Fresh Drops
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Five Nights at Freddy's 2
Matthew Lillard, Piper Rubio, Mark Fischbach, Kate Connor Sterling, Josh Hutcherson...
1987, after a rather unstable life, Jeremy Fitzgerald found work as a security guard at the new Freddy's Fazbear Pizzeria, but when he entered there he would realize that not everything there is as it seems.
Tron: Ares
Jared Leto, Evan Peters, Greta Lee, Sarah Desjardins, Gillian Anderson, Jeff Bridges, Cameron Monaghan, Judy Turner-Smith, Arturo Castro
A highly sophisticated Program, Ares, is sent from the digital world into the real world on a dangerous mission.
The Old Guard 2
Charlize Theron, Uma Thurman, Henry Golding, Chiwetel Ejiofor, Marwan Kenzari, Matthias Schoenaerts, Luca Marinelli...
Andy (Charlize Theron) and the Undead Army reassembled, showing an unprecedented sense of mission, and vowed to protect the world. Booker (Matthias Schoenaerts) betrayed and went into exile, while June (Wu Qingyun) escaped from the water prison and bore a grudge. Andy found that she had lost her immortality. In addition to trying to face the facts, she had to do everything she could to resist the mysterious force and not let her efforts for thousands of years go to waste. Andy, Neil, Joe, Nicky and James Copley teamed up to seek the help of their old friend Dua, hoping that he could solve the mystery of immortality.
Shrek 5
Mike Myers, Eddie Murphy, Cameron Diaz, Zendaya
Plot unknown.
How to Train Your Dragon
Mason Thames, Nicole Parker, Gerard Butler, Julian Dennison, Gabriel Hall, More...
As an ancient threat endangers both Vikings and dragons alike on the isle of Berk, the friendship between Hiccup, an inventive Viking, and Toothless, a Night Fury dragon, becomes the key to both species forging a new future together.
The Last Rodeo
Neal McDonough, Sarah Jones, Christopher McDonald, Mykelti Williamson
To save his grandson, a retired rodeo star enters a high-stakes bull-riding competition. Along the way, he confronts his past, discovers faith, and proves that true courage lies in family.
Jurassic World: Rebirth
Scarlett Johansson, Jonathan Bailey, Mahershala Ali, Rupert Friend, Manuel Garcia -Rulfo...
Five years post-Jurassic World Dominion, an expedition braves isolated equatorial regions to extract DNA from three massive prehistoric creatures for a groundbreaking medical breakthrough.
Predator: Badlands
Elle Fanning, Dimitrius Schuster-Koloamatangi
A young Predator outcast from his clan finds an unlikely ally on his journey in search of the ultimate adversary.
The Waterfront
Holt McCallany / Maria Bello
For decades, the Buckley family has ruled Havenport, North Carolina, from the local fishing industry to the small town's restaurant industry. However, as patriarch Harlan Buckley (Holt McCarran) recovers from two heart attacks, their fishing empire begins to falter, and his wife Belle (Maria Bello) and son Kane (Jack Weary) do their best to keep the family business afloat. When their attempts spiral out of control and into crisis, Harlan steps in to take back control. Buckley's daughter Bree (Melissa Benoist), a recovering drug addict, is haunted by her own demons over the loss of custody of her son and becomes entangled in a complicated relationship that could threaten the family's future forever.
F1: The Movie
Brad Pitt, Javier Bardem, Damson Idris
A Formula One driver comes out of retirement to mentor and team with a younger driver.
Fan Favorites
Movies the fans are raving about — no critics, no hype, just honest reviews.
Mufasa: The Lion King
The film tells the story of how Simba's father, the young Mufasa, and his brother Taka (Scar), met a group of outstanding companions with different personalities long before Simba was born, and embarked on an adventure to find the Kingdom of Glory together. The film will reveal the origin stories of the two lion brothers, the wise mandrill wizard Rafiki, the confident and brave lioness Sarabi, and the nagging red-billed hornbill Zazu, and show how they face the many tests from their enemies, companions, and their hearts. This journey of fighting against fate across the vast grassland is destined to create a great lion king, and will also witness the tragic fate of a pair of brothers turning against each other, and finally compose the legend of the endless glory of the land, once again knocking on the eternal theme of the cycle of life.
