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Most of my articles are usually inspired by a pseudo-existential question regarding cinema I ask myself—unless I have seen a movie and want to express my feelings about it with an opinion. A few days ago, scrolling through Instagram, I came across a reel that showed how easy it is to create a film scene with AI in just a few minutes. Honestly, the images seemed to belong to some seventh art's mast

Hello Peliplaters! I hope my title didn't scare you 😉 Stories featuring murderers as protagonists come out every year, but this year has been particularly abundant, with several hits dominating the trending charts for weeks. Netflix released Hit man mid-year, featuring university professor Gary Johnson, who transitions from an "amateur fake hitman" to an actual murderer—generating significant buz

Depois de mais de oito horas maratonando Cem Anos de Solidão, posso dizer com segurança que escolhi essa série como a melhor de 2024! No entanto, enquanto assistia, me vi passando pelo mesmo desafio que enfrentei ao ler o livro: os relacionamentos labirínticos dentro da família Buendía. A rede de conexões entre os descendentes de José Arcádio Buendía e Úrsula Iguarán parece impenetrável, e fica ai

I thought I wouldn’t have to, but here we go… I will start saying this: I am not a Sci-Fi guy. While I do respect the Star Wars franchise, withstand massive admiration for Lord of The Rings, and certainly appreciative of Harry Potter’s precision; I’ve never been akin to these type of movies (with the exception of The Empire Strikes Back ,1980 and Return of The Jedi, 1983). All of this to say that

Reflecting on my 2024 movie-going experience, I have discovered a fascinating connection between two new films. One is Foreign Tongue(original: Langue Étrangère), the latest work by French filmmaker Claire Burger, a French-German co-production that was selected for the Berlinale Competition this year. The other is Happyend, the impressive narrative debut feature by Japanese-American director Neo S

We all have that guilty pleasure in our cinematic tastes, that one title we’d rather not admit to in front of discerning cinephile friends. For me, that guilty pleasure is What Women Want. Yes, the 2000 romantic comedy directed by Nancy Meyers, starring Mel Gibson and Helen Hunt. And before anyone judges me, let me explain how a man raised on explosions, car chases, and epic one-liners from Lethal