In today’s digital age, Artificial Intelligence (AI) is transforming the way we interact with technology, and schemas play a key role in…Continue reading on Medium »

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I can't get over how good this film is. Some will agree and others will disagree, that's movie opinions 101 but I have to talk about it to anyone that will want to listen or read about what I have to say. Especially that opening scene. It sets the film up superbly and it lasts 90 seconds long before setting off into the intro credits, Guy Ritchie couldn't have chosen a more appropriate song if he tried. It fits just right when you notice that the lyrics and the metaphors are mirrored and shown off in this movie. We have to remember that this is mostly being told as a "true" story by Fletcher (Hugh Grant) through his eyes and what he knows and the rest he has put together as he is looking to sell it as a script to a film studio but simultaneously looking to blackmail and sell what he knows to the right hand man Raymond Smith (Charlie Hunnam), the right hand man of Mickey Pearson (Matthew McConaughey). Film begins with Mickey Pearson ordering a pint and a pickled egg, goes to the machine and selects the 'Cumberland Gap' as his song choice, sits down, calls his wife to confirm date night whilst she's at work, the time and place to meet only to overhear someone, Dry Eye (Henry Golding) in the background refusing to leave and fears his wife (Michelle Dockery) is being threatened and in danger, only for a mysterious hidden man appear behind Mickey Pearson at the same time and then we hear a gunshot but don't see the shooting, the blood splatters on to the pint and pickled egg and roll intro credits. Again all of this happen within the 90 second intro but man oh man that's how you sell it, that's how you draw your audience in. An American in a London pub that orders a pint and pickled egg, portrayed by a mainstream leading man, right song choice selected on the machine, mystery man with a gun stood behind the protagonist and he shoots and we see nothing except the blood splatter. And the last thing we do hear before the gun was fired? His wife in danger on the other end of the phone and he couldn't be there. So is it a set up, a double cross, how did this main character get killed, who was the guy who killed him and why? You have to watch to find out and how can you not watch after the 'Cumberland Gap' by David Rawlings starts playing? You're in. Roll intro credits. We're in for a good one. A strong leading cast. No one takes away from anyone, everyone looks strong and the film flows really well. Hugh Grant was phenomenal in this film, a very different side of him I've never seen before, anyone familiar with the British TV Soap EastEnders will know of the character "Dirty" Den Watts portrayed by the late Leslie Grantham, he reminded me of him so many times with his mannerisms, verbiage and characteristics. I need more leading roles for this man, he clearly has the range, experience, just hope a director will let him or ask him to be the meticulous bargaining selfish comedic but smart villain again. It's exactly what we got here and he almost got away with it after already getting away with it after the Russians were going to attack Raymond and him before Coach made the save. Matthew McConaughey again deserving leading man in this film as he executed his role perfectly, his love for his wife transcended everything despite throughout the film a theme being the money and business being his first priority. When he exclaims and shouts "MY WIFE!" it's the first and only time we see emotion from him, it's all he ever cared about really. Charlie Hunnam didn't look out of place, a great right hand man, the wardrobe department deserves a backdated raise because he looked outstanding. Looks posh, well dressed, well spoken, clearly educated but easily got his hands dirty when needed in this business and for his boss. The ideal right hand man. The way he was one step ahead of Fletcher the whole time, opening the bottle of alcohol, cooking him a wagyu steak and telling him to take his shoes off when he goes to use the toilet, he didn't get this far with Mickey without reason. Genuinely one of my favourite right hand man portrayals. The way he tries to reason with the teenagers for their phones, the drugs in the apartment before having to use just enough show of power, strength and put fear into them that he is someone not to be messed with or taken lightly. Throw in Colin Farrell as Coach with the toddlers and his I'm indebted to you role. The 3 strikes was a smart way of letting the audience as well as Raymond know that I'm fulfilling my role and you're running out of favours from me and by the film came to an end, Raymond now owes him a strike, a debt and a favour. Jeremy Golding was the right person to play Matthew Berger. A backstabbing conniving sleazeball with no care for anyone but himself. It was a joy to see the way his plan fails, falls apart and unravels in front of him when Mickey tells him he owes him 270m for the losses incurred and all transgressions occured, after that he will not sell his business to him as previously agreed and finally on top of that Matthew owes Mickey a literal pound of flesh, from any part of his body but if he is a penny short for the the 270m transaction or a gram shy for the pound of flesh, he will not make it out of that freezer alive. Jeremy Golding sold it just right when he realises he is screwed, so well that you don't feel sorry for him but you buy his fear and "I'm going to die aren't I?" realisation on his face without him needing to say a word. The plot twist at the end with the Russians looking to exact revenge on Mickey Pearson for something he didn't even cause or intended when Aslan was accidentally killed in the task to get Laura Pressfield, daughter of one of the lords back, only for the toddlers to accidentally save Mickey Pearson when they were trying to kill him to get rid of Coach's problem and strikes of being indebted to Mickey and Raymond after they infiltrated one of his bases. I could go on and on about the characters, the actors portrayal, specific scenes but you get the long winded gist of this praise. I think it will develop a bigger following if it hasn't already. Sets up the potential of a movie sequel (yes I'm aware of the TV show) and what better way to introduce Jason Statham and Vinnie Jones to the story? Can be a parent of one of the toddlers, the boss of Coach or someone else who wants to buy Mickey's empire. Somehow some way I believe Guy Ritchie could pull it off and do it. I understand this film was released just before COVID hit in early 2020 so it may have gone under the radar for a while especially given the circumstances at the time but I truly believe this was/is a gem by Guy Ritchie that would've won major awards for certain actors. Or maybe I'm just behind on the movie as it was released just over 5 years ago. And that's ok, I just wanted to share how great it was watching this film and my experience. submitted by /u/BackToTheFutureDoc [link] [comments]

