Űrpiknik / Garbage Theory is a dramedy webbed through with the elements of sci-fi, which tells the story of one night spent by an alien lacking self-appreciation and a troubled university student in Budapest. Panna is a lonely university student who is incapable of forming human relationships, until Boy, the self-loathing alien arrives due to her signals sent to space. Boy tells Panna that the planet is doomed and he is only interested in saving his one admired artist, Sarolta Zalatnay. The two strangers form a unit, Panna helps Boy to fulfill his plan, and the alien takes her to the unknown planet in return. Panna and Boy meet unusual characters and extraordinary situations during the adventure lasting a night, which open up the world in front of them; Panna learns to form bonds and Boy finds home in the universe: on planet Earth.
After two months of refusing to see this movie, I have decided that it’s finally Morbin’ time. After its re-release as a box office bomb; I watched it just to laugh at it. But, I was also surprised, because 'Morbius' is a queer allegory.
Miles Morales learns to be his own hero as he takes on the well loved mantle of Spider-Man in a multiverse of Spider-People.
The horror franchise that had moviegoers watching behind their fingers but on the edge of their seats. The Conjuring quartet released its final installment this year, and it did not disappoint.
Treated like a granter of wishes for those earning out of retelling the same tragedy, Marilyn looks like she's caged in different stages of trauma for us to stare at, instead of someone we’ve finally allowed to rest in peace.
What seems like such a simple story of survival is so much more than that—it’s a story of family, and of war, and of destruction. It’s painful to watch, but not in a bad way. It makes its audience reflect on their own actions, and in how they are complicit in the sufferings of others as the adults in this film are. Grave of the Fireflies does not hold back from being heartbreaking, and it shouldn’t. It tells a message that needs to be heard decades after the war, and a story that cannot be forgotten by history.
In Paul Feig’s newest comedy, Last Christmas, Katarina (Emilia Clarke) didn’t give a heart, she got a heart, you see.
