Scumbag (2018)

The second entry of the Five Nights at Freddy’s series released recently, garnering very divisive reviews amongst both fans and critics.

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.

When the retelling of the Cinderella fairy tale and a holiday spirit come together, viewers learn about class issues as well as perseverance despite setbacks.

All in all, “Event Horizon” is a cinematic misfire, begging to be perfected in the future. While it possesses an array of admirable visuals, the film leaves much to be desired. If only we could see Anderson’s preferred cut, which featured more character development and tortuous imagery. In the meantime, I have a catchphrase for this film: In space no one can hear you snore.

2026 ranks highest in Oscars history for its representation of minorities in all categories, and that’s definitely something to be celebrated.

How closely does an actor need to resemble a character or historical figure in order to portray them on the Silver Screen? Seems to depend on color.