Three stories that tell anxieties, obsessions and terrors about the relationship we have with the houses that we live in spite of ourselves.
The anxiety of the social status that our home symbolizes, which affects us only as adults, so we are willing to make a pact with the devil by sacrificing everything that has an emotional value for us and that tells who we are and where we come from replacing it with what has a recognizable value also by others, only by others, a purely materialistic value conceived as luxury for its own sake, a doll's house in which we force ourselves to live, until the loss of our authentic identity cuts off the bond with our closer affections and transforms us into part of the furniture as beings devoid of soul and meaning.
The obsession with success that makes us neglect taking care of ourselves in view of the goal, where the house we live in is a mirror and a metaphor of the mind we live in, both infested with parasites that feed on our life sending it upstream and making us slowly slip into madness because of our not remedying it systematically in time but moving forward by putting superficial patches that hide the discomfort that lurks beneath the surface.
The terror of becoming aware that it is time to turn the page, abandoning the idea of fulfilling the dream that has always haunted us and on which we fossilized and then marched, despite the fact that it is now evident to all those around us its impracticability. Terror that we can only overcome by accepting the surrounding reality that inexorably hampers (indeed, floods) our very hope at the foundations, making us realize that the building we have inhabited so far was not a real home for us but only a crossing of walls, inexorably discovered by a wallpaper that we would like would it to transform them into our house but that the surrounding world continues to detach from the walls, revealing the truth that we repudiate at all costs. Because our real home has always been the family bond that binds us to our friends who are housemates of our obsession, to whom until now we barely paid attention, distracted as we were by our futile intent, but who have remained close to us nevertheless, and with whom we will be able to start the journey into the uncertainty of the future towards a new home that will welcome us all. By realizing this, our obsession will turn into a healed trauma that will accompany us in the fog towards a new balance, giving us awareness of who we are and why we are back on the road.
An anthological film that exploits the setting of a house, probably cursed and inhabited in three different historical periods, the Victorian age, contemporaneity and the near future devastated by the imminent climatic catastrophe. Despite being a small manual on how to tell a horror story, based on the visual anticipation of disquiet and the slow growth of tension until the final climax, the first episode is the weakest of the trio because it is narrated by a character's pov not really involved in the choices that determine the plot but which she is only witnessing to, so that when it ends it seems that there is still something to say about this character or rather that this is a prelude to her personal story. The other two episodes are instead more successful, more centered around their characters, with the central one truly Kafkyan and surreal and the third more thoughtful and onhiric.
Animated in a technically stunning stop-motion, photographed even better with cuts of light that simulate the depth of field of open spaces, and with an attention to detail of the interiors that give credibility to the image enough to make you believe, especially in some moments of the second episode, of not looking at models but real live images, when this film ends you are left with the desire for other stories so well done.
I read this theory that says that the whole movie takes place in Kate's head, like a re-imagining of something tragic that happened to her. Her tattoo is a snake eating itself, which is a symbolism of Kate's madness.
The article explains that Kate IS Ms Jessel (the former nanny). She worked at Bly Manor and was charged to raise Miles and Flora, but she was afraid of Quint who was a creepy pervert and one night, when she tried to escape, he sexually assaulted her. She fled the manor and abandoned the children, and she went insane because of the trauma and her regret over leaving the children. She was taken to an asylum, and the movie is Kate in her head living out the life that she should have had, the path that she should have taken in which she saved the children and escaped with them from the clutches of Quint.
There are a lot of things that prove that Kate is Ms Jessel. First, Kate always sees Ms Jessel through a reflective surface (window, mirror, etc...). In Kate's fantasy, things are perfect and Quint is dead, BUT, due to her subconscious, Quint keeps creeping in at several points as a ghost and through Miles who is actually a manifestation of Quint. Miles wears the same clothes as Quint and rides a black horse just like him. Besides, the first time Kate sees the ghost of Quint is when he is walking into Miles' bedroom. Miles also almost forces himself on Kate at one point and kisses her, which would be a symbolism of the sexual assault that Quint carried out on Jessel. At one point in the movie, Kate believes she is being attacked by the ghostly hands of Quint, which could be a flashback of her past sexual assault.
At the end of the movie, she returns to reality where she is back at the asylum, and when her mother or rather Kate turns around, she sees her own face, and this is why she screams.
[8.1/10] If we take Sister Michael at her word, God is indifferent to the Derry Girls. But that’s the central referendum here: does he love them or does he hate them? For half of the episode, the universe bends in their favor, only to bend right back just as quickly. It’s a marvelous, albeit gutting structure to build the episode around.
