Based on the short story of the same name by B. Lavrenev. The drama is about a boy, a boiler cleaner, stuck in the pipe of a steamer. And about the people who, despite all circumstances, have to deliver urgent freight...
I believe in homages, but there's a proper way to borrow a creative idea instead of making it appear as if you hit the copy and paste button. Most likely, anyone is better off simply reading the books. Or just put on Scream.
Considering the runtime, I expected each scene to hit harder as opposed to a series of montages and vignettes.
It took writers D.B Weiss and David Benioff two years to give us a promising final season. Two. Years. It was just going to be six episodes, which was short considering that all the other seasons — except season 7 — were 10 episodes. 10. 6 wasn’t enough, and even HBO wanted to give the writers more episodes. More seasons, even. However, the writers wanted to get out of the show as quickly as possible to work on other projects. This abruptness is clearly shown in this season.
It’s been awhile since I’ve seen a film that is jarring within the first five minutes. Being at the edge of my seat from the very beginning made me feel both excited and frightened for what was to come, and it did not disappoint. Led strongly by Jennifer Lawrence as Grace, a woman trapped in the “American dream”, this film shows that society tells us what should make us happy. Many critics describe Die My Love as being about post-partem depression, but it is so much more. After moving to a secluded home with her husband Jackson, Grace finds herself in the throes of motherhood. Feeling isolated in her physical environment and her romantic relationship, Grace suffers psychologically. Lawrence brings a sense of rawness and humor to the screen that is often uncomfortable. Robert Pattinson adds to the discomfort as her loving, yet lost husband Jackson, who cares about his wife but does not know how to help her. Lynne Ramsay has presented a film that forces us to look at the realness of life, and what happens when the promise of what should make you whole fails.
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.
