Witness the Rise of Fire & Blood – Watch House of the Dragon on HBO Max!

Welcome to the world of Westeros and the House of the Dragon! Season 1 of the highly anticipated prequel to the iconic Game of Thrones series is finally here. This period drama follows the history of House Targaryen and the civil war that led to the events of Game of Thrones. You can watch House of the Dragon online on HBO Max. Join us as we explore the world of Westeros and House Targaryen with the House of the Dragon.

Exploring the Lore Behind House of The Dragon: A Breakdown of the Targaryen Family Tree

House of the Dragon is the upcoming prequel series to the popular HBO show, Game of Thrones. Set 300 years before the events of the show, House of the Dragon will explore the Targaryen dynasty, a powerful family of dragonlords who ruled Westeros for centuries. In order to understand the Targaryen’s story, it is essential to understand the complex and intricate family tree that has shaped the fate of Westeros.

The Targaryen dynasty began with Aegon the Conqueror, who led his siblings Visenya and Rhaenys to Westeros in a successful military conquest. Aegon and his sisters married each other in order to keep the Targaryen line pure and to secure their power. The Targaryen’s continued to marry within their family for many generations, leading to a complicated web of relatives and relations.

The family tree is divided into two branches: the Blackfyre line and the main Targaryen line. The Blackfyre line was started by Daemon Blackfyre, a bastard son of Aegon IV who was disinherited from his father’s legacy. After Daemon was rejected, he started a rebellion in an attempt to take the Iron Throne for himself. His descendants have since become the main rivals of the main Targaryen line and have caused much turmoil in Westeros.

The main Targaryen line is headed by Aerys II, the Mad King, who was overthrown in Robert’s Rebellion. His son, Rhaegar, was killed in battle by Robert Baratheon. His daughter, Daenerys, is the last known surviving Targaryen, and she is currently ruling Westeros.

The Targaryen family tree is an intricate and complex web of relationships and rivalries. Knowing the history of the Targaryen family is essential in order to understand the events of House of the Dragon, and to appreciate the power and legacy of this powerful dynasty.

How to Watch House of The Dragon in Your Country: A Guide to Streaming Services

If you’re an international fan of the upcoming HBO series House of The Dragon, you may be wondering how you can access the show in your country. With the right streaming services, you can watch House of The Dragon no matter where you are in the world. This guide will provide a comprehensive overview of the streaming services available to you and how to access them.

For fans in the United States, the most convenient way to watch House of The Dragon is to subscribe to HBO Max. HBO Max is a streaming service owned by HBO that provides access to HBO’s library of content, including House of The Dragon. The service is available for a monthly fee and allows users to stream on their laptops, tablets, smartphones, and other compatible devices.

For fans in the United Kingdom, the best way to watch House of The Dragon is to subscribe to Sky Atlantic. Sky Atlantic is a British premium cable and satellite television channel owned by Sky, a European satellite television company. It offers a variety of HBO content, including House of The Dragon. The service is available for a monthly fee and can be accessed through a compatible television, laptop, smartphone, or tablet.

For fans in Canada, the best way to watch House of The Dragon is to subscribe to Crave. Crave is a Canadian premium cable and satellite television service owned by Bell Media. It offers a variety of HBO content, including House of The Dragon. The service is available for a monthly fee and can be accessed through a compatible television, laptop, smartphone, or tablet.

For fans in Australia, the best way to watch House of The Dragon is to subscribe to Foxtel. Foxtel is an Australian pay television company owned by News Corp Australia. It offers a variety of HBO content, including House of The Dragon. The service is available for a monthly fee and can be accessed through a compatible television, laptop, smartphone, or tablet.

For fans in other countries, the best way to watch House of The Dragon is to subscribe to HBO Now. HBO Now is an international streaming service owned by HBO. It is available in over 40 countries and offers a variety of HBO content, including House of The Dragon. The service is available for a monthly fee and can be accessed through a compatible laptop, smartphone, or tablet.

No matter where you are in the world, you can watch House of The Dragon by subscribing to the appropriate streaming service. With the right service, you can enjoy the show in the comfort of your own home.

A Look Ahead to Season 1 of House of The Dragon: What We Know So Far

House of the Dragon, the prequel to the wildly successful HBO hit series Game of Thrones, is gearing up for its season one premiere. Fans have been eagerly awaiting the return to the epic fantasy world of Westeros, and the new series promises to deliver a thrilling journey full of intrigue, adventure, and excitement.

The series will focus on the House of Targaryen, a powerful and noble family that has a long and storied history in the world of Westeros. The series will primarily take place 300 years prior to the events of Game of Thrones, and will feature recognizable characters such as Aegon Targaryen and his sisters Visenya and Rhaenys.

The series will also introduce new characters to the world of Westeros, such as the villainous Lord Corlys Velaryon, the enigmatic Ser Criston Cole, and the ambitious Princess Rhaenyra Targaryen.

The series will explore the Targaryen family’s struggle to maintain control of the Iron Throne and will feature plenty of political intrigue, as the family strives to protect its legacy.

The show will also feature plenty of stunning visuals and epic battle scenes. The series will be shot in multiple locations in the United Kingdom, including Northern Ireland and Scotland, as well as in Spain.

House of The Dragon is set to premiere sometime in 2022. While an exact release date has yet to be announced, fans can expect to be transported back to the world of Westeros sometime in the near future.

Breaking Down the Characters of House of The Dragon: Who’s Who in Westeros?