First they just so happen to get the last five tickets to the Fatboy Slim concert in Derry. Then, they lose them when they're challenged for them by an angry bloke who goes by Madstab. But wait! Michelle peddles their (ever so slightly exaggerated) sob story to the local news and gets them VIP passes to the show! They’ll even get to meet Fatboy Slim himself! Except, Clare’s search for the girl she met at the record store not only reacquaints them with Madstab, but gets them kicked out for fighting to where they don’t even get to see the concert, let alone meet the headliner. Still, it’s not so bad! Despite everything, Clare gets the kiss from the girl of her dreams and is on Cloud 9! Only to be brought crashing back to earth in devastating fashion when Gerry comes to tell her that her dad had an aneurysm, and he eventually passes away.
It’s a brilliant sort of emotional whiplash. For ninety percent of the episode, Derry Girls plays the back and forth for laughs. The Derry Girls’ changes in fortune are comically exaggerated, involving fibs to the news and tough guys obsessed with Fatboy Slim and playful bouncers dressed like Cher from Clueless and an entire bar area filled with folks dressed at clowns. The silliness of our heroes stepping out as angels but being mistaken for swans, or yelling about the semantics of what a collection of clowns is called, is hilarious.
The parents’ story is nearly as funny. The absurdity of Sarah accidentally getting engaged when she accepts a ring without understanding the meaning behind it is classic her. The equal absurdity of her enlisting Gerry to have to break it to the poor fella that his engagement was a ridiculous misunderstanding (with Joe blaming the unfortunate guy for the trouble), is very amusing thanks to Gerry’s bewildered reaction to the whole situation. But the punchline is the piece de resistance. The clockwork gag of Sarah and Mary having rented Sister Michael’s nun habit, whose availability was established earlier, to where Ciaran believes Sarah’s “married to God” now is an utter hoot.
Even when it’s not being funny, “Halloween” is a sweet episode for most of the way. There's a comic goofiness to Clare’s dad showing up in a tiny car and joking about “stacking” the girls into it. But the reveal of him pulling them along on a float in a local Halloween parade, watching them enjoy the night of their lives, is a rousing moment.
The same goes for Clare getting her first (I assume?) kiss from the girl she met at the record store. It’s not as cheer-worthy as it might be since the girl is more of a thinly-drawn bit of wish-fulfillment than a full-fledged character with any kind of developed dynamic with Clare. Still, if anyone deserves a little wish-fulfillment, it’s Clare. Her stammering reaction to someone liking her is adorable, and her palpable joy at getting that kiss is infectious.
Until it’s ground down in the grit of tragedy. She goes from that riding high moment to mourning her father in a matter of minutes. It’s one hell of a gut punch. Nicola Coughlan does an outstanding job selling her grief at this sudden hardship. While I don’t normally love slowed down covers of pop songs, doing a solemn version of “Praise You” is more than poignant under the circumstances.
I expected Derry Girls to go for something more dramatic and heart-rending eventually, but I expected it at the end of the season, not now. The show caught me napping, and I wasn’t anymore prepared for such a sad development than Clare was. You feel so much for her, and the way her friends rally around her without question is a reminder that, for as loose and goofy as their friendship, and the series is, it’s also founded on some true and heartfelt bonds.
I don’t know if, in Lisa McGee’s conception of this story, God loves or hates the Derry Girls. He certainly toys with them given the mercurial way in which their fortunes change. And he gives Clare an immense trial to face at such a young age. But he also gave her a collection of friends to help cushion the blow and see her through this. That is fortunate amid such tragedy, and maybe even a saving grace.
I wish it continued but still easy on my top 5 anime. Simply a must watch.
How can the CW get so many things so wrong, but get this so right?
That's...rhetorical.
The story lines are bound and respectful of the lead's bonds with her family and others. Nothing is over-blown or exaggerated in that respect. There's some Science Fiction-slash-Fantasy under the guise of Ancient Asian Mysticism, which as a Western white person I'm attracted to. And, there's some Martial Art's styled action (fight) sequences! Remember, it's a television budget, so don't expect the, "wire work," to be flawless. But, then again, People aren't flying about as much as in, "Crouching Tiger."
As much as I'm drawn to Science Fiction and Fantasy, it's the character development and emotional bonds that create the emotional pay-offs for me. Through this show I've gotten so many...moments..blocks of time filled with emotion -- where I've felt comfortable letting them sink in, so, deeply felt emotion. Better than that, of course, is that it's lead to plenty of, what? "Moments?" of that divine state of feeling emotionally charged with no particular emotional response tied to it. And, during those periods the different emotions the story brings up, like brilliant notes played across a keyboard are so much sweeter, and exquisite.
It is the, "Dopamine-ergic," brain-state I'd previously become accustomed to while watching the animated series', "Naruto," and, "Naruto Shippuden," that will keep me coming back for more. And, isn't that what we all want in good television, a foil against we express our humanity and connection to others?
