Netflix The Queen's Gambit by Scott Frank series review

An impeccably well-adjusted new miniseries, Netflix’ The Queen’s Gambit introduces an utmost perfect blend of addiction, fascination, trauma, and chess.

Affixed by a compelling lead performance and strengthened by world-class acting and a spectacular illustrative language, The Queen’s Gambit is a commendable seven-part drama bursting with intoxicating allure and tear-jerking vulnerability.

The Queen’s Gambit narrative was never less than enthralling and splendid. It is the type that can be only considered as one of the year’s best. Multifaceted, complex and intricate, this is a story that is fated to leave its mark upon each one of its stupefied and enthusiastic viewers.

The Queen’s Gambit on Netflix

One of this show’s many commendable foundations is the hypnotically captivating character evolution and progression. Each of The Queen’s Gambit’ exceptional personas were written with extreme delicacy and profound depth. A sheer layer of vagueness and contradiction covered each one of them, especially the protagonists.

Anya Taylor-Joy fully inhabited her persona’s inner vulnerability and narcissism and basically delivered the act of her entire career. She was otherworldly, enthralling and enchanting. Her facial expressions as well as her immaculate acting techniques were literally the highlight of this seven-special adventure.

The Queen's Gambit: A Netflix Series Where The Chess Is Done Right

Together with these effective elements comes the countless camera arrangements, the eye-gasmic visuals and the accurate costume designs and altogether created a vortex of an experience that anyone would be lucky to undergo.

The Queen’s Gambit is an exquisitely fabricated piece of tv cinema pouring with lavish costumes and captivating “true story” essence.

Netflix Rebecca Film Review

Rebecca Film

Rebecca is an aesthetically pleasing modern adaptation with an indecisive narrative and failed dynamics.

With the irritability and dark qualities of the original, Rebecca suffered basically in comparison, as Wheatley’s retelling piled up poorly against the older ones and offered rather shallower and narrower interpretations.

The narrative, which is just over two hours, has eventually destabilized the power of this story. Most of Rebecca’s faults rests in the superfluous insertion of worthless, unserviceable, and inconsequential acts and arrangements. In other words, this traditional period piece failed at establishing a concise and a constant flow of events.

The use of the very effective hallucinatory sequences worked impeccably as an allegory to Rebecca’s characters’ communal suppression, unspoken desires and sexual jealousy.

Parts of Rebecca’s character evolution and progression, especially the psychological aspect, were handled clumsily and inelegantly.

Lily James conveys an invigorating truthfulness and openness to her role, especially in the second half of the film. Army Hammer, despite his magnetic allure and electrifying on screen attraction with James, lacked profundity and perceptiveness in his performance. In general, nobody has a fixed hold on what accurately they are supposed to be playing.

Rebecca is the type of movies that strive for visual beauty, as it can be best described as a beautifully crafted period piece filled with outstanding locations, props and costumes. All these elements combined managed to evoke a nostalgic tone to the classical Hollywood Era.

Rebecca based on its contemporary aesthetics and intimate camera techniques alone is not that bad of an experience. Whereas one can’t help but wonder, where is the naturally multifaceted and unbounded story of the true REBECCA?

A young newlywed arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives on in the house long after her death.

Director: Ben Wheatley
Adapted from: Rebecca
Story by: Daphne du Maurier
Screenplay: Joe Shrapnel, Jane Goldman, Anna Waterhouse