House of the Dragon, the prequel series to the beloved Game of Thrones, is set to begin production soon and make its debut on HBO Max. The show will focus on House Targaryen, one of the most powerful houses in the Seven Kingdoms of Westeros, and its members will be the central characters of the series. In anticipation of the show, let’s take a look at the characters of House of the Dragon and their roles in Westeros.

The main character of the show is King Viserys Targaryen, the ruler of the Seven Kingdoms. He is the last of the Targaryen dynasty, which has ruled Westeros for centuries. Viserys is a strong and brave leader, determined to protect his kingdom from any and all threats. He is a dragon rider and is closely bonded with his dragon, Rhaegal.

His brother, Prince Daemon Targaryen, is a skilled warrior and a loyal supporter of House Targaryen. He is passionate about battle and is renowned for his skill in the field. He is also a dragon rider, with his dragon being named Caraxes.

The next major character is Princess Rhaenyra Targaryen, daughter of King Viserys and the heir to the throne. Rhaenyra is a strong and determined woman, eager to prove herself as a leader. She is brave and willing to take risks to protect her kingdom.

The fourth main character is Lord Corlys Velaryon, also known as “The Sea Snake.” He is an experienced sailor and commander of the Targaryen’s naval forces. He is a shrewd and calculating strategist, and his loyalty to House Targaryen is unquestioned.

Finally, there is Ser Criston Cole, a knight of the Kingsguard. He is a brave and noble warrior, sworn to protect the Targaryen family and uphold their honor. He is a fierce fighter and a loyal servant of the king.

These characters are sure to be key players in the upcoming series. Together, they will strive to protect Westeros from any and all threats, and to ensure that House Targaryen remains in power.

A Historical Perspective on House of The Dragon: How Does It Compare to the Original Novels?

House of the Dragon is a recently announced prequel series to HBO’s fantasy drama Game of Thrones, which is based on the best-selling novels by George R.R. Martin. The prequel series will be set 300 years before the events of Game of Thrones, and will explore the legendary House Targaryen and its reign over the Seven Kingdoms.

House of the Dragon has been met with great excitement from fans of the series, as well as those who are familiar with the original source material. The series promises to bring a new perspective on the fictional world of Westeros and its inhabitants, which were originally created by George R.R. Martin in his novel series, A Song of Ice and Fire.

Although House of the Dragon is set in the same world and will feature many of the same characters, it will still be a very different experience for fans of the original novels. The prequel series will focus on the early days of the Targaryen dynasty, and will explore their culture, customs, and politics in much greater detail than the original novels. This will include a greater focus on the political machinations of the Targaryen family, as well as their relationships with other powerful families in the Seven Kingdoms.

House of the Dragon will also provide a unique opportunity to explore the House Targaryen’s unique connection to dragons and magical powers. This is something that was only touched on in the original novels, and is a concept that is sure to be explored in much greater depth in the prequel series.

Overall, House of the Dragon will be a very different experience for fans of the original novels. While the series will still focus on the same characters and settings, it will provide a much more detailed look at the Targaryen dynasty and its impact on Westeros. This is sure to be a treat for fans of the original novels, as well as those who are new to the world of Game of Thrones.

Watch Bullet Train 2022 Online at 123Movies – the Best Place to Catch the Action!

Are you looking for a way to watch the upcoming Bullet Train movie? This article will provide you with all the information you need to know about where and when to watch the film. Bullet Train is an upcoming action thriller starring Brad Pitt, Joey King, Aaron Taylor-Johnson, and Lady Gaga. The film is set to release in 2022 and is directed by David Leitch. If you are interested in watching the movie, there are several options available. You can watch Bullet Train on 123movies, Netflix, or in theaters. We will provide you with the details on each of these options, so you can find the best way to watch the movie.

How to Watch Bullet Train Online: The Ultimate Guide

Are you ready to experience the thrilling ride of Bullet Train? If so, you’re in luck. It is now possible to watch this thrilling action-packed thriller online. This guide will provide you with all the information you need on how to watch Bullet Train online in 2023.

First, you need to determine which streaming service you’d like to use. There are several streaming services available, including Hulu, Netflix, Amazon Prime Video, and Apple TV. Each streaming service has its own unique library of movies and TV shows. To watch Bullet Train online, you’ll need to choose one of the services listed above.

Once you’ve selected a streaming service, you’ll need to sign up for an account. Most streaming services require a subscription fee. However, you may be able to find a free trial to test out the service before making a commitment.

Once you’ve created an account and signed up for a plan, you’ll be ready to start watching Bullet Train online. You will need to search for the movie or TV show you’d like to watch. On most streaming services, you can use the “search” function to easily find the movie or TV show you’re looking for.

Once you’ve located the movie or TV show you’d like to watch, you’ll need to click “play.” Depending on your streaming service, you may have the option to rent or buy the movie or show. If you’re renting, you’ll need to pay a fee and then have access to the movie or TV show for a limited amount of time.

Now that you know how to watch Bullet Train online, you’re ready to enjoy this exciting and thrilling action-packed movie. Just make sure to select the right streaming service and plan, and you’ll be set to start watching in no time. Enjoy the ride!

Where to Find the Best Deals to Watch Bullet Train 2022

Finding the best deals to watch Bullet Train 2022 can be a daunting task. Fortunately, there are a few reliable sources that can provide discounts and specials on tickets for this highly anticipated movie. Here are some of the best ways to find the best deals on Bullet Train 2022 tickets.

First, it’s important to check the website of the movie’s distributor. Many times, they will offer discounts or special deals on tickets to the movie. Be sure to keep an eye out for any new offers or deals that may be available.

