Boardwalk Empire Blood and Wine

Boardwalk Empire Blood and Wine

Boardwalk Empire Blood and wine is really nice. From whatever side you look, Boardwalk Empire is an extremely beautiful series. The joint efforts of screenwriters, artists, costume designers and lighting designers have managed to recreate the world of the 1920s in all its dirty luxury. Bohemian parties sinning with excesses, smoky gangster dens, impeccable dandy costumes and other delights of “dry law” create a multidimensional image of the era, where every detail is selected with inhuman care. The quality bar is so high that even some feature films will feel like flawed halflings, trying to reach it on tiptoe.

Nevertheless, one sin behind the “Underground Empire” is still found. The flip side of the coin is that all this stylish splendor sometimes goes to the detriment of the movie story itself. The creators are so carried away by admiring their works that they forget about everything else. While they open their mouths and poke their fingers with smug admiration at some authentic lady’s hat, savoring the gracefulness of its folds, the plot winds around them in circles and frantically waving their hands, trying to attract attention. “Hey, what the hell am I ?!” He shouts, like a ghost that no one has seen.

Also Read: Coming Out in True Blood 



This leisurely enjoyment of the local flavor translates into very strange things from a narrative point of view. So, for example, a weighty chunk of screen time is allotted; to the struggle for the educational program of life safety. Guarding Pregnant Women was such a subject at school. No, this, of course, is very instructive … However, no, not a damn it is not instructive. To be honest, this is monstrously boring and irrelevant. If rope and soap were stored in public places behind glass with the inscription “Break in case of unbearable sadness”, then this stub would serve as the best reason for this kind of action. Hey, writers! Where are the rivers of blood, where are the merciless showdowns; where are the unthinkable abominations of characters, where, after all, is hell on earth? Any kind of movement? ..

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Coming Out in True Blood

Coming Out in True Blood

Coming out in True blood is a unique phenomenon in its own way. Another story about the love sufferings of the Heroine and the immortal Hero could cause an ordinary viewer only a fit of irritation, if not for the virtuoso ability of the creators of the series to deftly mix badly combined components in one glass. This is not to say that over the past five seasons, Alan Ball has never changed his sense of taste – television gourmets have repeatedly noted the imbalance of genre ingredients, but even they had to admit that the final result is still an outlandish cocktail, and not a hodgepodge.

We do not recommend drinking this cocktail in one gulp, because then you will not taste the sugary sweetness of “Twilight“, the obvious bitterness of “From Dusk Till Dawn” and the main theme is the cheap whiskey of American life with its heap of social problems. And let vampires live on the rights of sexual minorities in the god-fearing Bon-Tam; in this situation, even a viewer; who is alien to the author’s metaphors receives a series of sketches never seen before: “vampires in politics”; “vampires and xenophobia”, “vampires and a damn waitress with telepathic abilities “. Okay, we have already seen the latter, well; so we wish this topic to find its natural ending at the bottom of the Louisiana swamps.

Also Read: Violence in Dexter Series 



All this rich movie material has been consumed over five seasons in varying degrees of quality, directly dependent on the correct proportion of the mentioned components. Plans for the future were not long in coming. Shake but not mix? Alan Ball shrugged, so HBO turned to another bartender, Mark Hadith, for help.

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Violence in Dexter Series

Violence in Dexter Series

In addition to violence in Dexter Series against familiar themes, the season was marked by a couple of three shotguns loaded with blanks. In addition to the mysterious programmer from the previous season, Masuki’s missing daughter and new boss Deb have been added to the company. Completely useless devourers of screen time and objects of fan theories, which are destined to turn into smoke by the end. Again. And that’s not to mention Batista’s sister, who received almost more screen time than the maniac of the season.

The latter loses even to such notorious movie antagonists as Miguel Prado or Travis Marshall. It jumps out under the curtain, has an extremely meager timing and, in general, is just a tool for creating drama out of nothing.

With the distribution of this very time, this time it came out quite full of seams. The standard situation of every second episode: absolutely measured narration without plot revelations and depictions of everyday life in Miami, and then a quick cut that turns everything upside down. To reduce the streak so openly to the last two or three minutes – you need to have a special talent. The same can be say about the finale. You know you endured this whole season for the last ten minutes.

Also Read: Whitechapel TV Series 


Season 8 eases the reviewer’s conscience considerably. The flaws scattered around the corners of the series were finally collect in one place; and brought to a certain degree of absurdity. The seasonal maniac has been relegate to hell out of a snuffbox; minor lines to a miserable makeweight, Dexter’s story to cheap moralizing.

We will hang these photos in front of Dexter. Here they are – your victims. There will be no farewell speech and no enumeration of merits, the moral of this fable is already know. It’s time to plunge a knife into the heart and send the series to the bottom. In parts. And tie the heaviest load to the eighth.

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Whitechapel TV Series

Whitechapel TV Series

The area that Jack made famous in Whitechapel TV Series. Any enthusiast is treated with a fair amount of suspicion if he tries to build a name for himself, deftly climbing onto the shoulders of more successful predecessors. Attempts to speculate on the classics in every possible way usually lead to nothing good. The end product is likely to be secondary and is unlikely to be able to seriously interest anyone. A talented transformer is another matter. And it’s really good when a gifted beginner makes a head start from the broad shoulders of the classics, remaining with his creative thought, imagination and brains.