Smile 2
Female singer Skye Riley (Naomi Scott) went to her friend's house to get medicine for back pain, but she witnessed her friend's brutal suicide. A few days later, all kinds of strange phenomena made Skye crazy, and her relatives and friends around her smiled at her strangely. Day by day, Skye realized that she was infected with the smile curse, and none of the victims survived for a week. Skye could only seek help from Maurice (Peter Jacobson), a doctor who pretended to die...
Macbeth
This version of Macbeth is directed by Max Webster (Life of Pi). When the audience takes their seats, they wear headphones, and the ambient sound effects are played in the headphones in the form of 3D sound effects, creating an uneasy and terrifying atmosphere. The sound effects heard by the live audience from the headphones will also be mixed into the soundtrack of the video version.
Friendship
A suburban dad falls hard for his charismatic new neighbor.
What Fans Are Saying
View AllBold, passionate opinions from movie lovers everywhere.
Den stygge stesøsteren
The Ugly Stepsister (B+) This movie really disgusted me, but it is still worth watching! I received an early screening but missed it, so I finally made up for it. I am very glad. The Ugly Stepsister reinterprets the story of Cinderella from the perspective of the stepsister. Not only is the angle novel, the theme is more profound, and the method is bold, with no lack of direct blood and body horror. It is indeed an ancient version of The Substance, with a strong sense of irony. And this is also written and directed by a female screenwriter. I think only female directors can be so cruel to women. Nowadays, only female directors can torture women and satirize their perverted pursuit of beauty. Men really dare not shoot it, otherwise they will be scolded to death. Of course, female directors will never show the ugly faces of men in the film. The overall style of the film is very similar to "Something Substantial". Although fairy tales such as Cinderella and Snow White are for children and have many fantasy plots, they actually contain some dark and scary elements, which are designed to make children feel afraid and alert to bad guys. However, if these scary elements are magnified and the true human nature in the story is further demonstrated, it is definitely the best material for horror movies. Cinderella has the help of a fairy godmother, but how can she become beautiful without a fairy godmother? The Ugly Stepsister can only achieve this through plastic surgery, makeup, wigs and extreme weight loss, which are the "fairy godmothers" in reality. In fact, you already know from the trailer that there will be ancient plastic surgery and bloody scenes, but the film itself has more disgusting and torturous content. Even if you close your eyes and don't watch it, just hearing the screams of the heroine is terrifying. I can only say that if you are unlucky enough to see the scene, you don't have to eat dinner. It does have a weight loss effect. The ancient plastic surgery and weight loss plan in the film are astonishing. Compared with swallowing parasites to make yourself thinner, our current way of losing weight is really not extreme. But the wonderful thing is that even if you know that these cruel methods happened in the past, are exaggerated and unrealistic, people's persistent pursuit of beauty has not changed, but the methods have become gentler. There are still many people like the heroine who look ordinary but are extremely eager to marry into the upper class. For example, the socialite training class that everyone knows is the modern version of this movie. Some people still use all kinds of means to become beautiful and marry rich people or celebrities, from plastic surgery to learning how to seduce men. No matter how well you package it, it is still a scam, and behind it still exposes the ugly heart and perverted obsession with beauty and wealth. So even if the film is exaggerated, it is very realistic, and it is clear at a glance what kind of people it satirizes. The film no longer glorifies Cinderella, the prince, and everyone around them. Instead, it shows people that everyone is a slave to desire and is very selfish. Other people in this story are no better than The Ugly Stepsister. Cinderella is no longer a pure, kind, and unambitious virgin, but can't resist all kinds of temptations; the prince and the people around him are a group of perverts who are eyeing beautiful women, and evaluating women is basically like buying meat in the market. The mother of The Ugly Stepsister, Cinderella's stepmother, completely disregards her self-esteem and her daughter's life in order to please a man, and constantly tortures her daughter in various ways. The environment of all villains is more terrifying than the various bloody and disgusting scenes in the film. The Ugly Stepsister herself, the heroine, is not a simple and kind person, but a jealous paranoid. But she is indeed a girl who has been brainwashed by the utilitarian society and her mother. Under social pressure and the scrutiny of others, she has completely lost her self-awareness and self-pursuit. She only wants to be beautiful and marry a prince. She is so obsessed that she even cuts off her toes for this. If it is said that the foot binding of ancient Chinese beauties was