Caché (Hidden) Film Review

caché - hidden film

هل يمكن أن يكون خطأ ساذج في الصغر مقدمة لحياة مروعة في الكبر ؟

تبرز عبقرية الفيلم  بمعالجة السياق الدرامي السينمائي ببراعة متميزة وخارجة عن المألوف وتلك البراعة تجعل القصة تتدفق تدريجيا ورويدا رويدا حتى تبلغ ذروتها من خلال عدم التسارع في إبراز الحبكة السينمائية وكعادة معظم أفلام المخرج الفرنسي الكبير مايكل هانكه الإيقاع البطئ هو سيد الفيلم وعنوانه وبالرغم من البطء الشديد على صعيد تراكم الأحداث وسرد القصة واللقطات الطويلة تارة والثابتة تارة أخرى إلا أن المشاهد لا يشعر بلحظة ملل بل أسلوب مايكل هانكه السينمائي يشد المتفرج بشكل كبير في متابعة الفيلم من البداية إلى النهاية وتلك الميزة إن كانت تدل على شئ فهي تدل على إبداع مايكل وعبقريته السينمائية وتألقه وتفرده الشديد الخصوصية حيث من الصعب جدا ومن النادر أيضا أن نجد إيقاعا في منتهى البطء داخل فيلم لا يرافقه الملل ولا تسيطر عليه الرتابة.

هو فيلم إثارة فرنسي صدر عام 2005 من بطولة دانيال أوتيل والرائعة جولييت بينوش وتأليف وإخراج صاحب التحفالسينمائية الفرنسية مايكل هانكه مخرج فيلم الحب (amour) الذي فاز بجائزة أوسكار عن فئة أفضل فيلم بلغة أجنبية عام 2013 كما حصل فيلمه caché  على 24 جائزة دولية وترشح لثلاثة وعشرون جائزة أخرى وكان فيلم الإفتتاح لمهرجان كان السينمائي عام 2005 ونال إستحسان الجمهور والنقاد. وتدور أحداث الفيلم حول (جورج) (دانيال أوتيل) الذي يرتكب خطأ في صغره حينما يتخلص من ماجد ذو الأصول الجزائرية والذي كان يعيش معه في المنزل بالتبني بعد مقتل والديه في مجزرة باريس عام 1962 حيث يتم إعادته مرة أخرى إلى الملجأ بسبب إفتراءات جورج عليه وكذبه وعندما يكبر جورج ويتزوج تصل له أشرطة تسجل كل ما يقوم به مع زوجته في المنزل وكأنهما تحت مراقبة مستمرة فهل عاد ماجد فعلا لينتقم من جورج ويدمر حياته بعد كل هذه السنين الطويلة ؟!

أجواء الفيلم  مربكة إلى حد كبير ومثيرة للتوتر وشد الأعصاب تدعو إلى التعايش والغوص لا إراديا مع بطلي الفيلم (جورج وزوجته) منذ اللحظة الأولى عندما يواجهان في البداية لغزا محيرا مجهول المصدر ويستمر هذا اللغز طوال الفيلم وينشأ تدريجيا ويكبر أكثر فأكثر مع زيادة خوف جورج وعائلته وعيشهم على أعصابهم لدرجة أن حياتهم تنقلب رأسا على عقب فليس من السهل أبدا أن تدرك أنك مراقب طوال الوقت ولا تعرف من يراقبك ! حياتك بلحظة ستتحول إلى جحيم ربما يكون جحيم أبدي ! إنه فيلم رائع بدرجة ممتازة وفائق الروعة أيضا, فيلم ليس عاديا ابدا ولا يمكن أن يمر مرور الكرام عند مشاهدته, قصة ذو لغز جبار وتتوافر فيها جميع عناصر المتعة والتشويق والإثارة والتسلية أيضا والفائدة بقدر أفلام المخرج ألفرد هيتشكوك المعروفة في كونها تتميز بالعمق الدرامي والإنساني خلف حكاية مثيرة وغامضة. فيلم صعب وثقيل المستوى إلى أقصى الحدود وتكمن صعوبته بإيقاعه البطئ حيث لا يمكن للمشاهد أن يتلهى عنه ولو لثانية واحدة بل ينبغي أن يثقل نفسه بتركيز شديد وتحليلات وأبعاد سياسية وإجتماعية وإنسانية وذلك ببساطة لأن القصة تبدو للوهلة الأولى مسألة مراقبة وتهديد ويشعر المشاهد أن ثمة خطب ما ولكن على وشك معرفة حدوث ما يحصل وما الغاية منه غير أن في منتصف الفيلم تبدأ القصة بالتفرع والكشف عن أنيابها لتصبح قضية أوطان وليس فقط قضية عائلة تحت المراقبة وتدمير حياتها من قبل مجهول. هذا الفيلم يجعلك تشارك أبطاله في تفاصيل حياتهم المقلقة والمربكة لدرجة تشعر أنك أنت بحد ذاتك مراقب كما يجعلك ايضا أن تتبع حركات جورج الدقيقة وهو يحاول كشف هوية المزعج الذي يراقبهم عن كثب مع ماضيه في الريف وفعلته الشنيعة.