I just finished watching this movie for the first time and holy shit it’s the best thing I’ve watched so far in my life. It’s that mix between a crime thriller and pureblood horror and I ADORE it. I usually pause movies to comment on it to myself and to think, but with M I waited until the very end before just letting my jaw drop. The ending monologue, the lighting, the directing, the acting, the story- I fucking love horror, and I love cinema, bro submitted by /u/FuckUp123456789 [link] [comments]

Black doves es una serie inglesa de thriller y espionaje que nos presenta a Helen, una chava que está casada con un picudo en el gobierno…Continue reading on Medium »

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I rewatched Butch Cassidy & The Sundance Kid recently and I loved their relationship. You got the feeling that nothing would come between them and that they valued their friendship over everything. They even die together I find a lot of movies have dramatic moments where they have to overcome some split between the leads. Sometimes it's a misunderstanding and one feels left out (think Superbad). Sometimes it's a girl (think Snack Shack). Sometimes it's money. I just want a movie about hetero life partners (like Jay & Silent Bob) and they work together, and their friendship is never in doubt. Sure, war movies. I was thinking Shaun of the dead, or Hot Fuzz, but even they have moments where they doubt the friendship. Go any suggestions? submitted by /u/CatCreampie [link] [comments]

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In light of recent events, I’ve gotten the real urge to watch Nazis get the shit kicked out of ‘em. So far, I’ve watched Inglorious Bastards, Raiders of the Lost Arc, Indiana Jones: The Last Crusade, and The Rocketeer. Only other movies I could think of would be Dead Snow and The Keep. Any other suggestions, I would really appreciate it!! submitted by /u/ATornShirtPocket [link] [comments]

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The idea of captain fantastic is that a father raises his children outside society and public education but teaches them everything they need to know. They are socialised outside of traditional norms and their hobbies, interests and values are very different. My favourite scene in this film his when the eldest son confronts his father about this and how he had made them into freaks. The actors give such great performances and really feel the weight off each word. I know alot of people dislike this film and i can see its flaws as a whole but this one scene will always stay with me. submitted by /u/Asleep-Antelope-6434 [link] [comments]

