If this isn’t the most anti-lower class wealthy male power fantasy movie I’ve ever seen, I’m not sure what is.
(more…)Author: Ad1mz
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Black Bag (2025)
Black Bag is a unseasoned multi layered shish kebab of deception, manipulation, and some seriously fucked-up relationship issues.
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Control Freak (2025)
This contender for symbolic horror serves up a fresh batch of making the audience wonder “whose really crazy in this situation? me or the character I’m watching”
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FROM (TV Series – 2022)
This has got to be one of the stupidest shows I’ve ever seen.
FROM is a TV show in your classic overdone “trapped and escape” genre, however, this one takes 3 steps backwards and does nothing with the concept other than waste your time.
Nothing ever makes a lick of sense in this show, and none of the characters talk about anything important. Even when faced with critical decisions, and important topics to discuss characters will actively avoid explaining anything to each other or to anyone for who knows what the fuck reason. Every conversation ends up being useless nonsense, completely unrelated to what’s happening.
The drama is conjured out of thin air, irrelevant to any overarching story, and by the end of the show, there are several different subplots in play—and you couldn’t care less about a single one.
The characters? Utterly unlikable. The more you learn about them, the worse they get, to the point where you’re actively rooting for their demise. Seriously, it’s like their traits were built to test the audience’s patience. In fact maybe this whole shows a test, yes now I get it. It’s really me who’s trapped here, watching this garbage!
And then there’s this weird phenomenon with “Thomas”. Why the hell does everyone keep referencing him as if he was a talking child when it’s clearly explained that he died as a baby? How does Ethan remember someone who couldn’t express individuality? And don’t even get me started on the ghost “baby” calling a house with no wires and talking as if it’s a grown child. How does the father just know it’s Thomas? Are we supposed to believe they left a child old enough to talk on a table, turned around for a second, and he just rolled off? What is this nonsense?
The plot—or whatever it’s pretending to be—goes nowhere. Stuck in a town with nonsensical layouts, monsters reborn from people stuck there, and survivors losing their minds for no discernible reason. Where are we going with this? This could’ve been a tight 1-2 season concept, but instead, they stretched it out over 7 filler-stuffed episodes per season just to leave viewers with absolutely no answers.
Lets just list out how many different subplots they tried to start and that went completely nowhere. Keep in mind these are not questions I’m asking these are questions posed in the show that started to become plot points and then were just completely dropped.
- Tree in road meaning? 0
- Why are crows important? 0
- Why do these things exist? 0
- Why can they only come out at night? 0
- Why are they human? 0
- Why did Boyd get worms? 0
- Why did worms kill monsters? 0
- Why did worms disappear after monster? 0
- Why did Sarah hear voices? 0
- Why did Sarah stop hearing voices?
- Why didn’t Sarah know about the “tower? 0
- Why do some of these monsters have the power to communicate with people? 0
- Why do people get visions? 0
- Why are the monsters torturing them? 0
I could go on but really… it doesn’t matter and the point is made.
Lets talk about the acting. Holy abomination. It’s absolute torture to sit through. By the end, I was staring blankly at a wall just to avoid listening to the cast drone on for 20-30 minutes, only to keep droning for the next five, and then the next five, until the episode mercifully ended with me wanting me to defibrillate my brain
Let’s not forget the dialogue. My god who wrote this dogshit? The overuse of “look” and “listen” to start every single sentence is absurd. By the end of season 2, I counted almost 100 instances of those two words, whether or not they were remotely relevant. Did the writers forget how conversations work? Did they skip proofreading altogether? It’s like they copied a high school drama class’s first draft without any oversight.
I mean, who was in the office pulling straws when deciding which one of their kids would have to work on the script today after school? Maybe next season (I hope there isn’t one) we can possibly hire some writers who understand that when someone watches a show they don’t just want to listen to a podcast for an hour and maybe, just maybe want to actually SEE SOMETHING HAPPENING.
The one episode that didn’t have this nonsense—episode 1 of season 3—was the only remotely tolerable one. The absence of the cursed “look” and “listen” formula made it feel like a breath of fresh air, but it’s too little, too late.
Rock garbage out of 10.
Wouldn’t recommend this brain-rotting slog to anyone who values their time or sanity.
This review is for Season 1-3
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Wicked (2024)
Absolutely amazing. They nailed (almost) every song with the utmost respect for staying true to the Broadway versions I’ve heard.
If you’re worried it might be ruined because you’ve seen it live, I’m here to reassure you: it does great justice to the source material.
However, there are some issues.
First, the most obvious one: the length. The movie is too long. It didn’t need to be over two hours. Yes, translating theater to film requires some adjustments—it can’t just “fade to black.” However, there were multiple moments that felt unnecessarily stretched and didn’t need to happen.