فيلم ذكي جدا وفي أعلى درجات الجمال والإبداع لا سيما في إستخدام عناصر التشويق من دون السرعة في الأحداث وخلق أجواء دراماتيكية لا مثيل لها تشعرك بالخطر القادم حين يحين وقت كشف المتسور !

المبدع مايكل هانكه لا يكترث بإعطاء المشاهدين أجوبة على أسئلتهم وحيرتهم…كيف تم تصوير جورج وزوجته وهما ذاهبان إلى العمل ؟ من الذي كان يبتزهم ويراقبهم ؟ فالفيلم لا يكشف بصراحة عن الشخصية التي ترسل الأشرطة واعتبر هانكه أنه من الأهمية الثانوية لإستكشاف الذنب وترك السؤال متروكا ومفتوحا لتفسير المشاهد, لماذا لم نسمع الحوار الذي دار بين إبن جورج وإبن ماجد في المشهد الأخير من الفيلم ؟ لا يهتم مايكل هانكه بذلك بل يهتم وبشدة بأعماق الإنسان وهو في حالة تشتت بين ما هو ماض وما هو آت ؟! ويغلق كل الأسئلة إلى قضية “ضد مجهول”…وفي خضم اللامبالاة عند التجاوز وأذى الآخرين يبزغ الشعور بالذنب, فجورج لا يهتم كثيرا بأفعاله الخاطئة في الصغر لكن يهتم بأفعال الآخرين الخاطئة في الكبر وتنطبق عليه مقولة “إذا تعلق الأمر بذنوبنا أقسمنا أن الله غفور ورحيم لكن إذا تعلق الأمر بذنوب الآخرين تجاهنا أكدنا أن الله شديد العقاب” فبالنسبة لجورج هو ليس شخصا مذنبا ولا يكترث حتى أن يكون مذنبا إلى أن تفضحه في النهاية روائح ذنوبه…

من يشاهد الفيلم  سيشهد على رائعة فنية وتحفة سينمائية ضخمة ورمزية مثيرة للجدل والنقاش حول الذنب الجماعي والذاكرة الجماعية والحرب الفرنسية الجزائرية والإستعمار بشكل عام.

تم إعتبار هذا الفيلم في السنوات التي انقضت منذ إصداره كواحد من أعظم الأفلام في الألفية من القرن الماضي وهو مدرج في قائمة أفضل 100 فيلم من القرن ال 21 لهيئة الإذاعة البريطانية.

-إيلي طايع-

Martyrs Film Review

LIFF - Martyrs by Pascal Laugier Film Review

Categorized as one of the utmost alarming and upsetting horror films ever created, Martyrs is an unnerving low-budget masterpiece submerged in a terrifyingly nihilistic and existential tone.

The most astonishing yet inimitable component that made Martyrs a horrifying cinematic achievement is feasibly its validly realistic narrative and themes. The deeply layered narrative is a genre-defying ordeal which transcends the human’s cerebral capacity of endurance and tolerance.

Throughout its entire runtime you have to keep reminding yourself that it was an illusory movie. But in essence, it’s the complete opposite. You see, Martyrs is in fact an inclusive metaphor on life and death.

