It’s 1919. The war is raging in Latvia and bodies pile high. A young rifleman’s (Thomas, 30) cold body is placed on a floor inside a mysterious sculptors' studio. Thomas wakes up with his head locked inside a cast and tries to find a way out from the dark room, but soon enough realizes that he is not the only one, who has woken up. The Ghost mother, a pagan goddess of death, tries to pull the young man into the afterlife. Meanwhile, the sculptor places Thomas’s death mask next to the others.
Disguised as a cosmic highway horror, Alexander Ullom’s It Ends is a beautiful, albeit terrifying, metaphor for learning that if you want to survive adulthood and become your own person, you have to learn to let people go.
Being made after the death of Chadwick Boseman will be a hard but exciting ride for this Marvel entry.
These confines won’t really encourage you to read the film as a metaphor for the nerve-inducing experience we’ve all been through over the last year, however — and in the interest of maintaining your dignity, you probably shouldn’t. While the sociopolitical commentary may have worked for the similarly-themed Buried (2010), in which we find Ryan Reynolds on his own buried alive in the Middle East, but this futuristic take on the premise is best left as a piece of distracting entertainment. Nevertheless, the atmosphere is no less suffocating, literally and dramatically.
Supergirl is a decent movie, anchored by great action scenes and a great lead performance
Rather than focusing on the bleak, cynical aspects of life post-pandemic, the focus is optimistic and hopeful.
A lonely little Hawaiian girl and her mischievous blue alien friend form a bond that heals both of their hearts, as well as ours. This live action version adds emotional nuances—notably in the sisters’ dynamic—while preserving the charm of the original.
