Pop bands that play more or less in semi-fictional movies aren’t new: The Beatles starred in “Help!” And a “hard night” in the mid-’60s, the Monkees were in “head” in 1968.
Now K-pop boy band P1Harmony has become a magnet for a sci-fi feature that explains how the six members acquired superpowers in a world overrun by a deadly virus. Yes, this is K-pop meets the end of the world. And “a new world begins” (sometimes called “the beginning of a new world”) is much better than it should be.
The premise is that drones carry slippery worms that penetrate people’s bodies and root out their emotions, leaving only fatal impulses – victims essentially become rampaging killers, with surprisingly devastating results.
The story begins in a shattered Seoul, and the director, Yoon Hong-Seung, proves his strength in great action scenes – the first half hour is as well made, if not more, like most wham-bam sci-fi movies you can do. stream now.
Then we move on to what seems like a completely different story that follows a disparate group of people played by the band members. The change is annoying (hint: it includes different timelines) but in the end the movie starts to make it look a little weird until the crazy ending I’m still trying to parse. Everything is somewhat unique, to say the least.
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In this film from Uruguay, “Disasters” affected people’s vision in such a way that they only see shades of gray – they are already color-blind. And if you want to know exactly what happened during those disasters, devoid of the usual synopsis, “Gray Eyes” might not be the movie for you. This is allegorical science fiction, like “Blindness” or “Children of Men” (okay, not as good as those, but you get the drift), and the core plot of the plot points is secondary.
Somewhat ironically, given the subject matter, the Santiago Ventura movie is visually stunning, with spots of color appearing in the black and white photos. This is not a new trick, but it is being used effectively here, especially since the scenery is amazing.
And we see a large part of it, as there is a road movie element for “Gray Eyes.” Young Anna (Cecilia Milano) and her mother-in-law Zita (William Prociuk) and Jutta (Rafael Solyoda) ride on a carriage carrying a bag full of a synthetic drug that allows those taking it to see colors. Needless to say, these pills are highly addictive and highly desirable, including by less-than-tasty personalities.
It’s not always easy to follow the movie, so it’s best to turn off the rational part of your mind and move on with the journey – although describing it as a journey might be more accurate.
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French actress Nora Arnesider has a slightly opaque and opaque presence not unlike Kristen Stewart. This makes it an asset in genre films because it disrupts the flow of action through often silent line readings, or by making you wonder what you might be blocking. Such was the case in Army of the Dead, where she played Coyote/Scout Lilly, and this is what happened again in Tim Fellbaum’s “Colony”.
Arnezeder plays the main role of Blake, who is sent to investigate a planet for possible human occupation. They land on waterlogged Earth is the film’s twist on space exploration. Blake grew up in Kepler District 209, where an elite few settled after the land became uninhabitable. But it turns out that Kepler wasn’t cool after all – people became sterile – so maybe Earth deserves another chance.
The film unfurls on the shore in a mist of mist, with oil tanker husks spectacularly emerging from the mist, symbols of humanity’s once-great downfall. In a way, the film repeats the ghostly presence of its heroine: “The Colony” doesn’t reinvent the post-apocalyptic wheel, but its dreamlike mood and environmental message help create a mostly absorbing atmosphere.
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We first met Nolan (Sloan Morgan Siegel) on December 24, 1999, frantically smashing all the mirrors in his house, then setting deadly traps in front of the last one. This may push concern about the year 2000 a bit further.
Except for Nolan his reasons: Mirrors are portals of parallel proportions, and they are pursued by a man with the energy of Freddy Krueger. Nolan manages to convince May (Elise Eberle), his sister in at least one world, that something strange is going on. To make the most of what should be a somewhat limited budget—the movie is set in a largely nondescript suburban home—director Cornelia Doré sets up the classic setting: CDs as weapons, an excellent use of the hardcore Mudhoney grunge ‘Sweet thing’ The young man is not over sweet.” Best of all is the effective humor that is not only rare in low-budget independent films but captures the time during which the film is set.
Emily Blunt was the ultimate in the 2014 sci-fi “Edge of Tomorrow,” but unless Mary Poppins is considered a badass fighter, her career as an action mogul didn’t take off as well as it should. In “A Quiet Place Part II,” Blunt asserts that she can root any franchise, playing the hater with a heart. Or maybe he’s upset with a badass.
This long-awaited sequel to writer-director John Krasinski’s unexpected 2018 continues to explore a world that has become muted by necessity rather than virus, you know: deadly aliens with a keen sense of hearing but Mr. To your presence is to remain silent. The persistently resourceful Abbott family is back, with Evelyn (Blant) now at the helm and in a world expanding beyond their familiar complex – and beyond, with boats playing a major role.
Although Blunt plays a battle mother, her Evelyn is not a super warrior but a human being who feels very real. Even better, she is carrying the film with young actress Millicent Symonds. Together they are a phenomenal pair, and I can’t be alone in wanting more survival stories.