Among these clever girls were Ripper Street, which started last year, and its senior friend, Whitechapel. That very classic – the chewed up and down the length and breadth of the story of Jack the Ripper – is nothing more than an excuse to successfully start a completely different story. And she will touch the most famous serial killer, except for a glimpse.

But the idea that the movie author of the letter “From Hell” opened the gates there straight from Whitechapel makes sense. From this point of view, the fourth “volume” of the detective is the most entertaining: the plot, having played with various variations on the theme of killing among the population, fearlessly rushes on a witch hunt and plays with the devil, giving a touch of quite tangible mysticism to the especially down-to-earth atmosphere of the series.

Also Read: Family Layout in Ad Astra 



The status of a British detective makes special demands. Noblesse oblige, as they say. But that’s the beauty of it: Whitechapel doesn’t have to resort to clever tricks to get the viewer interested. The plot and without them copes with the task brilliantly, being an excellent example of an English detective thriller.

Gray streets, disgusting weather, atmospheric melodies, scenes filled with suspense and characters so well constructed that any perfectionist would envy. The same goes for the main cast, led by Rupert Penry-Jones and Phil Davis: a well-curated collection of characters based on the traditional storytelling engine of inner conflict. And the mechanism works so harmoniously that thoughts of perpetuum mobile come to mind more than once.

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Family Layout in Ad Astra

Family Layout in Ad Astra

The family layout in Ad Astra of “To the Stars” is more reminiscent of another Christopher Nolan film – “Inception” with its Fishers. And this does not exhaust the parallels – in addition to associations, which are still subjective, there is an objective filming and group fact: the novelty was filmed by Nolan’s director of photography Hoyte van Hoytem. Therefore, the visual range is in complete order: the film does not lag behind other modern science fiction, it works well with camera angles and close-ups.

However, director James Gray thought it was not enough to be no worse than others – he set out to shoot the most realistic cinematic image of space travel and described “To the Stars” as a mix of “2001: A Space Odyssey” and “Apocalypse Now.” Alas, he is still not Stanley Kubrick or Francis Ford Coppola, and the film lacks inclusiveness. “To the Stars” is a family drama movie of cosmic proportions, but its layouts and themes are not universal. For example, the final conclusion may cause rejection; the film says that it is important to look not only upwards, but also around the sides; but it presents it as if “upward” is generally from the evil one.

Also Read: Reminiscence Film Is a Debut 



Perhaps the sagging finale, like the director’s ambitious statements; is associate with the difficult process of attaching the project to some studio (which took more than one year); and bringing it to wide distribution (the first test screenings were unsuccessful, reshoots were require; which increase the budget from eighty million dollars to more than a hundred). It seems like even at the stage of the development of the film; its ending was tailored to the requirements of the producers. In general, it often looks like a small arthouse, bloated to a blockbuster. And no wonder: if space art houses are not inflated; then it turns out, for example, “High Society” – a film, maybe a good one, but who saw it?

If we take an example from Gray and describe his brainchild through other films, then in addition to the anti-Interstellar with notes of Inception and the reboot Star Trek, it resembles Gravity, Solaris and, oddly enough, Through the Horizon … Yes, there are suspense moments on the verge of horror here. Plus a dynamic action game with gunfights and stunts. And also a constant countdown (before takeoffs, before the explosion) and completely unscientific-fiction episodes such as flying with a shield.

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Reminiscence Film Is a Debut

Reminiscence Film Is a Debut

Please note that this Reminiscence film is a debut directorial work of Lisa Joy, who, together with her husband Jonathan Nolan, wrote the script for Westworld. More than a weighty item in the portfolio: Joy knows how to lure into complex Universes and knows how to make the viewer forget about plot flaws, immersing him in the realities of a brave new world. In the case of Memories, this movie effect of forgiveness breaks off immediately after the end of the opening act.

It would all work if it were not for the protagonist, chewing snot with and without reason. Nick’s tragedy feels overweight and far-fetched. Blinded now by love, now by the thirst for revenge, now by a heightened sense of justice, he wanders around post-apocalyptic America as in a song about a fool who “walks through the forest, looking more stupid than himself.”

Also Read: Evil in Reminiscence Movie 


It reminds me of watching old slashers, when my gut boils over from the question: “Why are you rushing there?” And the point is not zero motivation or logical miscalculations; but the fact that imitating the tart image of a noir hero on serious cabbage soup is a difficult task. Especially in the context of science fiction with a claim to depth and grandiloquent statements about the “past, which is better not to look into.” Kitsch is kitsch because, without proper presentation, it turns from a cool narrative device into an unconvincing theatrical circle.

With cool camera work on board, with a heartfelt soundtrack in a holster; and an attractive setting in a pocket, the film manages to somehow stay afloat. But only as a tape suitable for one-time visual meditation. With an eye on the picture “like in Blade Runner 2049”, but without regard to its content. Up to a worthy neo-noir, capable of combining and rethinking, “Memories” crawl and crawl. But it was shot beautifully, and for those who like to stick to something unjustifiably viscous, it is quite suitable.

