Category: Sci-Fi

  • FROM (TV Series – 2022)

    FROM (TV Series – 2022)

    Rating: 1.5 out of 5.

    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

  • Venom: The Last Dance (2024)

    Venom: The Last Dance (2024)

    Rating: 1.5 out of 5.

    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.

  • Slingshot (2024)

    Slingshot (2024)

    Rating: 3.5 out of 5.

    A beautifully depressing tale of unraveling psychosis, carried effortlessly by a talented cast that brings depth and authenticity to every moment.

    What makes this film stand out is its restraint—it avoids the usual trap of overloading the dialogue with intellectual buzzword jargon. Instead, it keeps the focus where it matters: on the story itself. This choice allows the narrative to shine, creating a haunting and immersive experience that lingers long after the credits roll.

    It’s rare to find a film that so masterfully balances bleakness and beauty, but this one delivers, earning a solid star for its narrative-driven approach.

  • A Quiet Place: Day One (2024)

    A Quiet Place: Day One (2024)

    Rating: 3 out of 5.

    The movie was enjoyable overall, but it definitely felt slow at times. The suspense that made the first two films so gripping just wasn’t there. It felt like the stakes weren’t as high this time around.

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  • Chaos Walking (2021)

    Chaos Walking (2021)

    Rating: 2.5 out of 5.

    Chaos Walking is a dramatic sci-fi built entirely around two half-baked ideas:

    1. What if your thoughts manifested into a weird silk-screened screensaver that floated above your head 24/7 like the world’s most embarrassing Snapchat filter?
    2. What if Fahrenheit 451 and Equilibrium had a bastard child — but the hospital forgot to hand the kid a personality or any meaningful worldbuilding on the way out?
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  • The Room (2019)

    The Room (2019)

    Rating: 3 out of 5.

    A Semi-Psychological Drama that makes you ask yourself —
    What would I do?

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  • Project Almanac (2015)

    Project Almanac (2015)

    Rating: 2.5 out of 5.

    “Time travel… ending with the same plotline continuations as the Jurassic Park series.”

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  • Infini (2015)

    Infini (2015)

    Rating: 2.5 out of 5.

    An “interesting” movie about subarctic temperate planets, and weird evolved organisms. 

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  • Into The Woods (2014)

    Into The Woods (2014)

    Rating: 4.5 out of 5.

    Disney takes you back into Jack and the Beanstalk, Little Red Riding Hood, Cinderella, and Rapunzel—all at the same time. But this time, it’s …a little different.

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  • Clown (2014)

    Clown (2014)

    Rating: 3 out of 5.

    This was probably the weirdest, but also the best clown horror movie I’ve ever seen.

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