Another issue is the Prince (Jonathan Bailey). While he’s clearly an excellent dancer, his singing leaves much to be desired. On top of that, the pop influence they added to his rendition of “Dancing Through Life” simply didn’t work.
Last but not least with a rather “lame” introduction to the wizard, I’m left with some hopeful anticipation for his further character development in part 2
But enough with the cons—let’s talk about the positives!
The set design was absolutely amazing, and from what I’ve heard, incredibly well-crafted. The CGI, where it was used, looked mostly great (surprisingly the flying animation at the end was one of the best I’ve ever seen)—except for one moment where the Prince is holding that cub. All these people who are complaining about the color grading and that it needed more “saturation” can get stuffed.
Finally, let’s talk about Ariana Grande. She was incredible, which, funnily enough, I never expected to write (no hate, I just don’t listen to her music and haven’t been a fan of her past antics). She completely embodied Glinda’s character and deserved the role wholeheartedly. She was charming, funny, and had a beautiful voice—truly great work
Cynthia Erivo was phenomenal as Elphaba, reminding me of the first time I saw Wicked live. Her energy, the way she infused her personality into the character, and her captivating voice (especially during Defying Gravity) were stunning. The whole theater clapped at the end of the movie.
These two were absolutely meant for these roles. Honestly, they were so harmonious together that they could’ve switched characters, and it still would’ve been amazing. Great job—I’m looking forward to part two!
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Gladiator II (2024)
I went into this thinking Denzel Washington’s presence alone could save the movie, but I was sorely mistaken. His character’s lack of development was… well, lacking. Honestly, does anyone even understand what his actual motivation was? It felt like the script just skipped over any meaningful explanation.
In fact, the entire movie suffers from underwhelming character development. The direction rushes through every moment, completely bypassing any emotional weight. The scenes don’t even give you a chance to breathe or reflect on what just happened. It’s all too quick, too shallow, and ultimately unrewarding.
Even the dialogue falls flat. The monologues feel forced, and the actors seem more focused on ticking off boxes than actually delivering their lines with any real conviction or emotion. There’s no sense of pacing, just a constant rush to get to the next thing.
And don’t even get me started on the nostalgia attempt. It’s as if they tried so hard to invoke it, but gave barely any time to actually craft a unique story. The corrupt emperor trope is so overdone by now that we didn’t need to see it again. It just felt like a missed opportunity for something fresh or original.
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Heretic (2024)
Heretic started with some promise, a group of young conservative but curious missionaries setting the stage for an intriguing philosophical religious debate.
Unfortunately, it devolved into a muddled mess after the 25-30 minute mark, where the arguments presented stopped making much sense, opinions became grandiose hypotheticals and the dialogue turned into endless monologuing. Then we begin a game 20 questions sautéed in “Guess Who” with a side of religiously philosophical “Deal or no Deal”
While I agreed with the core idea of the protagonist’s philosophy, the way it was presented felt unnecessarily extreme and heavy-handed (obviously). The movie seemed to have a lot to say about atheism and agnosticism, but it failed to provide the two missionaries with solid counterarguments to challenge the protagonist effectively. With 3 points one sister made being appearance, unaccounted for data, and the dissolution of polygomy. All which easily support the protagonist theory, control.
When counterpoints were made, they lacked the structure and impact of his arguments, which, while understandable given the stressful situation, made the dynamic feel completely one-sided. For a film that presented itself with its development to be an “open” discussion about faith and belief, it clearly leaned toward favoring the protagonist’s viewpoint and painted him as the 4chan high rated user of anti-religious indoctrination. By the end, even the supposed counterarguments only served to reiterate his philosophy, rendering every conversation and conflict irrelevant.
This lack of meaningful progression made the entire movie feel pointless, flat and a waste of time.
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Venom: The Last Dance (2024)
Boring, uneventful, and exhaustingly underdeveloped.
Without a doubt, this is the worst Venom adaptation I’ve seen yet—completely stale and lifeless at every turn. The plot felt like a lost child wandering around Disneyland, clinging to anyone who looked familiar, desperately hoping they’d finally find the right one this time. It just aimlessly stumbles from one place to the next, never finding its footing.
The subplots? Pointless. They have absolutely no connection to the previous movies, making them feel like filler that shouldn’t even be there. Then there are the overdramatic scenes, shoved down your throat with blaring, corny music in an obvious attempt to force some kind of emotional response. It’s all so try-hard that you can’t help but roll your eyes.
In the end, it’s just a wasted opportunity—dull, disjointed, and completely forgettable.