Second, it’s a good idea to check with your local movie theater. Many movie theaters offer discounts or special deals on tickets for upcoming movies. Ask about any discounts or special deals that may be available for Bullet Train 2022.

Third, search for online coupons or voucher codes. Often times, websites like Groupon or LivingSocial offer discounts on movie tickets. These can be great deals if you’re looking to save money.

Fourth, look for discounts from your cable or satellite provider. Many providers offer discounts on tickets to select movies in their packages. Ask your provider if any discounts are available for Bullet Train 2022.

Finally, keep an eye out for special offers from movie streaming services. Many streaming services offer discounts or special deals on tickets to select movies. Look for any special offers that may be available for Bullet Train 2022.

By taking advantage of these five tips, you can find the best deals to watch Bullet Train 2022. Be sure to keep an eye out for any new deals or discounts that may be available. With a little bit of research, you can save money and enjoy this highly anticipated movie.

The Pros and Cons of Watching Bullet Train at 123Movies

Watching Bullet Train at 123Movies has its advantages and disadvantages. On the one hand, 123Movies is a convenient platform that allows users to stream the movie free of charge. Furthermore, the website is easy to navigate and can be accessed from any device. On the other hand, there are a few downsides to using 123Movies that should be considered.

The first disadvantage is that, since 123Movies is a free streaming service, all of the content is pirated. As a result, the quality of the video and sound is often poor, and the subtitles may be inaccurate or out of sync. Additionally, there is no guarantee that the content is legal, or that it will stay up on the website for any length of time. In other words, there is no guarantee that the movie will be available when a user decides to watch it.

Another downside to using 123Movies is that it is filled with advertisements, pop-ups, and other distractions. This can take away from the viewing experience and make it difficult to concentrate on the movie. Additionally, the website may contain links to malicious websites that could potentially infect a user’s device with malware.

In conclusion, while watching Bullet Train at 123Movies can offer convenience and accessibility, there are some drawbacks to consider. Users should be aware of the risks associated with using 123Movies and take appropriate precautions to protect their device from malicious websites and viruses.

How to Stream Bullet Train in HD: What You Need to Know

Streaming Bullet Train in HD is an easy process. In order to do so, it is important to first understand the necessary requirements to set up the streaming.

First and foremost, you will need a compatible device with a high-speed internet connection. This could be a laptop, desktop, or mobile device. Additionally, you will need a streaming service that supports HD streaming, such as Netflix or Hulu.

Once you have a compatible device and streaming service, you can begin the streaming process. To begin, you will need to select a server with sufficient speed and bandwidth. This will depend on the quality of your internet connection and the size of the file you are streaming.

Next, you will need to choose the video quality. HD streaming requires a higher quality than standard streaming, so you should choose an HD stream if available.

Once you have selected the quality, you will then be able to start the stream. However, it is important to ensure that your device has enough RAM to support the streaming process. If not, it could cause the stream to buffer or freeze.

Finally, make sure you have a good set of headphones to enjoy the best audio quality. This will ensure that you get the most out of your streaming experience.

Streaming Bullet Train in HD can be an enjoyable experience, but it is important to take the necessary steps to ensure a smooth streaming process. By following these guidelines, you can ensure that you get the most out of your streaming experience.

What to Expect When Watching Bullet Train: A Comprehensive Review

The Bullet Train is one of the most iconic forms of transportation in the world. It is fast, efficient, and reliable, and it has become a symbol of modernity and progress in Japan. But what is it like to actually experience a ride on the Bullet Train? This comprehensive review will help you understand what to expect when you watch a Bullet Train in action.

First, you will be impressed by the sheer speed of the train. The Bullet Train can reach speeds of up to 320 km/h (200 mph), making it one of the fastest forms of transportation in the world. You will be amazed at the smoothness of the ride, as the train glides through the countryside without any jerky motions or sudden stops.

Second, you will be impressed by the efficiency of the Bullet Train. The train is able to make frequent stops at various stations while still maintaining its high speed. This allows you to get to your destination quickly and efficiently. Additionally, the Bullet Train is often able to make up time if it is running late, so you can be sure to arrive on time.

Third, you will be impressed by the comfort and convenience of the Bullet Train. The spacious and comfortable trains are equipped with plenty of amenities, such as restrooms, food stands, and Wi-Fi. Additionally, the trains are designed to be accessible for passengers with disabilities.

Finally, you will be impressed by the safety of the Bullet Train. The Bullet Train is equipped with advanced safety features, such as anti-derailing technology, which helps to prevent accidents. Additionally, the train is monitored by a sophisticated network of sensors, cameras, and computers, which helps to maintain a high level of safety.

In conclusion, watching a Bullet Train in action is an amazing experience. You will be impressed by the sheer speed, efficiency, comfort, and safety of the train, making it one of the best forms of transportation in the world.

So what now?

The best way to watch Bullet Train 2022 is to look for it online. 123movies is a great resource for watching movies online, and they have Bullet Train available for streaming. It can also be found on other streaming services like Netflix and Amazon Prime Video. Watching Bullet Train online is a great way to enjoy the action-packed movie.

‘Bull’ Movie Review: Vengeance to Betrayal

In this movie review, Paul Andrew Williams’ first theatrical picture since 2012’s Song for Marion – which was nothing if not an unexpected departure in direction for the director – returns to the ultra-violent crime fodder for which he is best known. Bull succeeds because to its lean pace, unusually brutal violence, and a top-notch performance by genre veteran Neil Maskell. Williams doesn’t waste any time getting right to the point, with former gang enforcer Bull (Maskell) coming from a decade in exile and systematically killing those who placed him there, working his way through a crime syndicate in search of his kingpin father-in-law Norm (David Hayman). Bull’s ultimate ambition, though, is to reunite with his estranged son Aiden, whose life has been destroyed by his junkie ex-drug wife’s addiction.