For the non-Brazilian audience, this is an amazing opportunity to get to know Brazil's culture. It goes deep into our own folkloric stories, our history, and, at the same time, is a great mirror of our current time. What you see here, is what you get.
The special effects are great, the history is well-developed, the characters are great, the acting is superb. I mean, Alessandra Negrini (the actress who plays Inês) and Jéssica Cores (who plays Camila) are just shining, glowing! Just an amazing performance by those two. Marco Pigossi (who plays Eric) was a great surprise for me, who hadn't had much contact with his work. José Dumont (who plays Ciço) is a well known face in Brazil and never disappoints. Wesley Guimarães (who plays Isac) was another great surprise. Fábio Lago (who plays Iberê, and is not credit here, for some reason) although not having a lot of time on camera, is amazing when he is.
The only thing that bothered me, was the dialogue, that, sometimes, was kind of dorky, obvious stuff that really didn't need to be said, or a robotic-like acting that didn't really look natural. It is not that common, but it can sting a bit when it happens.
For the Brazilian audience, this is an awesome experience. Made by us, mostly for us. Our folklore gets a revival here.
Can't wait for the next season (with a cliffhanger like that I can't imagine this not happening, right?).
9/10!
An interesting experience. My first foray into Russian TV, experienced hardcore, and I'm quite enjoying it (Russian speaking - a completely new language for me - with English subtitles that are sometimes awkward and in need of editing). The period costumes are beautiful, the set seems to be a well used location that reuses buildings and interiors as various and different places, as the script dictates, so it gives the filming a low budget feel. The acting of the titled lead was a little rough at the beginning, but she quickly got better as the series progressed, and she simply exudes charm and youthful beauty that is quite captivating for all who encounter her. The supporting performances were solid if striking a bit of a comedic tone and at times is very stylized and melodramatic which is reminiscent of the parlour dramas of the period it is depicting. The premise of a young woman who speaks to the dead to solve crimes (the obsession with Spiritualism in the 19th Century is well documented) matched by a seasoned (and romantically attractive) detective who comes to similar conclusions by astute investigative procedures, is rather unique and I liked it. At the centre of these mysteries is a romance which very much pulls the work together. I had the honour of entering the information for TVDb and subsequently TRAKT (sorry, I had no artwork) which brought to my attention what a Herculean endeavour this series must have been to perform, produce and broadcast. There were 56 episodes in this first series, all done in 2016, and broadcast, every week, sometimes twice a week and once with three unique episodes in a single week! Compare that to British series that have 4 to 10 episodes a year, or American network series that have 24 episodes. It must have been a completely exhausting (which might explain my next statement). There is a rumour of a second season coming out in 2018 (November) which would be welcomed by it's fans as the 56th episode very much layed the groundwork for new directions and some resolutions (we hope). Let's hope Amazon Prime carries it! I give the series a 7 (good) out of 10, and look forward to more ANNA-DETEKTIV, even if it takes a week to binge, as it did for Season One. [Mystery Romance Spiritualism]
It appears that this movie is either quite hated or quite liked. I guess it is not that surprising though given that it is based on a video game with a very strong following so if the movie is deviating from canon, and I understand that it does, it will not matter how good or bad a movie is.
Well, I have never played the game so I am not burdened with Monster Hunter canon so I have to say that I very much liked this movie. It does not really hurt that I quite like Milla Jovovich as well of course. Ron Perlman is also a favourite of mine and I really wish that he would have been in more of the movie. As it was he was only present briefly at the beginning and then a little bit at the end.
Anyway, this is a fantasy, action movie of my liking. Clash of cultures, huge monsters and lots and lots of shooting, slicing, kicking and stabbing action. The story is rather simple but not really bad at all. The ships navigating the sand was a bit weird and those huge weapons they were dragging around a bit silly but then those are part of the canon.
At first I got a bit annoyed by Artemis and Hunter starting to fight each other and thought, oh no, not another one of those silly, illogical stories again, but that sorted itself out rather quickly. And the bait jokes were rather funny actually.
The CGI and the monsters were great, as far as I am concerned. When I first saw the diablos I thought that they had kind of copied the sandworms from Dune but when they, or it rather since we only got to see one actually emerge, it was quite different.
The part where Artemis is thrown back to Earth and followed by the big fire breathing beastie is probably not liked at all by the fans of the video games since it is probably not very canon but I definitely liked it. I whish they would have done a bit more surprise, what the f… and mayhem scenes there actually.
The ending didn’t really leave that much of a conclusion but, unlike what some people seems to feel, I didn’t think it was a bad ending. It certainly prepared the field for a sequel and I for one really hope one will come.