an act of self-mutilation to please men, then cutting off oneself directly has reached a new level. But think about it, even if it is not cut with a knife, women are often very cruel to themselves. What is the purpose? In fact, there are always people who are more beautiful than themselves. If you keep "changing" and "disguising" yourself because of comparison and jealousy, you will eventually become a walking corpse that you don't even recognize. Even if people in modern life no longer need to compete with princes for a ball, there are still many people who compare and envy on social networks all day long and begin to feel ashamed. What I like about this film is that it really didn't make a big change to the original story, but just told more of The Ugly Stepsister. The main story of Cinderella was kept, and there was a grand ball. The protagonist changed from Cinderella to The Ugly Stepsister, which made people see the whole story from the perspective of the ugly duckling who wanted to become a white swan, which really made it more sad and cruel. The soundtrack was very good, and some of the music itself was screaming, which was very scary. Overall, I feel that some of the scenes are really unbearable to watch, but the story itself has a profound meaning and is very ironic, and it also vividly shows the mentality of some people who will do anything and even torture themselves in order to marry into the upper class. PS: At the end, the word "Slut" appeared on the big screen. I was shocked and thought the director was cursing, but later I found out that this word is the Swedish word for "The end". But it really hits the point. Once again, in this era, movies with connotations about women can only be made by women. It's ruthless and makes people applaud.
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Juror #2
When everyone thought that in his last film, Toki, as the "beneficiary" of the current political context, was going to stage a smug right-wing victory settlement, he actually went the other way and provided some progressive reflections in "Juror No. 2": for example, in the jury, the field where identity politics can be set up the most, the two most "stubborn" defenders of traditional family values (to some extent representing ignorant and stubborn rednecks) are played by black people; and when the defendant uttered the classic scumbag confession "I'm not the guy anymore, I have changed" in the stand, what quickly flashed by was the silent sneer of the two female prosecutors who knew the truth - a typical female subject perspective. In fact, this unprecedented thinking is by no means a trick. As the jury debate deepens, the film seems to be following the classic path of "12 Angry Men" and its many variations (it's funny, the opening scene of the female prosecutor picking up the phone even perfectly pays tribute to He Bing picking up the documents at the end of "12 Citizens"), and the early exposure of the male protagonist's crime breaks this pattern - what Dong Mu tries to do is to put everything in a swaying state. The so-called "rigorousness" has become a prejudice, and the theme of "justice" throughout the film has unexpectedly become a stumbling block to revealing or covering up the truth. This ambiguity takes root and sprouts meticulously all the way until the last scene, when it suddenly changes its form. Through the gaze of the ending, the simple moral binary opposition in "Sully" or "Richard Jewell" is re-exposed. In Toki's values, there is and only one "correct" way of moral narration. On this level, "Juror No. 2" has never hesitated in morality or conscience. This is a firm conscience. For this reason, the skepticism about moral truth in "12 Angry Men" is actually opposed and even abandoned by this film. The last time this kind of complementary and inseparable justice and truth appeared in a concentrated manner seems to be traced back to Fritz Lang (and the day I watched the movie was his birthday). So everything ends with such a gaze that follows the moral values of the black film nearly a hundred years ago. There is no more perfect farewell than this. From the gaze, we see the adhered traditions, ancient ethics and principles, and the fate of this country - after all, don't forget the identity of the male protagonist, he is the most decent conservative white male protagonist in Dongmu's usual narrative, and his evil has been planted from the beginning. Just like the close-up of the scale that appears in the opening animation and runs through the whole film, the old man has completed an atypical patriotic reflection in this way that is consistent with and breaks the self.
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Sidelined: The QB and Me
In the interweaving of light and shadow, we see the diversity and complexity of life. Wonderful movies always touch people's hearts. Whether it is the ups and downs of the plot or the delicate portrayal of the characters, people are immersed in it. Movies are not only entertainment, but also an art. It brings us thinking and enlightenment with its unique perspective and expression. Every movie is like a dream, allowing us to temporarily escape from reality and enter a wonderful world. Good movies are worth savoring repeatedly, and new details and profound meanings can be discovered every time you watch them.