Bull’s first scenes show Bull brutally murdering several of Norm’s accomplices who were responsible for immobilizing Bull a decade previously and sending him to “Hell,” as he puts it. Both Bull’s conduct and Williams’ description are merciless in their savagery, but the real takeaway is the nerve-wracking horror with which Bull’s many victims regard him. They’re horrified that he survived such an egregiously devastating catastrophe ten years ago, and they’re well aware of the impending devastation.

It’s good to watch a movie so un-sentimental and practical in its presentation of violence, whether Bull is chopping a man’s arm off and cauterising it on a stove or taking a target for a demented ride at the fairground. Bull is on a hell-bent spirit quest to deconstruct everyone who has ruined his life, whether they are women or have settled down with children. Bull is a very basic crime yarn outside of the brutality, as the main character chases the blood-soaked crumbs to his end-boss father-in-law. Other genre aspects are present in the film’s periphery, the full amount of which is revealed only in the third act, however some may believe that this part is introduced too late to be successful or taken seriously.

Maskell, who has been an extremely intense presence in British filmmaking since Kill List ten years ago, is the one who keeps the movie together at all times. Maskell portrays a silently scary death merchant, and phrases like “I’ll cut you from bollock to arse” hit with terrifying dread. Veteran actor David Hayman is a gravel-voiced pleasure, prone to switching from joviality to sociopathy at a moment’s notice, as is his antagonist routine.

Williams’ technical presentation is strong throughout – particularly his reliance on powerful close-ups of Maskell’s face – and is complemented by James Taylor’s fast editing, which keeps the film’s runtime to a manageable 88 minutes. Due to the lack of visual cues distinguishing each time period, the continual cross-cutting among past and present might be perplexing at times. The locations portrayed throughout have such a day-to-day dullness about them that helps to anchor and realize the plot, which is especially vital later on.

Bull doesn’t really say anything new or unusual about the hollowness of retribution, but its third act parlour trick should at the very least spark some discussion and prompt those who loved the experience to rewatch it through a different perspective. Audiences couldn’t be blamed for finding the film’s late-film twist startling. Bull’s highly disciplined pacing, gut-wrenching brutality, and a typically riveting Neil Maskell performance balance out its conventional trappings – and a sure-to-divide ending.

Movie Review: Every Last One of Them

Every Last One of Them is a fairly provoking title for an action movie, and when you read the plot synopsis and see Richard Dreyfuss’ name on the poster, you could be forgiven for thinking that the actor formerly known as Matt Hooper from Jaws has decided to enter the realm of the older, past-their-prime star struggling to make it in straight-to-DVD action/revenge fodder à la Liam Neeson.

Thankfully, this is not the case, as while Dreyfuss is prominent in Every Last One of Them, he is not the main character. However, the film does play on the same themes as the majority of the fathers-out-for-vengeance genre, which has become a godsend for elderly actors looking for a fast buck. To be fair, Dreyfuss and Michael Madsen – the other notable name in the main cast – are the faces that draw you in, but Paul Sloan is the one who does the bulk of the work.

Sloan plays Hunter, an outsider in a little hamlet that appears to be ruled by the ruthless Nichols (Jake Weber), the leader of a top-secret security firm. After an altercation at one of Nichols’ bars against his son, Hunter becomes the target of Nichols’ rage. We learn why Hunter is in town and why Nichols shouldn’t underestimate him as Hunter lives up to his name and tries to take out everyone who has offended him.

And what role does Richard Dreyfuss play in this? He appears as Hunter’s former CO Murphy – because when you think of commanding officers in the special forces, Richard Dreyfuss is almost certainly the first name that comes to mind – and is tasked with the unenviable task of trying to talk his former soldier down and avoid slaughtering everyone – we’ve all seen this before, right? May this action can be watching movie online? Lets waiting for it.

Yes, and to add some narrative flesh to the bone, there’s a hazy sub-story about a multi-billion dollar water transaction that appears to be going sour that’s woven in to raise the stakes, but nobody cares, least of all Hunter, who simply wants vengeance for his lost daughter. Oh, and Michael Madsen appears in a flashback scene as Hunter’s friend who gives his drug-addicted daughter Melissa some sound advice, and for all the good he does, he might as well not have appeared at all because his presence adds nothing to the proceedings and Melissa goes down a dangerous path anyway.

But we came for the bloodshed, and that’s exactly what we got. According to reports, it took four writers to come up with a story about a vengeful father shooting people (and don’t forget about the water deal), which is at least three more people than it took to color grade the film. One more notch down the color spectrum and Every Last One of Them would be black and white. Everyone else is either chewing the scenery (Taryn Manning as Nichols’ sister Maggie) or showing up, reading their lines, and waiting for the banks to open so they can get that pay check in (Dreyfuss). But, let’s face it, who comes to see this for the acting?

When it boils down to it, Every Last One of Them is a low(er) budget knock-off of Rambo: Last Blood that, depending on your tolerance for such things, you should either avoid or endure – literally – because, despite its fundamental concept, the action never goes beyond merely being sufficient. That may be enough for some, as it is only 80 minutes long and provides a quick fix of gun-toting one-man-army revenge. However, with four writers, two star names among a fairly strong cast, and some, at best, well-staged action set pieces, it should have been much more, with not even the killer final scene preventing the whole experience from being a little underwhelming.

