I Wouldn't Recommend "The Last House" If It Was The Last Movie On Earth
The film is bogged down with one-off rain monster threats that always come to a quick and undramatic end

The film tells the story of the relationship between a police officer fighting crime syndicates and a model. Reyhan, who works as a model, is in a relationship with Selçuk, a photographer. The couple is planning to get married. Meanwhile, Selçuk is arrested as a suspect in a murder case. Reyhan joins the investigation led by homicide chief Yılmaz to clear Selçuk's name. As the investigation progresses, it becomes clear that a prostitution and drug gang is behind the murder. Meanwhile, some truths about Selçuk also come to light during the investigation. A closeness begins to develop between Reyhan and Yılmaz during this process.
The film is bogged down with one-off rain monster threats that always come to a quick and undramatic end
This is a list of seven films that explore police brutality and systemic racism made by Black filmmakers. These are important movies to watch and to take in, as — through the power of cinema — they showcase what it feels like to be a Black person living in a country that is internally designed to be against you.
Ultra-violent storytelling has never been my thing, but the issues with Scarface go beyond that. The film perpetuates harmful stereotypes about Latinx immigrants and uses gore and misogyny for shock value that never serves any purpose. The whole venture is frustratingly empty, and left me desiring something more.
'Don't Breathe 2' is a sequel that forgoes almost everything that made its predecessor good, and asks audiences to root for a rapist on top of that.
The Flounders are back in this sequel that takes place one year after the events of 'Malibu Rescue'.
With The Father, writer-director Florian Zeller- who wrote and developed the play upon which the film is based- pulls no punches as he confidently makes every effort to put the audience in the mind of someone whose grip on reality has all but vanished. It’s a dazzling testament to Zeller’s abilities as a director as he makes his first transition from stage to film appear as if he’s been working behind a camera his entire career. The dialogue he fashions with co-writer Christopher Hampton, along with the work of production designers Peter Francis and Cathy Featherstone, collectively makes the downward spiral of dementia startlingly tangible, doing so in a way that can be comprehended by everyone except the person it directly affects.