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Moana 2
The quality of Disney's animation works in recent years is really worrying. The story routine is directly worn as a coat, and the body is also skinny. Every time they make animations, they are free to follow the formula. Encountering difficulties + marching forward + retreating after setbacks + spiritual growth + overcoming difficulties + super happy ending = "Moana 2". This film is even more sloppy and hasty. The main characters have a clear division of labor and lack novelty. The villains have no sense of oppression, and they are just here to play a supporting role, with very little face time. The growth of the protagonist is exactly the same as the first one. Last time, Moana helped Maui untie his knot, and this time, Maui helped Moana achieve sublimation. Both of them drank a sip of chicken soup, but in the final analysis, it is still the same bowl of soup. The only bright spots are the supporting animals, which can make people laugh accidentally, but it's just a laugh, and this is the style of Disney animation. If not, the watchability will be greatly reduced. Comparing "Inside Out" and "Oceans", Pixar is more stable, thoughtful and progressive, while Disney is conservative and will only ruin its reputation. Just listen to the movie songs.
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The Gorge
Keep up with current events. The US special services budget was cut by doge, so they hired a freelance mercenary who was short of love. Russia's economy was in a downturn, and in order to cut costs, they hired an ENTP self-employed killer. The whole thing seems absurd, but it actually makes sense logically. Some high-level projects in government departments have been put on hold after a lot of investment but without the desired results. Once the leaders who made the final decision retired or were transferred, no one had the authority to shut down the project, and no new funding could be applied for. A few executive leaders were left to barely clean up the mess, and in the end, there was not enough money for post-maintenance, so they had to outsource the work and hired these two idiots. It was really like drinking soup and spilling it all over your crotch, and wiping your butt and scratching the paper. The two restless people were not like the previous guards who remembered the Cold War hatred and national hatred. They began to pass notes frantically and then to lure monsters frantically. One played music, the other lit up the Christmas tree, and beat drums and gongs just to kill monsters and attract the other side to shoot at them. As soon as they showed their weapons, we knew this was a CP movie. The heroine's main weapon was AKM, while the hero's was M4A1; the heroine's long gun was AXMC precision rifle, while the hero's was Steyr .50M1; the heroine's heavy machine gun was the classic DShK, while the hero's was the famous .50 (Browning M2HB) machine gun. From the weapons, we can tell that they are a strong CP. As for the automatic defense weapons, there is a flaw here. The Americans thoughtfully provided the Soviet side with the Phalanx MK15 Block1B shipborne close-in weapon system, while they used the less high-end M134 minigun on their own side. So it is impossible to kill them at the end of the film. As we all know, dogs never die in this kind of Hollywood movie, and of course, the couple is still considered a dog. Chief villain, you can kill this pair of doomed lovers, but don't do it in a happy love movie that is released on Valentine's Day.
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La prisonnière de Bordeaux
9.28 Pingyao The title is obvious. Even if the husbands are in prison, their ghosts (mixed with capitalist economy and patriarchy) still linger in the society where women live - the house. Men are prisoners in prison, and women are prisoners in the house. Therefore, the two women made completely different choices. The noblewoman fled with the artworks, allowing the artworks hanging in the villa to break free from the above discipline; while the poor returned to the prison to visit the prisoner with the spoils of parasitizing the rich, hoping to return to the patriarchal survival order. Although they seem to be completely different, they are actually the upgraded version of "Nora" with different paths to the same destination: artworks are not survival materials. The former may still starve to death if she escapes with artworks; while the latter is the successful begging version of Nora who returns and strengthens the poor family. On this basis, the lesbian elements and the betrayal in the bathroom make girls help girls, a humanistic theme that transcends class and race, generate more reflexive thinking, that is, sometimes people want respect and emotion or material compensation. If the latter is enough, then what is the so-called mutual help and confrontation, and how to do it? Therefore, leaving with the artwork is a metaphorical response to the question of "Nora": after material abundance, can we escape the old gender order, and how do we face the hesitation and meaning loss brought by the deeper new gender order in our hearts. It's like the paintings in those movies. When they are not trapped in the circulation of the art market and the homes of men, how will their value be reflected and where will they go. These movies don't seem to try to respond, but only use a slightly contrasting ending to summarize: the rich escape, the poor reunite. Such an ending does not cater to the current slogan-style network-style "feminist" theme in any sense, but allows this doctrine to self-transform and self-betray under a small ambition, thereby enhancing the overall perception of the movie, which is concise and pleasant. Therefore, it is understandable that its shots and stories are lackluster.
