Entertainment

The story of the former wayward character, known previously as “Ex-Degenerate”, opens with a reminiscent scene from 2017, just before Johnny crossed paths with Miguel at the start of the series. We see him in a familiar state, trapped in a cycle with no discernible route to a secure and contented life. Given his current circumstances, it’s not surprising that Johnny faces such significant challenges in the present day, as he prepares to confront a man he acknowledges is younger and more powerful than himself. Usually self-assured, even when mistaken, Johnny struggles to concentrate, haunted by past mistakes and fearing that tomorrow will only reinforce his international reputation as a failure.

One challenge when attending grand festivals like Cannes is the apprehension of overlooking hidden treasures – the films by less established directors that are shown outside of the competition, in various programs. This concern intensifies at Cannes because while the main festival with its red carpets and lengthy standing ovations continues, numerous side festivals also take place, each featuring a diverse selection of international movies. Among these, Directors’ Fortnight and Critics’ Week are the most well-known. Although they are collectively referred to as Cannes, people on the ground often grapple daily between watching big films starring renowned actors (many of which are indeed impressive) and smaller ones screened in different locations along the Croisette. Some of these lesser-known films are truly exceptional – for instance, Directors’ Fortnight has been the platform for films like Chloé Zhao’s “The Rider” (2017), Sean Baker’s “The Florida Project” (2017), and Céline Sciamma’s “Girlhood” (2014). Remarkably, it also premiered classics such as “Mean Streets” (1973) and “Aguirre, the Wrath of God” (1972). This year, it showcased what could be the best film I’ve seen at Cannes – Matthew Rankin’s “Universal Language.

As a die-hard film enthusiast, I delve into the enigmatic world of “Severance: Seven Questions” every week to dissect the mind-bending twists of one of TV’s most intricate series. Each episode analysis focuses on the oddest, most puzzling, and critical plot points left unanswered, offering theories – some might even call them wild!

I’m excitedly sharing some spoiler insights from the second season’s “Trojan’s Horse” episode of Severance, which aired on Apple TV+ on Valentine’s Day. As a devoted fan, I simply can’t resist delving into the latest twists and turns!

The boy perished due to a dispute over the land, with both your group and his claiming ownership,” Hulk exclaims. “In essence, the boy’s life was lost because there was no willingness to compromise on this matter!

In my perspective as a movie reviewer, I must say that the third season of “Yellowjackets” commences with an intriguing deception. The scene opens with a character, Mari, darting through the forest. She’s on edge, listening for any sign of her fellow survivors. As she turns her head frantically, it’s a heart-pounding moment when we realize it’s Mari, not an unknown figure. And boy, does this revelation spark anticipation, as it seems we’ve finally discovered the truth about Mari being none other than Pit Girl.

In “Paddington’s Peruvian Adventure,” Paddington, our beloved bear, has officially become a British citizen, allowing him to return home. However, this journey also brings some concerns, as the film is the first in the series not penned or directed by Paul King. The unique blend of whimsy and wit that made the previous Paddington films charming could potentially be grating when applied to a foreign setting, like shifting from inside jokes to offensive humor.

“Paddington’s Peruvian Adventure” addresses this concern by featuring very few Peruvians on screen, even in scenes set deep in the Amazon, driven by the mysterious disappearance of Paddington’s dear Aunt Lucy from the Retired Bears Home. Instead, it concentrates on the Browns, now led by Emily Mortimer who takes over as matriarch Mary, as they embark on a combined vacation and rescue mission. This adventure involves the legend of El Dorado, a group of nuns, and Hunter Cabot (Antonio Banderas), a riverboat captain with an obsession that mirrors his ancestor’s conquistador past. This obsession is symbolized by recurring visions of his taunting forefather. While this may not be a particularly incisive critique of the colonial legacy, the film seems more concerned with avoiding pitfalls than making a strong statement.

In simpler terms, Bridget’s life lacks the happiness it once had due to the absence of Darcy and her father. She cherishes her children, Billy and Mabel, but they don’t provide the tranquility, quiet, or freedom she yearns for. After leaving her job to take care of her kids, television news journalism has become less about reporting on serious issues like war and more about cooking segments. This latest film shows Bridget dealing with a world that doesn’t make sense anymore, not just because of her usual clumsy mishaps, but due to larger existential issues. The emotional journey she takes in “Mad About the Boy” is captivating enough to warrant this fourth installment; it’s strong enough to argue for more films featuring Bridget Jones, possibly even a fifth, sixth, and seventh. As long as Bridget continues her life, we should be permitted to join her on her adventures.

Since the day their high-school soccer team unexpectedly landed in the Canadian wilderness, Yellowjackets has delved into how American society, often rigidly patriarchal and traditional, suppresses women’s desires, only to harshly judge them when these desires surface. Three seasons deep, this perspective remains insightful within the ’90s narrative, particularly when combined with eerie world-building and supernatural elements. The show maintains a sense of ambiguity, “Is it real or is it trauma?”, making the survivalist aspects more exciting as it explores how characters form relationships, eat, and manage their households. However, after season two veered off course with the grown-up versions of our favorite cannibals, season three seems to lean even further in that direction, abandoning present-day storylines as if acknowledging that the characters’ extreme teenage actions are more intriguing than their ambiguous adult lives. This is a recurring theme in the series, with Shauna’s bitterness over becoming a housewife and Misty’s closest companion being her pet parrot, but it should not dominate the narrative. Instead, season three appears to be erasing the adult storylines rather than resolving them from the corners they’ve been written into.

People might have valid reasons to fear dentists due to the various sharp tools used on soft, delicate areas of the mouth. On one hand, these instruments are crucial for maintaining oral health; on the other, they could potentially be misused. In the beginning of this episode, there’s an intriguing scene reminiscent of a Tarantino film – a staff member walks down a hallway humming “The Wreck of the Edmund Fitzgerald” by Gordon Lightfoot as he goes to fetch medical equipment. Although we don’t see his face, he interacts with Felicia and her colleague in O&D, collects his sharp tools, then rides the elevator.