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Evil in Reminiscence Movie

Evil in Reminiscence Movie

Remember no evil in Reminiscence Movie. What is it – “Beginning” at minimum salaries? The misadventures of Max Payne, who went over so much that the hangover had to be met in the era of the victorious cyberpunk? Sometimes the answer to a riddle is so simple that we simply don’t notice it. “Memories” is a futuristic quasinoire that, like a downtrodden schoolboy, wants to be like a cool classmate in a leather jacket with the words “Aria”, but godlessly stutters on the very first lines of “Careless Angel”.

Cynical off-screen movie monologues, a rumpled coat with a raised collar, a glass of whiskey that rubs against the three-day stubble of the protagonist, deceived by a femme fatale, so also in the scenery of the near future, where people have learned to penetrate someone else’s memory. Black film styling with an emphasis on supposedly hard science fiction goes smoothly. True, with a terrible bending of the stick on the first point.

Also Read: New Round of Doctor Who 



Chewing on cimes: classic black and white film noir, crafted by the crazy little hands of Billy Wilder, Howard Hawks and Carol Reed, are rooted in second-rate pulp fiction. In a cheap “palp” at the price of fifteen cents a book; in which the logic of the narrative and the weaving of intrigue often gives way to bold descriptions of the men in felt hats, with revolvers in their bosoms; cigarettes in their teeth and March cats scratching their wounded souls. Noir is texture and biting. Outstanding noir (including the one with the prefix “neo”) is the sum of the two previous points; multiplied by a folding story without losses in terms of brutality.

From this seemingly three times outdated genre construction, an interesting hybrid cinema can be concocted. We take a typical popular avenger of the middle of the last century; and throw it into the alternative America of the 80s, where Nixon still rules; and the mummers of superheroes are outlawed; here is Alan Moore’s “Guardians”.

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New Round of Doctor Who

New Round of Doctor Who

In new round of Doctor Who there was such a chance! “Doctor Who” was shown in cinemas – it was an excellent reason to write a review of it like a real film, and thereby attract the attention of the general public to the series. Alas, this idea crumbled to dust in the very first minutes of viewing: this is not Serenity for you, perfect for both Firefly fans and new viewers. Honestly fulfilling its duty as a jubilee holiday in honor of the 50th anniversary of the cult fantastic epic, “Doctor’s Day” turned out to be one of the most powerful concentrates of fan service that illuminated large screens with their presence. The film is flawed, unable to exist on its own.

Also Read: Sherlock Visual Series 

But at the same time delightful, fucking and, perhaps, even a bit brilliant.

Let’s start with a simple one: the authors of the series; when they were allow to play with 3D once, did something that most filmmakers; who have long been accustom to such “innovations” have never dreamed of: they were inspire by this opportunity. Of course, it is used here for the usual purposes, such as giving depth to the picture or poking objects into the camera; but its main function is still different. The whole movie plot of “Doctor’s Day” revolves around three-dimensional paintings that look great in 2D; but in 3D they leave an indelible impression.

True, you shouldn’t expect any blockbuster level of performance from the film; there are several short CG-scenes of futuristic battles, breathtaking at a time; but most of the time there is no question of Scale and Epicity; the adventure, despite the anniversary, turned out to be extremely personal and almost chamber. A war that has swept the entire universe, you say? Fi! In fact, the fate of the universe is decide not on the battlefield; but in a lonely barn around the Big Red Button and in an unlocked tower dungeon; where three Doctors were throw at once.

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Sherlock Visual Series

Sherlock Visual Series

As for the localization of the Sherlock visual series, here the employees of Channel One did a great job and corrected the annoying discrepancies with the original, which were expressed in the complete absence of additional (pretty) background pictures.

In general, an absolutely fantastic season in terms of soulfulness and disclosure of characters can both please and leave the audience to cherish a wild disappointment. Desperate Holmes, shooting at people, is absolutely not comme il faut and not what everyone was waiting for.

Also Read: Game of Thrones Series 


The east wind is coming …

The viewer waited for the third movie season, thoroughly worn out. Excited by the abundance of survivor theories, fans never expected what they saw. Nobody presented them with a delicious apple on a silver plate. Instead of a sweet pill, a scalpel was again passed through the spectators’ brains. As a result, the question of which, after all, the option of salvation from the damn dozen was true, everyone still decides for himself. Well, or trying to piece together a puzzle scattered in the episodes, splitting the series into pixels. And everyone in their hearts hopes; that the evil troll Moffat will take pity and show the answer in the fourth season.

The scalpel cut hurts and haunts. The spectator grumbles. Discontent is mainly caused by the fact that the main intrigue has not been solved, the detective is not enough, but there is a lot of humor. Oh yes, even the obstinate McGuigan did not deign to put his hand to the creation of the third chapter. But, oh god, if anyone hopes that Moffat and Gatiss are going to somehow make excuses … truly, the viewer knows nothing about the creators of the series. Fortunately, the disgruntled grumbling does not prevent the viewer from becoming like Greg Lestrade and, wailing, “Bastard!”

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Game of Thrones Series

Game of Thrones Series

The luckiest of all this Game of Thrones Series season, perhaps, were Tyrion, Sansa and Petyr, Brienne and Jon Snow. Slightly less – Daenerys and her retinue, the entourage of Stannis Baratheon, Arie with the Dog and everyone else. Of the deceased, what can I say, it would be strange to use the word “lucky” in relation to them. But the luck of all the above heroes is not in what exactly happened to them. This is a kind of rating of the storylines of the characters in whose fates the most significant changes have taken place during the new ten movie episodes. For many characters (and viewers, of course) these changes are usually presented in the form of shock therapy, but for Thrones this is the norm. It is difficult to get used to it, and it is not necessary. Just enjoy it.

