‘The Last Airbender’: Still a Catastrophe 13 Years Later
It is as bad as your remember, and you are fortunate if you've never watched it. Keep it that way!

Three is the fucking magic number for these delicious Euro twinks. If you get into threeways and double anal then you don't want to miss these hot bareback scenes from Staxus!
It is as bad as your remember, and you are fortunate if you've never watched it. Keep it that way!
Monster's plot is built around Steve Harmon's false accessory to felony murder accusation, and the anxiety and desperation experienced by him during incarceration and the corresponding trial.
It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.
Making Apes begins by looking back at the history of makeup effects in Hollywood, which was revolutionized by Jack Pierce, the person behind Frankenstein (1931) and The Wolf Man (1941)
If you were to watch it on streaming when you have nothing to do, it’s still probably a giant waste of time, but you could do far worse. Paying $18 for a movie ticket and who knows how much for concessions turns this from an exercise in boredom to an exercise in frustration.
From its visually stunning opening credits, which show women dancing through a forest to musical rhythms that sound almost primal, to its quiet, heartbreaking final frame, Mona Fastvold’s historical rendering of the Shaker religious movement is an experience that will stay with me for a long time.