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The Penguin Lessons
In terms of form, it is Jean Reno's "My Penguin Friend" + "Dead Poets Society". The story is about the real events of the penguins superimposed on the horror background of the military government, and an artificial warm ending that British movies are good at. This makes people feel that the creative logic of this story is because they feel that the real penguin class story is too thin, so they try their best to add multiple meanings to the existence of penguins. In the end, the penguin became the link between the protagonist and everyone, the emotional food of the students, and the secret weapon to turn danger into safety. At the same time, it also has to bear the protagonist's allusion to his feelings in an unfamiliar environment. This responsibility is a bit too heavy. The film's allusion to the military government is also implicit, and it is not well compatible with the main line. The girl's return in the end is very dramatic, which makes the story have a strong fairy tale attribute. If some choices are appropriately abandoned, and the filming in Buenos Aires (the set of the film is too unsuccessful) may help the film perform better. But then again, the old lady and granddaughter line (although it may be purely fabricated to a large extent) is still delicate and makes people cry.
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Mickey 17
I finished watching the movie No. 17 today. The overall conclusion is that the censorship made this Bong Joon-ho movie, which started out with a score of 8.5, become about 7.5, but smart audiences can still accept the essence of the whole movie. Note! The censorship I'm talking about here is not the deletion of pornographic/bloody scenes in China, but the censorship of film investors; and I don't know who the censors are. Censorship is not uncommon for Hollywood movies. For example, the film producer Warner forced the Wachowski sisters to shoot The Matrix 4 (which turned out to be a meta movie). I found that the tone of the first 2/3 of the movie is very different from the last 1/3. If you regard the narrative style as a human face, these two parts are two completely different faces. The first 2/3, except for a few laughs, is very Bong Joon-ho and very Snowpiercer (Welcome to read my Snowpiercer movie review: How do you evaluate the movie Snowpiercer?). Various plot foreshadowings pushed the audience's expectations to a peak, but the last 1/3 fell down. The metaphors and plots foreshadowed were not recycled, and it led to a childish ending. Based on my experience of watching the film, this is almost certainly the result of an internal struggle. But if we assume that there is a game between Bong Joon-ho and the investors, and bring this game into the film as a meta-narrative, the film will be more interesting . The film is scheduled to be released in North America on March 29, 2024.[17] On January 10, 2024, Warner Bros. announced that the film would be withdrawn due to delays in post-production. The new release date will be announced at a later date. All the following comments contain spoilers. If you don’t want to be spoiled, you can come back after you finish watching the movie. Next up is the official movie review. Bong Joon-ho is a high-concept director who is best at making political metaphors. "Number 17" is undoubtedly a political metaphor movie. The quality of metaphors in "Number 17" is also very good, maintaining the tone of Bong Joon-ho's "Snowpiercer", and using one or two special details to outline the entire worldview. Let me give you an example. When the male protagonist signed a contract to become a "consumable" for the interstellar travel team to collect debts, the signing hall was full of poor people. The poor people lined up one after another, like zombies (like Yomi Hirasaka in Seiya), walking up a spiral staircase shot from above, and waited to go to the top floor to sign. Suddenly, the wind and sand picked up outside, and then the hall played an advertisement for anti-dust masks. From this ten-second scene, we can see the era setting of the movie: Technology is highly developed, and interstellar travel is already possible The Earth's climate is on the verge of destruction, and humans have become accustomed to sandstorms. The social economy collapsed, so the underworld and loan sharks became rampant again. This collapsed society is completely controlled by capitalism. Even job applicants can only buy anti-dust masks at a 95% discount. This kind of information-dense shot appears repeatedly in the movie, and the high-concept world view setting of the whole movie is more interesting than the story itself. This is the Bong Joon-ho I am familiar with, and this movie is undoubtedly his masterpiece. But! But it is obvious that this "film written and directed by Bong Joon-ho" has a very obvious political mission, which is to be anti-MAGA and prepare for the US election . For example: The film's sci-fi background is interstellar colonization, reflecting Musk Hulk actor Mark Ruffalo undoubtedly mirrors Trump in his performance. MAGA symbols appear everywhere in the movie, such as red hats, and are repeatedly mocked. The second half of the film inserts various "deliberate" political correctness, such as deliberately emphasizing LGBT, women's power, etc. I don't need to spoil more