Also Read: The Utopia Second Season 


The epic nature of what is happening from series to series and from season to season is constantly growing. A striking evidence of this is, undoubtedly, the battle on the Wall. Well, and to a lesser extent, a demonstration of grown dragon. Otherwise, it is difficult to note something fundamentally new without going deep into the plot. Perhaps, among the memorable is the rebirth of the outspoken bastard Jaime Lannister into a relatively positive hero. For ennobling his image, let’s say thanks to Brienne Tart. And Sansa Stark finally got out of the “shell”. Well, Tyrion was incredibly pleased with the emotional monologues at the trial and in the dungeon and the scenes of retribution in the final episode. Few were sick for half-husbands, seeing how he administers his personal justice with his own hands. Ave, Tyrion!

As for everything else … the series continues to hold the benchmark for any other fantasy cycle on screens large and small. This is something that many and many creative teams will have to be equal to if they want their future creations to be perceived by the public at least somewhat seriously. “Game of Thrones” has taken its own Iron Throne, from where it will come down oh how soon. Westeros is destined to hold the minds and hearts of the audience for a very long time, especially since the most terrible, exciting and beautiful pages of his history are still to be read by all of us.

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The Utopia Second Season

The Utopia Second Season

The Utopia second season even if at first it seems like an unnecessary turn into the past, is objectively necessary in order to put everything in its place in this extremely confusing story. Instead of a long confession monologue, we are offered a rich picture, so as not to get bored. And you won’t have to complain about the lack of progress in the main plot. The second chapter of “Utopia” is as crazy as the first, and somewhere, even in its luxurious madness, it spits. Still, the characters wear pistols and all sorts of piercing and cutting objects here not for beauty.

A peculiar humor of the British is to call a purely dystopian thing a utopia, where even a riot of colors inspires alarm and hits the nerves. There are a lot of examples: a killer’s kit is kept in a funny yellow lacquer bag; across a frenzied green field under an azure blue sky, the fugitives flee from the assassins; on the cozy wallpaper in a cheerful flower, a scarlet fan of the bloody spray of the next victim spills out. You can continue indefinitely. The contrast is so striking that it only once again convinces that the sun blissfully shining over the heads of the heroes does not guarantee a cloudless ending, not only of the whole story, but even of the current scene.

Also Read: Memento Mori in The Knick 



“Utopia” is an absolutely mind-blowing thing. Yes, in general, any project intending to debate the advisability of crossing the framework of universal human morality is deliberately provocative. And the local movie plot is no exception. Children shot, horrible experiments, torture and genocide. All for the sake of Utopia, for the sake of a wonderful future. Kill some so that others live, and stop at nothing.

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Memento Mori in The Knick

Memento Mori in The Knick

Memento mori in The Knick shows the life of outstanding people is rarely like a honey cake. Especially if in the area where they work, there is a violent shortage of, shall we say, everything. Medicine at the beginning of the 20th century is a vivid proof of the fact that innovators in its field have never seen honey cakes. Much more often their companions were such “sweets” that most likely could weaken the stranglehold of enduring challenges that death itself threw them every day.

True, it is unlikely that Soderbergh worked on the series with the intention of heroizing Dr. Thackery. After all, he was not the only one who had to fight for the lives of patients and the future of science. His teacher could not cope with this load and after another failed operation he put a bullet in his temple. Who knows, maybe his student would have done the same at the end of the tenth episode, but only Cinemax gave the go-ahead for the filming of the sequel, and therefore the suicide is postponed. The cocaine doctor, who was harassing himself and everyone around, was pacified and sent to rest until the next season.

Also Read: Woman in Peaky Blinder 



But apart from this character, “Knickerbocker” has enough interesting and original movie characters. Fortunately, the season finale leaves the doors open for almost everyone: from the sophisticated philanthropist Lady Robertson; to the colorful cynic Thomas Cleary. And the fate of the hospital itself was on the threshold; beyond which the mutual decision of its sponsors is able to shift the narrative process to new locations and circumstances. After all, time passes, everything changes.

By the way, about the time. His spirit is closely followed not only by harmoniously selected interiors and hand-sewn suits. The presence of Algernon Edwards in the team of surgeons colorfully depicts the then public mores. Survived not only hospitals, completely dependent on the mood of benefactors with tight wallets; not only doctors who struggled over the riddles of human ailments; former slaves also stood at the origins of the struggle.

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Woman in Peaky Blinder

Woman in Peaky Blinder

The beautiful woman in Peaky Blinder. She is the very “minute” before and after which nothing matters. She is a woman who keeps a secret. By a cruel irony of fate, far from faith, pragmatic Thomas, one hundred percent justifying the biblical version of his name, fell in love with the one whose name means “Blessing of God”, “Salvation of the soul.” She is not an angel, she is the one who found him. She knows and understands everything, easily reading his heart. And Shelby, in general, is ready to find mercy, and salvation, and redemption. But this path will be truly long, thorny and bumpy for both. These are the laws of life and a merciless scenario.