‘Bruised’ Review: A Story of Powerfull Fighter Woman

Bruised, Halle Berry’s feature directorial debut, premiered as a “work in progress” at the 2020 Toronto International Film Festival. It was taken up by Netflix with the intention of completing the picture as closely as possible to Berry’s original vision. The finished picture has opened at yet another film festival, the 2021 AFI Fest, with its reveal in Hollywood tonight, more than a year later. It will premiere in select cinemas on Wednesday, followed by a week later on Netflix.

In the end, there’s no doubt that Berry has poured all she’s got into this one and come out on top, not only acting-wise but also behind the camera, as you’d expect from the Oscar-winning star of Monster’s Ball. She expertly navigates a female-driven drama about a disgraced MMA fighter attempting to claw her way back to the top while piecing together the shards of her shattered personal life. This is a genre that was previously dominated onscreen by men, so despite the flaws of an overlong film that tries to cram too much story into a two-hour, 15-minute runtime, it’s refreshing to see it presented from a female perspective — not just with Berry in the director’s chair and as the lead character, but also with screenwriter Michelle Rosenfarb, who came up with the idea for the film, which was originally written for a 21-year-old.

When Berry got her hands on the script, she knew she’d have to make some significant changes in order to play it as a middle-aged Black woman. For the main character, Jackie Justice, who was kicked out of the ring years ago due to a controversy, it takes on a new level of seriousness. Her life falls apart, but her lover, Desi (Adan Canto), finds an opportunity to force her back into an underground fight, a terrible one, which turns lucky when Immaculate (Shamier Anderson) sees potential to bring her back into the spotlight and back into the Octagon.

When Manny (Danny Boyd Jr.), the kid she put up for adoption as a baby, reappears in her life, complications arise. His appearance merely adds to her own self-doubts about the meaning of parenthood and duty. He is now a soulful young kid who does not speak. The story then shifts its focus between fights in and out of the ring, including Jackie’s intense conflicts with her mother Angel (an excellent Adriane Lenox), Desi’s growing problems, and a complicated relationship with trainer/coach Buddhakan (a stunning Sheila Atim) that turns romantic and complex, forcing Jackie to confront her long-buried feelings. One thing this drama movie has in common with so many other boxing movies is that it all boils down to, ahem, a brutal fight in the ring at the end.

Berry, who wowed audiences when she kicked ass in John Wick 3, has earned her action stripes, proving convincing and capable as an older, washed-up MMA fighter who tries to prove she can still do it against all odds. You’ve got to hand it to Berry. She adds a rich, three-dimensional turn as a lady who emerges from her previous mistakes to take stock of herself and change her life around. Berry is keenly aware of a strong role when she sees one, and she definitely sought to safeguard it by stepping into the director’s chair. What she lacks in subtlety in some instances, she makes up for with sheer determination to pull it off in the first place.

Among the rest of the ensemble, UFC Women’s Flyweight Champion Valentina “Bullet” Shevchenko, who makes for a good opponent as Lady Killer, and the sheer all-pro presence of Stephen McKinley Henderson as Pops, the calm voice of experience as she trains, kept me extremely engaged.

In terms of output, With professional editing from Jacob Craycroft and Terilyn Shropshire, as well as precise lensing from Frank G. Demarco and Joshua Reis, Berry put herself in good hands. There are nine producers and 12 executive producers listed, implying that it took a village to get this movie made. Berry aficionados should rejoice. So, you can watch this on 123Movies after you read this movie review.

Spencer: Princess of Wales’ Story [Movie Review]

The movie is telling us about Diana, Princess of Wales, who tries to cope with traditions and expectations throughout the course of three days spent at Sandringham estate over Christmas. The news that Pablo Larran would be directing a biopic about Diana, Princess of Wales was a significant thing for Pablo Larran fans. With a strong precedent in 2016’s Jackie demonstrating Larran’s ability to tell “true stories” movie the prospect was enticing, and it became even more so when other names were attached, including Peaky Blinders creator Steven Knight authoring the script, cinematography by Claire Mathon (Portrait of a Lady on Fire, Atlantics), and creators including Toni Erdmann director Maren Ade. Spencer seemed like it could be a very personal project, or at very least, an intriguing one, on paper, especially with Kristen Stewart cast in the lead role. Thankfully, the movie does not let you down.

There are many wonderful aspects to the picture, including Mathon’s superb photography, but it’s easy to pick out the two best aspects. Stewart is a sight to behold as Diana, not least because she is playing a role who is so unlike the quiet, introvert we are used to seeing her play. Diana possesses such traits, but there is something about her enthusiasm and eagerness to speak honestly, even openly, to anyone and everyone that suggests her extroverted personality. This is one of the things that makes Stewart’s character interesting to watch, and she knows precisely what she’s doing. The film’s score, composed by Jonny Greenwood, is the film’s second highlight. The combination of short, repetitive harpsichord runs and dreamy strings creates a tone that is both regal and passionate; another another paradox that the picture revels in.

Of course, Diana is rarely alone, and the encounters are tumultuous. Diana has several very enjoyable discussions with either Charles or William, both of whom appear to have grudgingly embraced the load that Diana cannot. There are also fantastic movie, though not entirely convincing, therapy sessions with supporting characters played by Sean Harris and Sally Hawkins, allowing Knight to stretch his creative legs to good effect. The use of Timothy Spall’s man-in-the-background-cum-cartoon-villain, who wields a sinister power over Diana, however, undermines all of this.