Alongside its heavily unpredictable story, Martyrs presented some of the most disturbing and unconceivable characters in cinematic history. The creation of such provocative and irritating personas was flawlessly executed, and their character progression was transcendental and almost philosophical.

Mylène Jampanoï and Morjana Alaoui’s faultless personification of two of the most unsettling personas I’ve ever seen was spellbindingly convincing. Both of their performances were exuding pure emotional excellence.

12 years ago, the cinematic world was engrossed by the release of the unsettling, unnerving, DISTURBING, irritating and anxiety-jerker Martyrs. Over the past decade and so, this cult-favorite gradually verified itself as a cruel and a rough cinematic experience that will engrave itself in the minds of each one of its viewers.

j'ai tué ma mère review

J’ai tué ma mère is a substantially frustrating and an austerely authentic creation that best serves as a shaky autobiographical, illustrating the early youth of Canadian actor and filmmaker Xavier Dolan.

With its carefree style and flowing narrative, I killed my mother is a dramatized piece of cinema that in spite of being fairly inflated still offers a genuine and a truthful point of view.

The excess use of literary quotations, moody sequences and black and white direct-to-camera confessions from the main character aided in forming an otherworldly compelling and an emotionally stimulating atmosphere that lingers in the mind long after the film has ended.

Anne Dorval gives a solid performance that could move even the most anguished, and Dolan of course does a splendid job of basically playing himself. The personas they each embodied were heavily bombarded with deep internalized struggles and confusion. In other words, I killed my Mother’s characters were profoundly complicated and exceedingly impressive.

But what is most amazing is that Dolan accomplished such an impressive and moving film at the age of

The penetratingly colorful and artistic images splattered throughout the film and the extreme visual show-off and composition, as well as the genius use of slow motion, intentionally, shaped a dream-like esthetic mode that knows how to keep one invested till the very end.

I killed a Mother, Xavier Dolan’s provokingly honest design is a digitalized diary that holds a lot of similarities to each and every one of its viewers.

Someone has to die netflix

Someone Has to Die is a tale of infinite calamities, one pouring over the other, all mixed-up in what can be considered a meticulously well-made socio-political statement describing the most degenerating age in all of Spain’s history.

Alguien tiene que morir’s screenplay can be best described as a story of never-ending sorrow. Mostly categorized as a thriller, this soapy Spanish dramedy also had some elements of crime, mystery, and a whole lot of drama.

Someone Has to Die also serves as a social commentary, tackling some taboo-like subjects in 1950s Spain such as homosexuality and infidelity amongst many, many more. This analysis was tackled so effortlessly and just mixed naturally within the overall hypnotic atmosphere.

This drama does a prodigious job building up to an exhilarating climax to its epic tale. The entire narrative is an exemplary work of solid plotting, captivating character work and a satisfying conclusion.

The numerous enchanting personas of Alguien tiene que morir’ were immaculately interweaved within the multifaceted textiles of its multifaceted narrative. Their character evolution and multiple disclosures were purely marvelous and merely fascinating.

Ester Expósito, Alejandro Speitzer and Cecilia Suárez are a specimen of the star-studded cast which accurately personified the tremendously intricate and charming characters of this limited Spanish opera.

But, unquestionably the stand-out elements are certainly the elegant costume work, the enthralling score and the eye-gasmic camera arrangements and techniques.

Someone Has to Die  is just one of those shows that get you invested almost instantly and transport you to 1950s Spain.

The Haunting of Bly Manor

The Haunting of Bly Manor, a traumatizing new follow-up to The Haunting of Hill House, is an eerie romance-inclined ghost story congested with psychological and existential dread.