Also Read: The Grantchester Series Plot 


The Tribute

Birmingham Stephen Knight, paying tribute to family history, highlighted those years in the life of the country, which were simply lost in the turmoil between the two world wars. He clothed them in flesh and blood, provided them with elaborate dialogue and gave us a new genre of British gangster drama. In the conditions of more than modest budgets, “Visors” more than manage with the talent of the creators and the skill of the actors. Diverse, multifaceted characters, vivid types, strong personalities, real living people. Everything is alive around: Birmingham, molded from the earth and steel, gilded London, mercury river waters, pale sun and gray skies. And the story itself, like a living person, subtly and without contradictions combines light and dark, cruelty and romance, hatred and compassion, brutality and aching lyricism.

The third movie season is a done deal. The stakes inevitably rise – Churchill himself comes into play, there is not so much left before the Second World War. This means that Tommy still has years of battles ahead: for his family, his business, his place in life and for the very love that ultimately conquers everything. Even separation, even death, even war. So much so that the damned will never dare to scratch into his soul again.

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The Grantchester Series Plot

The Grantchester Series Plot

The Grantchester Series plot is not at all about murders, and it does not put the crime story at the forefront. The lives of the protagonists and the investigations are so closely intertwined that one cannot call the series an ordinary police drama. Usually, any crime committed has one way or another to do with the fate and life of Sydney. Maybe that’s why guesswork dawns on him wherever they please. Without any unnecessary oversight, forty-five minutes of the episode is enough to solve the case. The drama here often takes the initiative, but does not turn the plot into a dark illustration of post-war adversity. A person’s struggle with difficulties calls to appreciate the ability to go beyond suffering in order to start living anew, with a light heart and a pure soul.

Also Read: Narrative in Remember Me 

The Features

A distinctive feature of the series, among others, is the benevolence of the movie character surrounding the protagonist. Among them there are unpleasant natures, but even their sharp corners are smoothed out so that they do not cause painful irritation, every time they appear on the screen. Geordie Keating is a rude atheist, but a sincere, loyal friend and a pro in his field. The housekeeper Mrs. Em is a completely charming in her grumpy lady, who looks after Sidney like a second mother; while he enters the “murky waters” of forensic science. The clumsy priest Leonard Finch is kindness and spontaneity itself; and sweet and gentle Amanda is the love and tragedy of Vicar Chambers’ life. One way or another; but all these people, delighting or upsetting, help Sydney to gradually move away from himself the shadow of the war, exhausting him with insomnia and heavy memories.

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Narrative in Remember Me

Narrative in Remember Me

A viscous narrative in Remember Me sets the rhythm of the whole story, urging you to believe in what is happening and accept it. The presence of a rationally-minded detective; as it turned out, does not at all indicate that some maniac lurked under the guise of a ghost. Reviving photographs, an eternally ten-year-old man, myriads of seashells emerging from nowhere; and the ubiquitous sea water are the evil will of the deceased, and not a dramatization of an insidious killer. This means that they will not be looking for traces of DNA; not for fingerprints, and not for the murder weapon.

Also Read: Beasts in Our Zoo 



Such a difficult task fell on people who seemed to be completely inappropriate: a girl left without childhood with a dissolute mother and a prankster brother in her arms and a broken-hearted detective deprived of career prospects. And you know, for such a mournful set, they are very good at it. Despite the ongoing devilry and frankly losing nerves, they bring an almost hopeless mission to a happy end. Of course, none of the police protocols will record their success; which means that Robert Fairholm will never see a promotion. But this is unlikely to upset him that much …

“Remember me” does not try to scare you, confuse, sit you on the edge of the sofa, forcing you to bite your nails in movie anticipation of the denouement, he does not try to put pressure on your lacrimal glands, demanding sympathy for the heroes. No, he calls to plunge headlong into the atmosphere of eerie beauty; and light sadness, gently humming in your ear the seemingly completely harmless Scarborough Fair. Only after watching, get ready for some time involuntarily shivering at the sound of water dripping from the tap and be suspicious of the fine-looking old people who declare that they are only eighty and a little …

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Beasts in Our Zoo

Beasts in Our Zoo

People and beasts in Our Zoo series. The British have an amazing ability to create TV shows that are almost completely devoid of dynamism, but at the same time filled to the brim with life, events and emotions that make you expect a denouement in suspense, even if you know for sure how the matter will end. The story of the Chester Zoo and the Mottershead family is one of those – from TV series based on real events.

Not all battles take place on the battlefields, not all heroes receive orders and medals for their exploits, and not every enemy necessarily holds a rifle in his hands. In 1930, George Mottershead, a World War I veteran suffering from PTSD, the consequences of severe injury and a lack of prospects in life, decided on a new battle, to fight his own destiny. He is broken, practically trampled by hopelessness, but he is alive, and this is enough to start the difficult path to finding himself. Probably, at some moments it is just necessary to reach the bottom in order to push off, to grab luck by the tail, having suffered your dream like a beloved child …

Also Read: Truth in Quirke Series



So, step by step, the main movie character and his whole family go through a long and difficult path of rebirth from the post-war ashes. There are still many trials ahead, but for strong people and fighters by nature, this is not a reason to give up. After the war, faced with hitherto unknown hardships and problems, what does a person do so as not to go completely insane and not become cattle? Someone drinks, someone opens a pub to drink others, someone writes a book where he exposes the command and reveals the trench truth, and George Mottershead decides to build a zoo. He understands this at the moment when, having gone to sell the monkey, he buys a camel in addition to it.