The end result is a picture that is enthralling, emotional, and informative. However, it does feature a few genre cliches as well as fundamental structural tricks, which you’d expect from Anthony McCarten (Bohemian Rhapsody, Darkest Hour) rather than Knight. The script cleans up the story, making it feel more satisfactory and sanitized, which contrasts with Larran’s style, which is typically more impassioned and less tidy. The song playing in the background could just as well be Queen’s “I Want to Break Free” as Diana races away into freedom with her sons in tow (although as it happens, the musical choice is another uninspired and heavily cringy choice). It’s a distinctly Hollywood conclusion to a picture that feels like it’s vying to be an auteur’s vision.

Spencer lacks the kinetic energy of Larran’s previous works; it fails to portray Ema’s breath-taking attack or Jackie’s drowning emotion. The picture does constrain the director by prioritizing a decidedly remarkable central performance. Emotion overflows over the sewn-together curtains of what could have been an unremarkable film on the few occasions Larran’s creative instincts surface (see 2013’s Diana for details), delivering a peek of the violent tempest simmering within. These are the moments that elevate Spencer from a solid biopic to something truly remarkable.

Review of Shang-Chi and the Legend of the Ten Rings

When the Marvel Cinematic Universe uses its tremendous power to run a manufacturing line, it’s telling. It’s just as telling when one of their projects has a truly personal spark to it, allowing franchise values like amazing spectacle, spectacular performances, and intricate family portraits to triumph. “Shang-Chi and the Legend of the Ten Rings” is the latest entry in this category, following in the footsteps of earlier Marvel films that offered a vision and became standards: “Captain America: The Winter Soldier,” “Black Panther,” and “Thor: Ragnarok.” This film, directed by Destin Daniel Cretton, fits into the Marvel universe in its own way, but it has a soulfulness that other MCU films, superhero films, and action films in general can learn from.

Shang-Chi, played by Simu Liu, is a critical piece of a fractured family with a history of infighting. The ten rings that confer such great power to Shang Chi’s power-hungry father Wenwu, who has lived for 1,000 years and founded a society known as the Ten Rings that has destroyed kingdoms and manipulated events all across the world, are even more essential than the dysfunctional family relations. There was serenity when Wenwu fell in love with Jiang Li (Fala Chen). They tied the knot and began a family. However, once Shang-mother Chi’s died, a newly hideous Wenwu attempted to mature his son by turning him into a murderer, prompting the young boy to abandon his sister Xialing (Meng’er Zhang) and Wenwu. Cretton, who directed “Short Term 12,” an Avengers-style exhibition of indie emerging talent (Brie Larson, LaKeith Stanfield, Rami Malek, and others), preserves the visceral, human stakes in this script (by himself, Dave Callaham, and Andrew Lanham), such that the superhero background is a bonus to the drama. The picture is a lavish dance that glides and hovers over a chasm of sadness.

When Shang-Chi, now an adult in America, rides the bus with his companion Katy (Awkwafina) up and down the hills of San Francisco, this narrative emerges. A gang of thugs attacks Shang-Chi for a green pendant he wears around his neck, and Shaun’s incredible bravery is revealed in a beat that’s prefaced like a power-up (much to Katy’s amusement). So do his fighting talents, which contribute to an astonishing melee scene of hand-to-hand combat in which the camera roams freely in and out of the rolling bus, much like its impromptu hero. The sequence lacks yowch-factor (especially when contrasted to how “Nobody” executed the same thing with appropriate blood earlier this year), but it compensates by being fast-paced, even longer than you expect, and extremely humorous. It’s the birth of an action star in Liu, and an incredible debut for a character who will be thrust into escalating battle scenes in this film.

However, the strength of this picture comes through from the vision of his father, Wenwu. One of the film’s most creative moves is casting Tony Leung in order for him to recreate the same magic he’s had in countless Hong Kong romances and dramas. This film belongs to Leung. Leung destroys armies, raises a family, and struggles to resist dangerous grief with the same silent passion and stillness that made “In the Mood for Love” one of the greatest romances of all time; his presence is made all the more powerful by the ten blue rings that help him catapult around and destroy whatever is in his path. When he hears what could be his wife’s voice from behind a rock, Wenwu transforms into a Darth Vader-like tyrant, leading a rampage through the mother’s magical home, Ta Lo, in order to reach a cave that everyone else (including his son and daughter) knows contains an apocalyptic, soul-sucking dragon. Because the fury and anguish it portrays are suitably Leung-sized, it’s the greatest performance from the Marvel Cinematic Universe.

That doesn’t seem like a mistake that a major Hollywood movie tentpole built on character-based kung fu has spawned such elaborate battle scenes, and it just adds to the film’s freshness. When it arrives to orchestrating a fight set-piece that surprises the viewers (like a jaw-dropping, way-up-high especially at night battle royale on some scaffolding in Macao), Cretton and his team frequently play with height, light, reflections, and staging), and then foregrounds the choreography as the main spectacle; it’s not just about who is throwing the punches and kicks. Several beats in these sharply edited sequences blasted me out of my chair, an unintentional filmmaking nerd response I’ve had to similar films that inspired this one: “Skyfall,” “The Grandmaster,” to name a few.

All is Forgiven, It’s a Happy Ending Story?

A successful film producer (Louis-Do de Lencquesaing) finds himself in grave financial problems in Mia Hansen-second L0ve’s feature-length film, “Father of My Children” (2009). His family is unaware of his secret. He is doomed to failure. The film is a psychological study, dramatic without being overbearing, and Hansen-approach L0ve’s is non-pushy. “Father of My Children” was the first of her films to gain international acclaim, and even after multiple viewings, it remains a riveting watch. It’s hard to imagine Hansen-L0ve, who wrote and directed the picture, was only 27 years old at the time.