https://preview.redd.it/epx2d03ydfee1.png?width=1920&format=png&auto=webp&s=b2d941d42f912e5f2e61330babfcd8a3d1d412cc It was a tight race for the top spot. While Mufasa reclaimed the top spot, One of Them Days over-performed projections and delivered a great start for a comedy. Meanwhile, the other wide release, Universal/Blumhouse's Wolf Man, debuted below expectations and failed to replicate the success of The Invisible Man. The Top 10 earned a combined $68.7 million this weekend. That's up 32.2% when Mean Girls repeated atop. Mufasa returned to the top spot, easing just 15% and adding $12 million this weekend ($15.3 million four-day). The film has earned $209.7 million so far, and it should get close to $250 million by the end of its run. Debuting in second place, Sony's One of Them Days earned $11.8 million this weekend ($14 million four-day). That's a pretty great result for an R-rated comedy, a genre that has been struggling in the post-pandemic world. Credit has to go to Sony for successfully marketing the film, relying on its stars (Keke Palmer and SZA) for selling the film as a laughing machine. In order to build buzz, they also held early screenings, helping create awareness for the film. The film's incredibly high reviews (97% on RT) surely helped as well. According to Sony, 69% of the audience was female, and 71% was in the 18-34 demographic. They gave it a very solid "A–" on CinemaScore, which suggests it could leg out. There's very slow competition on the way, so a run over $35 million could happen (and don't be surprised if it passes $40 million): Having to settle for third place, Universal/Blumhouse's Wolf Man disappointed with just $10.8 million in 3,354 theaters ($12.2 million four-day). That's off 62% from The Invisible Man ($28.2 million), another Universal Monsters adaptation from Blumhouse and Leigh Whannell. It's also 66% off from 2010's The Wolfman ($31.4 million). Even though Blumhouse kept the budget low at $25 million, this feels like a very underwhelming debut (it gets worse if you see the overseas numbers). After all, Blumhouse hit gold with The Invisible Man, which is a big reason why they got Whannell back as writer and director. Yet this just didn't work. What happened? The film underwent development hell, even before The Invisible Man started production. When Universal announced its Dark Universe cinematic universe, a new Wolf Man film was in development (possibly starring The Rock). After the poor performance of The Mummy, however, plans shifted and it was placed on thin ice. When The Invisible Man was a success, Universal started hearing new pitches from directors and writers. In a big surprise, Ryan Gosling was announced to play the Wolf Man, and when Whannell initially left the film, Derek Cianfrance agreed to direct the film. After 2 years of working on the project, Cianfrance and Gosling left due to scheduling conflicts, with Whannell returning and the Wolf Man now played by Christopher Abbott. The audience is not aware of production problems, but this is a sign that the film is struggling to find the right story to tell. While there was hope that Whannell's involvement could replicate the success of The Invisible Man, the first red flags were seen in September. During Universal's Halloween Horror Nights, an actor appeared as the title character. The design of the Wolf Man quickly went viral, and reactions were divisive, mostly leaning negative. Whether that was the design for the final version of the film or not, it already left a bad image in the eyes of the public. Universal didn't want to risk another bad publicity stunt, and so the design of the creature was hidden from posters and trailers. Blumhouse's brand also appears to have eased off in the past year. 2024 was quite a weak year for them; Speak No Evil was their highest grossing film worldwide with just $75 million, Night Swim barely hit $50 million, and Imaginary made just $43 million. And in the incredibly rare scenario, AfrAId flopped. For contrast, they released four films in theaters in 2023 and the lowest grossing was The Exorcist: Believer ($136 million). While most of these were preofitable, it feels like the audience is starting to lose interest in the company. This is a bad way to kick off 2025. And while it was positioned as the first big horror film of the year, it looks like Nosferatu, which is almost one month old, already stole its thunder in terms of buzz and ticket sales. That film is still holding very well, and it's clear horror fans chose Nosferatu as the main attraction to start the year. Wolf Man simply lacked anything interesting beyond its title character, which, as previously mentioned, it's almost absent in the trailers to avoid showing its design. And the reviews confirmed this was no Invisible Man; it's sitting at a weak 52% on RT. According to Universal, 60% of the audience was male, and 62% was in the 18-34 demographic. They gave it an awful "C–" on CinemaScore, far worse than The Invisible Man (B+). With poor reception, and other horror titles like Presence and Love Hurts arriving in the next few weeks, this is gonna have a very short run in theaters. For now, a $25 million domestic total