Fedya is 20 years old. He works as a projectionist in a provincial cinema called "Rodina" (Motherland), and tries in vain to pull in spectators. When the local authorities decide to transform the "Rodina" into a shop, there is only one way out: to make a successful film and thus rescue the cinema! But what is required to get a good box office? Of course, a star! Desperate times demand desperate measures, so the children kidnap a celebrity from a passing train. And this is not just any star, but Dmitri Diuzhev! Well, maybe he does not exactly burn with the desire to be filmed here, but it doesn't matter as long as they have enough ropes, gags and sleeping tablets. Then here is a desperate producer who has just been demobbed, a philosophizing wedding photographer and the karate-practicing actress Zhenya, with whom Fedya is secretly in love.
Earth and Blood is slow, but it still has it’s entertaining moments. If you’re into thrillers, or want to watch something new, then this film might be for you. As for me, Earth and Blood was tolerable enough.
Dracula evolved from a person to a monster and then from a monster to a person.
"The Platform" is horror and science fiction film doubling as a visual commentary on capitalism and economic inequality. The movie is not for the faint of heart nor the viewer hoping for political neutrality in their film's depth.
In the film adaptation, director Jon M. Chu turns each musical number into a massive show stopper, with grand set pieces and a wealth of diverse dancers. Yet, in this attempt to show reverence for the people of the Washington Heights barrio, Chu, or maybe more specifically those in charge of casting, left out a crucial part of the community, Afro-Latinos.
Emily Henry’s adaptation reaches romance movie standards, but not romance reader standards.