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Truth in Quirke Series

Truth in Quirke Series

Autopsy will reveal the truth in Quirke Series. If there is still no such designation as Irish noir in the serial environment, then it would be worth inventing. These are all the same good old crime stories, where decadence and cold fatalism reigned in relation to positively everything. But unlike the classical examples, they are not chained up in deaf urban armor, but glorify the vastness and beauty of nature, indifferent to humanity, seized by the depression of the post-war years. Smelling like cigarette smoke and whiskey, this detective sets as his primary task not so much the punishment of the guilty as the search for truth in an imperfect world. Truths are primarily for the protagonists of the story.

Three hour and a half episodes from the life of the pathologist Quirk named Griffin. Three gloomy, sad stories. Three stories about life, death and hopelessness. Three photographs in retro style, where each of the captured, trying to smile, hides his face in a frozen mask; only the eyes betray pain and disappointment, involuntarily looking for someone who can, at least for a while, give them rest. For women it is Quirk, for Quirk it is women. And going against the classic noir, not all of them are as deceitful as they are beautiful. Men lie here more often, masterfully and with rapture.

Also Read: Marco Polo Prominent Characters


The Style

“Quirk” was filmed in a surprisingly old-fashioned style: without light filters, intrusive retouching, slow-mo and any other special effects. From this point of view, the frankly poor picture turns the mini-series into an ode to constructive minimalism. Any lack of visual vignettes is more than compensated for by the abundance of artistic movie technique of the middle of the last century.

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Marco Polo Prominent Characters

Marco Polo Prominent Characters

Surrounded by a riotous motley grasses of Marco Polo prominent characters that are so different from each other, the prisoner-guest does not at all look like a key figure. And there is absolutely nothing wrong with that. Such an alignment of forces on the serial chessboard allows you to root for a whole bunch of personal favorites at once: for each – in its own way.

For some time now, the presence of explicit scenes of sex and violence has been considered for cinema and television products to be almost a guarantee that it will be taken seriously and will not be considered insipid. As a result, such initiatives are not always justified, but the number of applications still does not decrease. “Marco Polo” was no exception, but even if he had lost such “entourage”; the loss would hardly have caused him significant damage. The second half of the series easily proves this; shifting the emphasis from physiology to human drama and the aesthetics of oriental combat scenes.

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One way or another, the movie series is designed not only to delight the audience’s eyes and does not at all intend to stifle us with suspense. He is sincere with his audience, honest, serious and harsh, does not tolerate sentimentality; and unjustified cruelty, trying to follow the truth reflected in the Book of the Diversity of the World; although modern researchers question some of the things described by the Venetian traveler.

It’s like that. Perhaps, somewhere and once, an admirer of Alexander the Great exaggerated, cheated or openly embellished. But is this a reason to deny yourself the pleasure of enjoying the performance; where heroes, immortal for world history, love, take revenge, live; and die under the endless blue sky in a completely human way? The answer is traditionally negative.

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Joker Is Violent

Joker Is Violent

Joker is violent because the very environment in which the protagonist lives, gives rise to this violence. The picture is absolutely not shy about anything and gladly reproaches the viewer that he himself, perhaps, is guilty of the reasons for the protagonist’s madness, albeit indirectly. The film contains a lot of references to “Taxi Driver” by Martin Scorsese, who acted as a producer on the project, and this is no coincidence (and there are also references to “The King of Comedy” – it’s not for nothing that Robert de Niro plays one of the key roles). The image of the Joker rhymes surprisingly accurately with Travis Bickle, the same traumatized man, whose past we do not know much about, but whose present is terrifying and leads to the fact that gradually his sanity leaves him, giving way to all-consuming chaos.

The most interesting thing is the place of humor in the film itself and in the life of the character. Arthur Fleck in the film suffers from a mental illness that causes involuntary fits of hysterical laughter, which loses its usual function, turning into a concentration of all the horror experienced by the hero. It is worth remembering that Phillips became famous for the “Hangover in Vegas” trilogy, in which there was just as much chaos.

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The power of the film is that it transforms many traditionally comedic episodes, turning comedy into a dark satire, mocking the viewer himself, recalling that the funniest gags in stand-up are generated by the most unfunny situations in the lives of those who read them. Here one cannot but recall Freud, who argued that laughter is a means of releasing psychological tension. Is this the sweetest pill for the Joker, then? Yes and no, because it was he who caused Arthur Fleck’s madness.

In short, there is nothing that would have in common the “Joker” with the conditional “Dark Knight” or; God forbid, some “Avengers”, is not here. By the standards of mass cinema, this is practically an art house; a crime drama that is gradually developing into a psychological thriller. Do you think Black Panther is an actual movie? Then “Joker” is Michael Haneke from the world of movie comics. The film, which instead of becoming a saving lagoon; for those who want to get away from the nightmares of real life; in this very nightmare dips his head like into the ocean.