of the other points. It was definitely unexpected that this movie was released after Trump's victory. It was obviously a bullet in the campaign, including the irony of the villain Marshall "So you lost the election twice"! ! But the reality is that Trump, who was ridiculed, won the election. This bullet flew for too long and became a joke. Even the scene in the movie where Marshall, who alludes to Trump, is assassinated and has a bullet grazing his face, I reasonably speculate that it was re-shot after July last year. From the beginning (No. 17 returns home) to the whole scene of shooting Marshall, the scenes switch back and forth, and the narrative focus (the clones also have to compete for me in social relations) has also obviously changed. The transition is paved with watered-down jokes (two women discussing the division of two men), and the plot advancement is extremely illogical. If the only goal of this movie is to be an anti-MAGA metaphor, and it fails miserably and slaps itself in the face - then Bong Joon-ho becomes a thug of capital, and a failed thug at that. Too low! But I clearly saw a political metaphor in the first 2/3 that was far more complete than anti-MAGA - it was still Bong Joon-ho's consistent theme, anti-capitalism, and opposition to capitalism's alienation of human beings, especially workers. The normal narrative logic of the movie should be completely centered around the sci-fi concept of "Expandable" (consumable humans), just like the titles of "Snowpiercer" or "Parasite". The plot logic I originally saw should be: As a "consumable", the protagonist is completely alienated, and as a human being he is not treated as a human being. The audience began to wonder what kind of people would choose to become "consumables" Economic poverty and bankruptcy (similar to "Parasite") is the protagonist's superficial motivation for being consumables The subconscious motivation for the protagonist to be consumable is that he believed that he had killed his relatives when he was a child. Believing that one has original sin, and therefore accepting that one is being exploited, is one of the most common entry points for Bong Joon-ho's anti-capitalism. Mickey 17 survives by chance and forms Multiple (together with 18), which is the turning point of the drama. Exactly the same as the excellent work "Moon". Multiple causes the two Mickeys to start competing for social relationships (such as the same lover), and the war of "all against all" escalates to "all me against all me" (Marxist metaphor) In the process of fighting against his other self, Mickey 17's subjective consciousness awakened and he began to "not want to die" It turns out that the two "I"s, No. 17 and No. 18, are not mortal enemies. The capitalist logic that created them (completely alienating humans into labor) is the culprit. Mickey realized that his original sin should only punish himself, and the logic of capitalism that made him suffer was actually making everyone suffer. So he could no longer accept being exploited. ………………Bong Joon-ho’s classic masterpiece……………… Mickey breaks free from the capitalist chains that bind him, and at the same time finds spiritual liberation from his original sin. The story comes to an end. ………………Bong Joon-ho’s classic extremely cold and dark ending……………… In other words, "anti-MAGA" was probably the topic of the investor's essay, and Bong Joon-ho just happened to use it as a sci-fi background. His story was not prepared to be anti-MAGA at all. But it is very obvious that the quality of this movie's plot has declined rapidly since episode 8. All the foreshadowing has been disconnected, and the emotions are not connected. Episodes 9 to 13 have completely become anti-MAGA + white left plots, which can be said to be very childish, not to mention being slapped in the face by reality! In other words, in "Number 17", it was Bong Joon-ho's turn to dance on swords and experience the story of the Wachowski sisters when filming "The Matrix 4". But The Matrix 4 is still a masterpiece for me, the best "meta-narrative" I have ever seen. The directors fully integrated the oppression of the investors and their own incompetence and powerlessness into the plot and intertextualized with reality. The directors kept blowing the dog whistle and blinking their eyes, wanting the audience who could understand the dog whistle to know that although their bodies were kidnapped, their spirits would not be kidnapped. So, is there any dog whistle from Bong Joon-ho in "Number 17"? Haha, that’s right. This is actually the biggest highlight of the movie after it collapses in the second half. The movie seems to be anti-MAGA, but in fact it is anti-Zionism. It reveals a little bit of information in the repeated twists and turns. It is so vivid! First of all, the original sci-fi setting of "Number 17" is a fusion of the Great Flood (the earth is on the verge of destruction), the Exodus (the interstellar ark), and finally God's people came to the "promised land" and lived a fairy tale life of "happily ever after". It's just that this process should not be led by MAGA. The ending of the final version of the movie is also the same. However, this interstellar journey that Bong Joon-ho put together with metaphors is full of anti-utopia, for example: Snowpiercer-style cockroach energy cubes When faced with danger, the employees crawled into