Hansen-directorial L0ve’s debut, “All is Forgiven,” was made when she was only 25 years old, and came before “Father of My Children.” Until today, “All is Forgiven” had never been distributed in the United States. Hansen-L0ve has established himself as one of the most intriguing directors working today, with films like “Eden,” “Things to Come,” “Maya,” and this year’s “Bergman Island.” “All is Forgiven” gives us a glimpse of her at the outset of this trip, and it’s amazing to see her style and artistic tendencies already in place and in full force.

“All is Forgiven” is a drama film that begins in Vienna in 1995 and finishes in Paris in 2007. It follows Victor (Paul Blain), his partner Annette (Marie-Christine Friedrich), and their six-year-old daughter Pamela through their lives (Victoire Rousseau). Victor is French, but Annette is Austrian, and they have chosen Austria as their home base for reasons that will only become evident over time. Or Annette has made a decision because Victor makes a habit of not making any decisions.

Victor has a captivating demeanor and a twinkle in his eye; when he looks at people, he appears open and curious. In the original flirting connotation, the expression is almost “come-hither.” This is an intriguing choice, however it does not appear to be Victor’s conscious choice (but maybe it is, maybe by projecting “come hither” at everybody in his vicinity Victor avoids facing the void within). Hansen-wheelhouse L0ve’s is these various possibilities, and it’s present even at the tender age of 25. Blain’s face, his reactions, his underlying thoughts, and his observing outsider attitude are all scrutinized by her camera. Victor’s reluctance to leave is an undertone, a default emotional state that is never defined or even spoken. We’re just getting a sense of how this guy works and how he navigates the environment.

Victor’s charm is no longer effective on Annette, especially since he appears resolved to achieve nothing with his life. He spends the entire day sitting. He mentions “writing” only in passing. He is a drug addict. He’s a chronic underachiever. “Why do you want everyone to believe you’re a loser?” Annette asks, exasperated. Victor’s drug use increases after the family returns to Paris. With Annette, he is violent. Pamela, a young girl, is there to watch it all. He moves in with another drug addict when Annette kicks him out. Victor confides in his sister Martine (Carole Franck) about his worry and depression, yet he does it with a glint of charisma in his eyes. Is he looking forward to the real thing? Is he simply a slacker? Is this something that only junkies do? He is smitten by Annette and Pamela. What’s the deal with this guy? “For me, producing films is about questions, not about answers,” Hansen-L0ve remarked in a 2016 interview with Indiewire. I suppose if I had the answers, I wouldn’t have needed to write the movie at all.”

A startling title card appears halfway through the film: “11 Years Later.” (The other title cards, such as “Back in Paris,” “One Month Later,” and so on, are more manageable.) “All is Forgiven” skips forward almost a decade without warning. Annette and Victor have divorced, Annette has remarried, and Pamela (now played by Constance Rousseau, Victoire’s real-life older sister) is a college student with only hazy memories of her father. Martine, whom Pamela has forgotten, contacts Pamela in the hopes of arranging a family reunion. Victor is currently in Paris. He is not as “ill” as he once was. He desires a connection with his daughter.

What is it about Hansen-work L0ve’s that appeals to you so much? I believe it varies from person to another. Her writing awakens in me what John Keats referred to as “negative capability,” which is incredibly rare in humans (then, now, or ever). Negative capability, according to Keats, is when “man is capable of remaining in uncertainties, riddles, doubts, without any irritated seeking for fact and reason.” It’s typical to discuss how polarized our world is at the moment. Yes. However, every era has its polarizations, and humans may be drawn to sharp contrasts. All the good stuff happens in between—all those “uncertainties, riddles, misgivings,” all those trips home, or walks to work, or walks through a park with a parent you’ve never met. That is where art may be found. It takes a special kind of maturity to recognize that at the age of 25, as Hansen-L0ve did.

‘Violet’ Review, a Vast Discrepancy

Violet appears to have it all from the outside. She is attractive, stylish, and exudes a serene confidence. In her booming profession as a movie production executive in Los Angeles, she is respected and adored. And she shares an amazingly cool mid-century modern building in the hills with a longstanding man friend—a charming and handsome screenwriter.

But she tells herself—or rather, “The Committee” tells her—a different story. Every decision and conversation is criticized and questioned by the voice, which purrs menacingly and sadistically. She’s a pig, to be sure. She’s getting in the way. She’ll fail miserably. She isn’t supposed to be here. And she is unworthy of happiness or intimacy.

The underlying issue in writer/director Justine Bateman’s feature filmmaking debut, “Violet,” is this vast discrepancy. The former ’80s comedy star certainly has something personal and searing to say as she transitions from front to behind of the camera. Her film will undoubtedly strike a chord with many people who are plagued by nagging voices in their heads. Olivia Munn gets the chance to show off her theatrical ability as the title character, which we haven’t seen her do before. However, the depiction of Violet’s profound fears has so many layers of overdone, relentless style that it feels like overbearing clutter, preventing Munn’s performance from shining through as effectively as it could.

Violet’s more emotional, vulnerable thoughts are frequently shown in the form of white cursive sentences scrawled over the screen, in addition to the voice (Justin Theroux, dripping with deep malice and sarcasm). They’re her wordless cries to herself and to the rest of the world: “Do you think there’s a problem with me?” “I don’t know who I am anymore,” she says. “Please do not leave.” When the stress of a scenario becomes too much—a work meeting, or drinks with a friend—a low hum becomes a loud roar, and a crimson wash washes the screen, drowning everything out and numbing her agony. “There,” the soothing voice says. “Doesn’t that sound better?”