The storyline, camouflaged as a larger-than-life ghost tale, is in fact a deeply comprehensive exploration of the existence of numerous identities that are, in a way, all dealing with some sort of loss, trauma and death. The narrative, veiled with darkness and cynicism, progressed smoothly but not without a few bumps and turns when it comes to the first couple of episodes. But, the explosively poignant, selfless and aching final act is one of Netflix’ most emotional yet devastating creations ever.

This epic culmination of dire events, both genuine and mutilating, breathes a climactic feeling of distress that lingers with one spectator, even long after the closing credits.

It was really fascinating to witness how the story quickly, yet oh so slowly, transformed from an anticipated ‘The Haunting of Hill House’ replica into its very own piece of gothic art.

The Haunting of Bly Manor’s emphasis on character growth and progression, which can be hard to find in the horror genre, was otherworldly impeccable. Each persona narrated a hauntingly accurate and representative point of view that was interpreted so effortlessly into the overall and general story of The Haunting of Bly Manor.

These tremendously heavy characters were represented by a jaw-droppingly talented set of performers such as Victoria Pedretti, T’nia Miller, Amalia Eve and Rahul Kohli, amongst many more. Each one of their character’s interpretations was extravagantly dreadful and unvaryingly flawless.

Bly Manor is another captivatingly evocative visual experience from the minds of Mike Flanagan. The cinematography combined with the unnerving visual effects and the unexpectedly compelling score created an unimaginably sinister atmosphere that speaks with one’s soul.

The Haunting of Bly Manor is a spellbinding new Netflix creation that works totally against your imaginations and will leave you longing and grasping for more.

The Haunting of Bly Manor is an American supernatural horror drama web television series, created by Mike Flanagan for Netflix, and loosely based on Henry James’s 1898 novella The Turn of the Screw. It is the follow-up series to The Haunting of Hill House and the second entry in The Haunting anthology series.

The Stoning of Soraya M. Film review

the stoning of soraya

THE STONING OF SORAYA M. is a commanding, passionate dramatization of a true story about Soraya, a Muslim woman whose husband wants to dispose of her. This gripping and emotional movie represents what occurs all too often in some of the radical Islamic countries.

The movie explicitly embodied the horrors often inflicted on women, in oppressive parts of the world, due to a toxic blend of male-controlled societies, ancestral backgrounds, and Islamic fundamentalism.

The several jarring and unambiguous story-telling techniques used were a vital milestone in delivering a politically aware and humanitarian message to everyone who is keen on paying attention. In other words, The Stoning of Soraya M. amplified the voices of those who were silenced and are too often abused and harmed in the name of God and faith.

The film is composed of several unbearable and agonizing experiences, especially the climax which conveyed a cluster of insufferable emotional states in just a matter of sheer minutes: Terror, Treachery, Anguish, Brutality, Subjugation, unfairness, vulnerability and maternity, amongst many more!

The Stoning of Soraya M. characters were masterfully inscribed, each one with his peculiar back-story and purposes, and with intricate and some rather satisfying character arches. These character anecdotes were all laced together with extreme intricacy and effort!

Mozhan MarnÒ, Shohreh Aghdashloo and Jim Caviezel are amongst the countless brilliant artists who took part in this extremely controversial yet necessary motion picture. Each one of them personified his character with absolute precision!

The Stoning of Soraya M. interpreted a harsh humanitarian incident with extreme meticulousness. The innumerable camera methods and the seamlessly distressing score used aided in setting the correct tone and attitude right from the very beginning.

Possibly one of the harshest and most upsetting movies I have ever witnessed, The Stoning of Soraya M. is an exceptionally realistic cinematic experience that deserves to be observed all over the world.

An Iranian woman (Shohreh Aghdashloo) tells a journalist (James Caviezel) about the unjust and brutal death of her innocent niece (Mozhan Marnò).

Initial release: June 26, 2009 (USA)
Director: Cyrus Nowrasteh
Story by: Freidoune Sahebjam
Awards: Satellite Award for Best Actress – Motion Picture Drama…
Languages: English, Persian

Prime Video Boy Erased Film Review

boy erased film review

“The truth cannot be converted.”