the sleeping cabins in the cracks of the wall like cockroaches in "Parasite" Following this tonality, the ending will either be like: Snowpiercer-style ending, bombing the state that causes the historical cycle, when the day comes, I will die with you The ending of "Parasite" is like that of the male protagonist who kills people because of his rebellion against the success theory. His son is instead shackled by the spiritual shackles of the success theory in order to save his father. How could it be happily ever after? The nightmare that was glimpsed at the end of the movie did not assume a "second hidden ending" (a low-level conspiracy theory), but was more like the airport battle at the end of Tsui Hark's "Taking Tiger Mountain by Strategy". This is just a low-level dog whistle. The movie's truly high-level dog whistles are: Everywhere it is hinted that Marshall, the MAGA-style populist leader, is being manipulated. The team operating him is the "church", but as a businessman, Marshall believes that he works for the "company". The church's logo only appears for 0.5 seconds, and it seems to be a variation of the Masonic logo. The bald photographer who had been sucking up to Marshall was the "pastor" who mentally controlled Marshall. This mysterious "church" (similar to SEELE in "EVA") is dedicated to finding the "promised land". After arriving on the planet, the bald "pastor" repeatedly encouraged Marshall to start a massacre first and then go to his death. None of these foreshadowings were recovered at the end of the movie . They all became waste. But we can see Bong Joon-ho's original design: The MAGA leaders are just puppets of a certain Zionist secret religion. This group of people has been plotting behind the scenes, using capital to manipulate political leaders to practice their own beliefs; they use the manipulated populist leaders to help them carry out massacres, clear out the foreigners in the "Promised Land", and then replace these MAGAs as the masters of the "Promised Land". This dark plot should have burst out together with the bright plot of the male protagonist breaking the mental shackles at the end of the plot, complementing each other. But both plots disappeared! OK, let's stop here for the analysis of the movie. After all, I only watched the preview once, so I missed a lot. This split movie is neither a bad movie nor a good one. But if you also understand the reasons for the split plot, the secret game between the director and certain forces, doesn't it become interesting?
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Kyuka: Before Summer's End
The square frame cannot contain the overflowing blue waves at the end of summer in August and September. There are too many ambiguous backgrounds and too many vague words. Only the real emotions and silent blanks revealed by the words and interactions can make people resonate with them. The father, who is both a father and a mother, took his twin children on a sailboat to a beach where he often took them when they were young, and also went to see his ex-wife whom he had not seen for many years without the children's knowledge. God knows how excited and expectant he was on this day, but he still guarded his pride as always, arguing with her half-heartedly, and carefully handed over the USB flash drive he specially prepared with the children's video recordings. He wanted her to know how he had diligently raised the children during her absence. Although his ex-wife broke her promise after seeing him, he still invited her family to his boat by coincidence, and had dinner with the children - they ate the fish he caught with his superb fishing skills. Another fisherman, his ex-wife's husband, who was also good at fishing, exposed him and said that all the fish were bought from the market. His last sense of honor was punctured, and his broken marriage experience, the parent-child relationship that could not be honest with each other, and the fact that he could not catch any fish made him sink into the sea with his boat in vain. The only lifeless dead fish caught by his daughter on this trip was actually the fisherman himself. As for the close twin brother and sister (or sister and brother), except for a turtle of the same age as themselves, the memory of their mother has long disappeared. The mother is absent, the father is taciturn, the two are partners, laughing and playing, with a single-parent family history that is not worth mentioning behind them and a useless youth that knows nothing in front of them. They are the brownies that are bitten into the mouth and then spit into the sea in disgust, the broken shells picked up by a five-year-old girl on the beach, and the deflated rubber boat without a shore in the Saronic Bay in the western Aegean Sea. Although they had stopped asking about their mother's whereabouts, when they realized that the woman in front of them was her, they waded across the shallow sea and tried to climb ashore on the boat called mother. The younger sister finally gave the boat ticket to the older brother. She thought that this older brother who liked skirts and nail polish should be more liked by the mother who still had charm. On the last day of summer, with a bright moon hanging high in the sky over the Saronic Bay, one ship set sail and another was fished out.
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