As if it wasn’t enough, Bateman peppers the film with brief flashes of violent and disgusting imagery. From the beginning, we are greeted with a rapid-fire montage of automobile collisions, explosions, glass shattering, and animals rotting. This stunning artistic choice immediately sets us on edge and foreshadows the type of hyper-stylized film “Violet” will be. However, Bateman later undermines herself by inserting quick flashes of this type of imagery in the middle of a discussion to represent Violet’s construction obsession. Cutaways can be awkwardly literal, such as a fighter being punched in the face. As a result, Bateman detracts from the natural drama or honesty that she had established in that moment. Finally, a flashback to a happier period in Violet’s life—riding her bicycle as a youngster in Michigan, smiling with the sun and wind in her hair—appear and play over and over on whatever surface is available, whether it’s the inside of a tunnel or her bedroom wall, like a home movie. This is again another method Bateman employs far too frequently, and at times that appear to be arbitrary.

This method is fascinating for the first half hour or so, but as Violet navigates a succession of exceptionally stressful days, both personally and professionally, it quickly becomes monotonous and tiresome. Munn expertly conveys her character’s simmering panic, as well as how that pain contrasts with her calm façade. She’s frail and twitchy, and at Hollywood events, you can feel her forcing grins in between air kisses. The tense strings of Vum’s score heighten the anxiety she’s feeling.

However, the supporting characters who may have developed out her character beyond her uneasiness and doubt are just sketched on the surface. As her hunky roommate and potentially more, Luke Bracey is far too good to be true; he’s unlikely to be so perfect, still unmarried, and not a blatant player. Violet’s best friend, Erica Ash, is locked in an old cliche as a Black woman with no life whose entire job appears to be turning up for drinks and listening to this woman’s troubles.

As if facing and taming the character’s inner demons wasn’t enough of a task for one film, Bateman also throws in a Harvey Weinstein-inspired subplot, with Violet experiencing humiliations and indignities at the hands of her sleazy, violent boss (Dennis Boutsikaris), the company’s founder. Bateman has worked in the industry for much of her life, so the story she’s presenting has a lot of reality to it. If only she’d just let it stand on its own.

Apex, A New Sci-Fi Movie of Bruce Willis

Apart from being an iconic action hero, Bruce Willis has been in a number of noteworthy sci-fi films, with The Fifth Element, Looper, and 12 Monkeys all becoming genre-defining classics in their own right. Willis has been busy lately, with projects like Midnight in the Switch Grass and Survive the Game among them. Unfortunately, the final outcomes were varied, or at best, average. However, Edward Drake’s Apex, also known as Apex Predator, places Willis in a position that deprives him of his former splendor, culminating in a science fiction thriller that is dull and derivative in plot and execution. Apex is a stupendously uninteresting, pathetic ghost of what a gritty Bruce Willis action film may have been, stretched out mindlessly to pad the length.

Apex begins in the middle of a hunt, with a gang of hunters hunting a man through the forest’s depths. When one of the hunters kills the victim, billionaire Samuel Rainsford (Neal McDonough) collects the man’s head as a personal trophy. Because of a crackling transportation technology and the presence of West (Alexia Fast), who only emerges in holographic form throughout the film, the visual cues imply that the events of Apex are place in the future right away. Apex is described as a shadow entity separate from the “actual” world that hosts games on a private island in which hunters are allocated a prey that must be slain within a certain amount of time. When West is hired as a gamekeeper at Apex, she is seeking for a challenging prey for the next game when she learns about ex-cop Thomas Malone (Willis), who is now imprisoned for a crime he did not commit.

Malone is introduced as a guy who has eluded death through almost supernatural means, demonstrating a tenacious will to survive against all circumstances. Despite initially rejecting West’s offer, he eventually agrees to take part in the hunt since he is promised that if he wins, he will be set free. As the game begins, six hunters gather at the cabin to debate tactics for overwhelming their prey while underestimating Malone’s ability to survive. Rainsford, of course, is one of them, and the others are scared of him because of his cold-blooded attitude toward life and his brutality in claiming his trophies. The hunters enter the arena separately after being given access to cutting-edge weaponry by West, but things quickly turn nasty when they start turning on each other owing to personal ego, deep-seated grudges, or a simple lack of human decency.

While Apex’s premise appears to be very generic, the plot could have been a springboard for a spectacular action thriller, assuming that the film contains all of the necessary pieces to make it work. Malone is seen idly walking around in the forest, listening on the hunters’ talks and tripping on radioactively altered berries without a care in the world, in a perplexing narrative shift. This decision drastically changes the tone of the picture, as the excellent opportunity to feature Willis is squandered in favor of inane arguing among the hunters, who stab, pummel, and blow each other up without provocation, making it much easier for Malone to make it to the finish.

Malone, on the other hand, is a non-entity throughout Apex, doing little except near the end, which falls flat when compared to the build-up. Although McDonough’s character is set up to fail during his big showdown with Willis’ character in the end, he is fearsome as the vicious Rainsford, establishing an aura of ominousness with perfection. The language is heavy-handed and absurd at points, with the refrain “I’m an apex warrior!” being repeated to exhaustion, and the action sequences, while well-done, are neither compelling nor credible in a visual sense. Apex’s world-building is given insufficient care, and the sci-fi portion of the picture appears to be an afterthought rather than a driving force, resulting in a dismal, mediocre letdown.