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Techno-Fetishism in Gemini Man

Techno-Fetishism in Gemini Man

Coupled with the concept of techno-fetishism in Gemini Man emanating from the film’s format itself, this thought causes natural paranoia in the viewing process. Maybe in this way the authors wanted us to feel the emotions of the protagonist, who is being hunted by an unknown behind-the-scenes force, haunting him? And so it turns out: throughout the film, the feeling that the movie is slowly capturing the conditional “Skynet”, which shoves more explosions, shooting and special effects, so that the viewer thoughtlessly stares at the screen, dripping saliva and scattering nachos with cheese sauce on the floor, without realizing that behind the abundance of computer crap they sell him a movie designed for a primary school student.

So, you see, we will live to a bright communist future, in which, like in the film “Idiocracy”; an ass hung with computer graphics will be shown on the screen for an hour and a half; like a Christmas tree before the New Year. And do not say that the whole point is that “people are not yet accustomed to such technologies.” “Aquarelle” by Viktor Kosakovsky with its 96 frames per second does not cause such rejection; for it is clear that cinema is made by people and for people.

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The Mix

If we briefly include romance and compare cinema with the process of alchemy, then some individuals still managed to find the Philosopher’s Stone. How much life is in those films! Just remember your first impressions of Andrei Tarkovsky’s Solaris. Or the first time we watched Stanley Kubrick’s A Clockwork Orange. How a new, unexplored passage of time was felt for the first time in the films of Jim Jarmusch. What is there, why go far – how much life is in the last film of Quentin Tarantino. Real gold! Now imagine a film grown in a test tube.

Carefully sculpted by a caring creator with a goal – no, not to give him life or; in extreme cases, to make a profit, but simply to demonstrate that he, this creator; in which case he will be able to stick a million such films. And send the waste copies to the dustbin of history as an obsolete product. So, Gemini is just such a film. A homunculus foreshadowing a apocalypse movie in which living people were supplanted by their 120-frame counterparts raised in nutritious popcorn fields.

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Gemini Man Movie

Gemini Man Movie

Dullness 120 frames per second in Gemini Man Movie. Director Ang Lee is not only a recognized master of cinema, but also a big fan of high technology: he was one of the first to propose using the 3D format to expand the functions of drama in Life of Pi, even before the release of Goodbye Speech! Jean-Luc Godard. And in his previous film “Billy Lynn’s Long Walk at Half-Time in a Football Game,” he first used a frame rate of 120 frames per second, which, in theory, coupled with 4K HD and all the same 3D gave extraordinary clarity of the image.

True, those who saw this film in the format conceived by the director admitted that there is one serious problem in it: such a movie looks extremely unnatural, as if the director removes the very border that separates the shadows on the screen from real life, and they invade it. It’s like watching a documentary, but you know that all these people are only portraying real life. But this seemed not enough to Lee, and he decided to pile a blockbuster based on this technology. What came out under the name “Gemini” really leaves behind a lot of emotions. Basically – some kind of badly conveyed horror.

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Remember how at the dawn of 3D he was spanked to everything that came to hand? Well, Gemini is not that kind of movie. This is a deliberate, ruled-out and cut out of plywood techno experiment, where every three-dimensional drop of water flying into the hall from the screen is sent there at the wave of the director’s baton. The plot of the film describes its essence in its entirety: Will Smith is pursued by his younger twin.

If you have seen at least one action movie with the participation of this actor, then imagine what awaits you: cool shooting, motorcycle rides, fights, harsh faces, well, where is it without a variation of the corporate phrase: “There is no fear”? And of course, the humor that Smith is already 51 years old, as well as his character. Yeah, such a metairony. Everything as you love, as if fresh from the Chamber of Weights and Measures. And also brands of this or that product (soda, for example) regularly flickering in the frame. So that you really are completely sure that you have come to the cinema, and not to admire the advertisement.

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Children of the Sea

Children of the Sea

But “Children of the Sea” is not at all about love (at least, not about which one can talk in the narrow genre framework of melodrama). This film tells the attentive viewer how a wonderful and mysterious life came to Earth from heaven, how the sea endured this life and gave birth to, how all of us – roaming the vastness of our huge planet – are connected by this one fact. And it is especially noteworthy that the calculations of the scientific hypotheses of panspermia and the emergence of life in water are given in a poetic and visually rich form.

Therefore, the heroes of Children of the Sea are not realistic images of ordinary people, like Sinkai’s; they are walking metaphors. This is clearly hinted at by the names of the two central characters in the film: Umi and Sora – in fact, the Sea and the Sky. The function of the figures in the background is different, they are the mouthpiece of the author’s position. It is worth listening to the words of the young scientist Anglad; and much of what is happening on the screen becomes clear.

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The young girl Ruka and her family, which is going through a serious crisis, are most similar to the usual anime movie characters. But also their characters in the course of the development of history become more complicated; as if they go beyond the framework assigned to them by the plot. Because of this circumstance, it is even difficult for them to empathize. But do not think that this is a minus. In a world created by Igarashi’s imagination; where a person can swallow a meteorite teeming with alien life, and a sea creature, dying, spawns a new galaxy; such simple feelings as empathy seem strangely irrelevant.

And of course, to end the conversation about Children of the Sea without a few words about their visual style is a real blasphemy. The film looks both unusual and charming. The grooves on the belly of a whale, the reflections of light on the chitinous shell of a beetle; veins on the petals of flowers and the universe in children’s eyes – all this is clearly seen; but at the same time it seems fragile and unreal. Magic.