Boy Erased a biographical drama film based on Garrard Conley’s 2016 memoir of the same name, is a gut-wrenching and a titillating exposé on the painful and traumatizing consequences of “Conversion Therapy” on one self’s mindset and way of living.

While this film does indeed dramatically narrate the true-life story of Garrard Conley, it, at the same time, also serves as an informative and a revealing statement on the very “real” and traumatizing subject that is Conversion Therapy. Boy Erased, cleverly, captures the psychological bullying and the pretext of spiritual healing that one has to go through in order to “heal” or “be saved” from his shameful “sins”.

The narrative felt uneasy and uncomfortable at times. That was masterfully prearranged by Joel Edgerton, who directed this film with so much tension. It is the kind of movies that still lingers days after, and it has the capacity to make you want to dive more into its theme at hand and know more on how you can help and make a difference and spark a change!

Although some acts may have dragged and were borderline apathetic, they still, flawlessly, aided the well-endowed revelation at the end.

This film skillfully captured the many layers and levels of its complicated and cavernous characters. It Tackled everyone’s point of view equally. It was fascinating seeing each of their individual characteristics come together and form a homogeneous and a consistent union throughout the entire runtime of the film. You can say that each Character arche and progression was so hauntingly satisfying to witness.

Lucas Hedges, Nicole Kidman and Russell Crowe perfectly embodied the essence of Boy Erased’ characters. The emphasis of emotions in their eyes, monologues and actions was effortlessly translated.

All of this was accompanied by hypnotic camera movements, emotional color palette and undertone and a thrilling and a horrifying score.

Boy Erased is far more than just a necessary film to watch. It is a full-on educational experience that knows how to capture its viewers attention!!

Jared discovers that he is homosexual and tells his family. However, his father sends him to a conversion therapy camp where he is introduced to some questionable philosophy and methods.
Initial release: September 2, 2018 (USA)
Director: Joel Edgerton
Featured song: Revelation
Nominations: Golden Globe Award for Best Actor – Motion Picture – Drama…
Awards: AACTA Award for Best Adapted Screenplay…

The Boys in the Band

The Boys in the Band symbolically captured the essence of a heart-rending narrative of self-loathing, rejection and oppression! The film flawlessly lectures on the psychological mutilation that these, previously cited, sentiments leave within one’s soul.

The Boys in the Band profoundly relies on its intense character-driven narrative and its highly persuasive story-telling techniques. The entire History of this new Netflix saga is nothing more than a purely sophisticated interpretation of various characters confined and imprisoned within the ramparts of their consciousness and the fabrics of a so-called society.

The Boys is the Band serves as a general metaphorical expose on love, religion and ageing. But in depths, it’s a rhetorical representation on the gay Liberation movement of the late 1960s. This only obliges spectators to ask, how far have we really come in terms of human rights?

The Claustrophobic and suffocating set was an exterior to the film character’s interior mental and psychological state. The Boys in the Band, since its narrative focuses mainly and essentially on its characters, presented multiple highly complicated and diverse set of characters, each with a back-story and a set of troubles and worries of its own.

These charming and “intellect” personas were fabulously portrayed by an ensemble which was, to say the least, superb. Each member had several standout moments. Jim Parsons with his unpredictable wit managed to dominate all of his scenes exquisitely. Matt Bomer and Zachary Quinto perfectly embodied their characters, just like Charlie Carver, Tuc Watkins, Andrew Rannells and the rest of the cast did as well!!

But indisputably, the greatest characteristic of The Boys in the Band is the fluid camera swoops and swerves that masterfully captured the flowy and wounding essence of the conversation taking place between the numerous characters.

With jaw-dropping fashion, handsome cinematography, a political point of view and a tendency towards sentimentality, The Boys in the Band is guaranteed to become a classical addition to the world of targeted cinema.

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