is likely, and don't be surprised if it goes lower than that. So the film's domestic total will be below The Invisible Man's opening weekend. Ouch, this Wolf Man got mauled. Sonic the Hedgehog 3 eased 24%, grossing $8.6 million ($11 million four-day). That took its domestic total to $218.9 million. After topping the box office last week, Den of Thieves fell all the way to #5. It fell 56%, the worst drop in the Top Ten, adding $6.5 million this weekend ($7.5 million four-day). For comparison, the original dropped just 43%. Through Monday, the film has earned $27.2 million domestically, and it will close with around $40 million. Moana 2 eased just 8%, adding $5.9 million this weekend ($7.6 million four-day). The film has earned $444 million so far. Nosferatu dropped 40%, grossing $4.1 million this weekend ($4.9 million four-day). The film has earned a fantastic $90 million domestically, and it's still on pace to hit the $100 million milestone. Searchlight's A Complete Unknown is still hanging on. It eased 27%, adding $3.7 million ($4.4 million four-day). The film has earned $57.5 million domestically, and it should continue legging out if it gets some major Oscar noms this Thursday. Wicked dipped 30%, for a $3.5 million weekend ($4.4 million four-day). Its domestic total stands at a marvelous $465 million. Rounding up the Top Ten was A24's Babygirl, which continues holding incredibly well. The film eased just 34%, adding $2 million this weekend. That took its domestic total to $25.3 million. Not that far behind Babygirl, was another A24 title, The Brutalist. It expanded to 338 theaters, earning $1.9 million this weekend. With $5.4 million in the bank already, the film is prepared to hit wide release this Friday, the day after it's slated to earn big Oscar noms. Sony Classics expanded Pedro Almodovar's The Room Next Door in wide release. But it earned just $616,544 in 861 theaters. A very weak $716 per-theater average, and it suggests it will be gone quickly. September 5 was originally set for a wide release this weekend, before Paramount decided to cancel it. It still hit 121 theaters, earning only $350,261. Last week, we saw the arrival (and death) of Better Man, which barely hit $1 million in 1,291 theaters. Well, the bad news don't stop there. The film earned only $261,688 this weekend, which represents a disastrous 75% drop. The film has made only $1.8 million domestically, and it won't hit much higher than $2 million by the end of its run. Absolutely terrible. OVERSEAS The big story of the weekend is Moana 2. After adding $7.9 million overseas, the films has sailed past $1 billion worldwide, becoming WDAS' fourth film to hit that mark. The best markets are France ($61.2M), UK ($50.5M), Germany ($43.1M), Australia ($30.9M) and Japan ($30.7M). Now, Mufasa once again topped the box office. It added $20.3 million, as its worldwide total now reaches $594 million. The best markets are France ($35.9M), the UK ($32.6M), Mexico ($26.8M), Germany ($26.3M) and Italy ($22.6M). Sonic the Hedgehog 3 added $15.2 million, taking its worldwide total to $422 million. And with that, it has officially passed the second film's worldwide total, becoming the highest grossing of the franchise. The best markets are the UK ($27.7M), Mexico ($20.2M), France ($17.3M), Brazil ($11.2M) and Australia ($15.5M). In a notable milestone, Nosferatu added $7.7 million overseas, crossing $150 million worldwide. The best markets are the UK ($13.4M), Mexico ($7.1M), Italy ($4.9M), Spain ($4.7M) and Australia ($4.1M). Paddington in Peru continued its international rollout, earning $6.2 million this weekend, taking its overseas numbers to $72.8 million. It's hitting American theaters on February 14. Well, Wolf Man made its debut in 53 countries, but it earned just $4.8 million, for a very weak $17.1 million worldwide debut in its first four days. It still has so many markets left, but this is a very poor start. There's a strong chance it could become the rare Blumhouse flick to lose money in theaters. FILMS THAT ENDED THEIR RUN THIS WEEK None. THIS WEEKEND Two more releases, with one hoping to take the #1 spot. The first is Lionsgate's Flight Risk, which marks Mel Gibson's first directorial project in 9 years. It stars Mark Wahlberg as a hitman who tries to assassinate a government witness in an airplane. Gibson has proved to be a very reliable filmmaker; all his five films have been box office hits, with The Passion of the Christ breaking so many records in 2004. Can he find success here? The other is Steven Soderbergh's Presence, a horror thriller where an entity stalks a family in a house, and is shot entirely in first person. The film has attracted great reviews, so perhaps it could break out. If you're interested in following the box office, come join us in r/BoxOffice. submitted by /u/SanderSo47 [link] [comments]

This record-breaking growth also translated into financial success, with a 16% revenue increase to $10.3 billion.Continue reading on Medium »

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Missing past opportunities only to regret them in the future.Continue reading on Medium »

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