Kaijuu no Kodomo Movie

Kaijuu no Kodomo Movie

Sky, sea, girl in Kaijuu no Kodomo Movie. The sea, with its beauty and cruelty, mystery and openness, legendary and practicality, has bewitched people for a long time. Homer imprisoned the cunning Odysseus in boundless waters, like in a dungeon, Ivan Aivazovsky tried countless times to convey the transparency of surging waves, and Jacques-Yves Cousteau spent his long life trying to touch the secrets of the ocean. So why are we land dwellers so intrigued by its opposite? Perhaps because it was there that earthly life originated?

Japanese mangaka Daisuke Igarashi became one of those who fell under the influence of sea magic. As an artist and writer, he saw the fragile beauty of the expanses of water and their many inhabitants, and as a researcher and philosopher, he perceived the ocean as the cradle of life. These two sometimes contradictory positions of the author led to the birth of “Children of the Sea” – a surreal parable about the connection of all things.

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The Decision

A dozen years later, the creation of Igarashi decided to turn it into a full-length animated movie, which naturally caused anxiety among fans of the original. Will it be possible to preserve the subtle and intricate plot canvas when transferring to the big screen; without distorting the main message of the story? The manga’s unusual visual style also caused additional difficulties, which perfectly complemented the metaphorical narrative.

Surprisingly, director Ayumi Watanabe’s team coped with all these challenges with dignity. Thanks to their diligent work, Children of the Sea have retained their essence, that is, they have remained an ornate parable filled to the brim with allusions to scientific theories and mythology of peoples living near the ocean. Alas, it is precisely this non-standard and complexity that can scare away some of the potential viewers from the film; who are waiting for something like the late works of Makoto Shinkai; beautiful and soulful stories about ordinary people and their extraordinary love.

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Greener Grass Movie

Greener Grass Movie

In Greener Grass Movie Vanilla Franz Kafka might look like that – especially if he played football with Lewis Carroll. The film is absurd, unless they turn into cockroaches and not even into pigs.

However, without cockroaches business is not complete – but purely metaphorical. The plastic-pastel suburb is full of envy, rivalry, blindness and obsession. And the tone of the story is set not by the writers, but by the composer – Giuseppe Verdi with his chorus of Jewish slaves (Va, pensiero) from the opera Nabucco, sounding in the very first frames and hinting at a female confrontation. Such use of classical music is a direct trend of modern thrillers, remember at least “I’m going to look for” with the Ninth Symphony of Ludwig van Beethoven.

By the way, Beethoven also appeared in Greener than the Grass: one of the heroines compares the little boy with him and with Moby. Alas, unlike “I’m Going to Search,” the thriller component is rather weak here – first of all, the film is a surrealistic satire and psychological drama about the price of an idyll, about suffering naivety and about a feast on the bones.

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How much is heavenly life today? For starters, the movie heroes pay for their perfect smiles with permanent braces, which they wear as adults. When this is not enough, they simply take someone else’s. And if the one from whom they take away does not fight back, then he is himself an evil Buratina; even in the store there is a warning: “We do not bear responsibility for lost or stolen lives.”

The film grew out of the 2015 short of the same name. Former director Paul Briganti was asked to go out – screenwriters; and performers of the main roles Jocelyn Deboer and Dawn Lubbe themselves sat in the director’s chair; safely dividing it and making a worthy debut in full meter. A six-fold increase in timing; and an n-fold increase in the budget went to the idea for the benefit: from a sketch; it turned into a full-fledged story (albeit slightly sagging at the end); and acquired the desired visual – colorful, smoothed and artificial.

The localizers did not disappoint either – the dubbing is very good, it is comedic, but does not leave a feeling of excessiveness and awkwardness.

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Mozart in the Jungle Series

Mozart in the Jungle Series

Could you play a nocturne in Mozart in the Jungle Series? Perhaps the story of classical music, a symphony orchestra, a young oboist, an eccentric conductor would not have had a chance of success with the general public, if not for the sauce under which it is served. And sex with drugs here, in general, has nothing to do with it: representatives of bohemia – including the musical one – are not much different from ordinary people with all their advantages and disadvantages. No, it is rather a matter of humor and the ease with which even the most difficult situations are revealed in Mozart.

Probably, the creators of the series were greatly help by the literary base; the memoirs on which the series is base were write by an expert in their field, the former oboist Blair Tyndall; who knows the laws of the symphonic jungle from the inside. She already knows all the twists and turns, all the undercover fuss; all the intrigues and passions that play out in the backstage, mysterious for an ordinary spectator-listener. That is why the story told does not soar like the spirit of Mozart over everything that happens in the life of the main characters. On the contrary, the characters and their fates are firmly imprinted into the existing reality; and very organically reveal all its subtleties.

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In addition to little-known personalities, Gael Garcia Bernal, Malcolm McDowell and Saffron Burroughs appeared in the movie cast. Not that it saved the show, be it completely unwatchable, but in this case, everything worked out well. Bernal, in the role of the obsessed maestro Rodrigo, sets the right pace; the mood remains elevated from his slight madness, saving the narrative from excessive dramatization; even when the heroes face difficult dilemmas. McDowell fit perfectly into the image of a grumpy youthful old man; and Cynthia performed by Burroughs easily confirms that cellists are power, and in its most diverse manifestations.

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