal not withstanding. Overall, Rogue One is an above-average film, and one of the better ones in the series.
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My workplace, where I receive vocational training, just had an activity. I attended for the screening of Rogue One: A Star Wars Story, in what was my first time since first watching in in theaters in 2016. I now realize how well written it is. I did not just watch a masterpiece, but it felt really believable for a Star Wars film, Leia's portrayal not withstanding. Overall, Rogue One is an above-average film, and one of the better ones in the series.
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My workplace, where I receive vocational training, just had an activity. I attended for the screening of Rogue One: A Star Wars Story, in what was my first time since first watching in in theaters in 2016. I now realize how well written it is. I did not just watch a masterpiece, but it felt really believable for a Star Wars film, Leia's portrayal not withstanding. Overall, Rogue One is an above-average film, and one of the better ones in the series.
-
My workplace, where I receive vocational training, just had an activity. I attended for the screening of Rogue One: A Star Wars Story, in what was my first time since first watching in in theaters in 2016. I now realize how well written it is. I did not just watch a masterpiece, but it felt really believable for a Star Wars film, Leia's portrayal not withstanding. Overall, Rogue One is an above-average film, and one of the better ones in the series.
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CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
CPFF 2026 Review: Thank You for Banking with Us
Year: 2024
Runtime: 92 minutes
Writer/Director: Laila Abbas
Actors: Yasime Al Massri, Clara Khoury, Kamel El Basha, Adam Khattar, Salwa Nakkara
By Guest Reviewer Alexei Holloway
“Thank You For Banking With Us” (2024) is a funny and moving look at sisterhood and challenging the patriarchy.
Noura (Yasime Al Massri) and Maryam (Clara Khoury) are estranged sisters with less than perfect lives. Noura is a beauty clinician who cares for their ailing father while Maryam is stuck in a loveless marriage with children she no longer feels connected to. When their father dies, the two work together to take their father’s money out of the bank before their absent and judgmental brother who lives in America comes along and takes the money and half the house (per Sharia law).
What follows is a funny pseudo-heist as the sisters bounce off of obstacle after obstacle trying to navigate a deeply patriarchal society and arguing with each other. While looking for help from every man they know, they are constantly shut down, told they are sinners and ungrateful daughters, and have no right to ask for that money. Yet, their brother never bothered to care for their father or check in on his sisters. It was Noura and Maryam who cared for their father, feeding him, cleaning up after him, checking in on him. Why should their brother get both the money and half the house when he did nothing? Why do male relatives, husbands, and lovers have the right to tell these women no when they’ve done nothing to help Noura and Maryam survive?
Clara Khoury and Yasmine Al Massri are a powerful and hilarious duo. When they are not cursing and arguing with the unhelpful men in their lives, they are arguing with each other, pulling up old wounds and half-remembered fights from their past like real siblings. Yet, when they see how the other lives and are betrayed by the men they are supposed to be able to rely on, they realize all they have ever had is each other. That will never stop them from fighting, but it helps bring them closer together and, with a little help from Maryam’s youngest son Ali (Adam Khattar) enables them to finally work together to get the money they deserve and to properly lay their father to rest. By the end, one hopes that their newly rekindled friendship can also prevent Maryam’s sons from turning into the very men who did nothing to help the women retrieve their rightful inheritance.
#ChicagoPalestineFilmFestival #Comedy #ElderCare #FemaleCharacter #FemaleCharacters #FemaleDirectors #FemaleFilmmaker #FilmFestival #FilmReview #Heist #Palestine #ShariaLaw #UnderrepresentedInFilm #WomenInFilm -
Film Review: THE SOCIAL NETWORK
Link: https://film-book.com/film-review-the-social-network/?fsp_sid=185406
#AaronSorkin #AndrewGarfield #ArmieHammer #BrendaSong #DavidFincher #filmreview #JesseEisenberg #JoshPence #JustinTimberlake #MaxMinghella #MovieReview #RashidaJones #RooneyMara #TheSocialNetwork #TheSocialNetwork2010 #TheSocialNetworkFilmReview #TheSocialNetworkFilme #TheSocialNetworkMovieReview
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Film Review: VAMPIRES SUCK
Link: https://film-book.com/film-review-vampire-sucks/?fsp_sid=179962
#AaronSeltzer #AnneliesevanderPol #ChrisRiggi #filmreview #FilmReviewVampiresSuck #JasonFriedberg #JennProske #KenJeong #MarcelleBaer #MattLanter #MichelleLang #MovieReview #MovieReviewVampiresSuck #ParodyFilm #TheTwilightSagaParody #TwilightSpoofMovie #vampiremovie #VampiresSuck #VampiresSuckFilm #VampiresSuckFilme #VampiresSuckMovie #VampiresSuckReview
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ICYMI: Film Masters Monster Mayhem Collection 4-Pack Blu-ray Review https://popgeeks.com/film-masters-monster-mayhem-collection-4-pack-blu-ray-review/?utm_source=dlvr.it&utm_medium=mastodon #FilmReview #HorrorMovies #BluRay #MonsterMovies #ClassicHorror
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Forbidden Fruits Review
#ForbiddenFruits #horrorcomedy #film #filmreview #LiliReinhart #LolaTung #VictoriaPedreitti #AlexandraShipp #EmmaChamberlain
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Forbidden Fruits Review
#ForbiddenFruits #horrorcomedy #film #filmreview #LiliReinhart #LolaTung #VictoriaPedreitti #AlexandraShipp #EmmaChamberlain
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Forbidden Fruits Review
#ForbiddenFruits #horrorcomedy #film #filmreview #LiliReinhart #LolaTung #VictoriaPedreitti #AlexandraShipp #EmmaChamberlain
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Forbidden Fruits Review
#ForbiddenFruits #horrorcomedy #film #filmreview #LiliReinhart #LolaTung #VictoriaPedreitti #AlexandraShipp #EmmaChamberlain
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Forbidden Fruits Review
#ForbiddenFruits #horrorcomedy #film #filmreview #LiliReinhart #LolaTung #VictoriaPedreitti #AlexandraShipp #EmmaChamberlain
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Two “deal with the Blues Devil” movies, two very different problems. Crossroads wants to prove anyone can play the blues but ends up flattening what the blues actually stands for. The Devil Comes to Kansas City, on the other hand, can’t even keep its own rules straight.
#FilmReview #MovieCritique #Crossroads #TheDevilComesToKansasCity #Blues #Music #FilmAnalysis #MovieReview
https://pablohoneyfish.wordpress.com/2026/03/22/the-myth-of-the-crossroads-faustian-bargains-cultural-appropriation-and-the-narratological-erosion-of-the-blues-in-modern-cinema/ -
Two mob movies. One understands the myth. The other believes it. Bugsy turns a violent egomaniac into a tragic joke with a neon afterglow. Lansky tries to polish a legacy that was never meant to shine—and ends up feeling like a self-serving bedtime story.
#FilmReview #MovieCritic #Crime #MovieReview #FilmAnalysis #Bugsy #Lansky #Cinema #FilmDiscussion
https://pablohoneyfish.wordpress.com/2026/03/19/the-myth-of-the-moral-mobster-a-critical-historiography-of-meyer-lansky-and-benjamin-siegel-in-american-cinema/
