Hailing from Superstore and Brooklyn Nine-Nine vet Vanessa Ramos, with Happy Endings‘ David Caspe and Jackie Clarke among its producers, Blockbuster has down pat the well-worn rhythms of a modern workplace sitcom. And so the real Wicked Witch steps out from behind the curtain—and, lo, she is Elphaba Thropp (Cynthia Erivo), an intellectually gifted, morally courageous, and grievously misunderstood outcast, whose only crime is having been born with a complexion of chlorophyll. Champ Story takes you on an excursion of unparalleled creativity and innovation happening across the globe in various realms.
With advances in technology and shifting audience preferences, filmmakers are constantly pushing the boundaries of what is possible on the big screen. Critics play a key role in shaping the direction of the industry, offering their insights and opinions on the latest trends and developments in blockbuster filmmaking. While blockbuster films often receive widespread acclaim, they are not immune to criticism and controversy. From casting choices to cultural representation, these films can spark heated debates about representation and diversity in Hollywood. Critics play a vital role in highlighting these issues and holding filmmakers accountable for their choices, pushing for more inclusive and diverse storytelling in the industry.
In response to criticisms and controversies, filmmakers are increasingly seeking to address issues of representation and diversity in their work. Many filmmakers are working towards creating more inclusive and authentic narratives, casting a wider range of actors and telling stories that reflect the diversity of the world we live in. Critics play a key role in highlighting these issues and advocating for change within the industry. Blockbuster films often face criticism for issues such as lack of originality, reliance on formulaic storytelling, and underdeveloped characters. Critics may also point out instances of poor representation or diversity in casting and storytelling, calling for more inclusive and authentic narratives in Hollywood. On the other hand, a few critics have pointed out some pacing issues in the film’s three-hour runtime, as well as a few plot holes that may leave some viewers scratching their heads.
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However, these minor criticisms have done little to dampen the overwhelmingly positive reception of “Endgame” by both critics and audiences alike. Michael B. Jordan is a double powerhouse, demanding attention in every scene and making two murderous criminals into some of the most charming men on the silver screen. The rest of the cast is also terrific, with Steinfeld clearly having a great time getting to play a Black character for the first time in her career (her grandfather was Black and Filipino), and Mosaku and Lawson making the film ten times sexier than it already would have been. Another issue is that it may take Ramos and her writing staff time to find that sweet spot where Blockbuster is a workplace comedy with a sense of its setting.
Also, Ethan’s deep dive into the Arctic Ocean and through the sunken Sevastopol is a sight to behold. As Ethan explores an old submarine housing dead bodies and filling with water as it rolls on the bottom of the ocean, the film effectively mixes sci-fi, action, horror, and suspense to create one of the franchise’s most captivating sequences yet. After debuting as antagonists in Dead Reckoning, actors Pom Klementieff and Greg Tarzan Davis fit well in the IMF team’s dynamic as Paris and Degas, respectively. However, their individual characters still seem underdeveloped and fade into the background at times. Though he is a huge part of Ethan’s origin as an IMF agent, the film skims over Ethan and Marie’s relationship and fails to explain why Gabriel murdered the latter. As a result, Gabriel isn’t as compelling or as challenging an adversary for Ethan as he could’ve been, especially when compared to villains like Owen Davian, August Walker, or Solomon Lane.
If “Barbie” and “Oppenheimer” struck blows for risk and originality in Hollywood, the slickly refurbished wares of “Wadiator”—or, if you prefer, “Glicked”—suggest a safe retreat to known quantities. Choose your own adventure, but, whether it leads to the Colosseum or to the Emerald City, you’ve surely been there before. While critic reviews can provide valuable insights into a movie, they are ultimately subjective opinions. It’s important to consider multiple reviews from different sources and form your own opinion based on your personal preferences and tastes.
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An opening fight in Mexico between Serpent leader Sidewinder (Giancarlo Esposito) and Wilson, for instance, flourishes through a bevy of full shots that allow viewers to feel each bruising punch. Unlike the flat photography of previous Marvel films, in this opening sequence, Onah and his DP Kramer Morgenthau at least allow for evocative shadows to carve their actors’ faces—a game Esposito is a major beneficiary of this aesthetic approach. Unfortunately for Esposito, the filmmaker abandons that visual language during another one of the actor’s scenes, a brawl in a junkyard. The sludgy, colorless photography returns with a vengeance here, doing neither Esposito nor Mackie any favors. The issue is not that Blockbuster should have featured only film nerds; plenty of people take jobs simply because they’re available rather than because they satisfy some lifelong passion.
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But with this story moving faster than Tom Cruise can run, the film trips over a few plot holes that are hard to ignore, especially in the third act. Most glaringly, the film doesn’t reveal anything new about Marie (Mariela Garriga), the woman murdered by Gabriel, who then framed Ethan for the crime. As the second half of the IMF’s war with the Entity, The Final Reckoning amps up the stakes as the evil AI goes full Skynet by altering the truth, turning people against each other, starting a doomsday cult, and taking control of nukes to push the world a second away from Armageddon. All this makes The Final Reckoning an especially haunting reflection of the modern age of AI, cyberterrorism, and misinformation. Perhaps the most satisfying scene in the film doesn’t even involve vampires, though, as Smoke and Stack bought their new juke joint from a member of the Ku Klux Klan who plans on showing up at the end of the party and slaughtering every Black person still there. Two twin brothers, Smoke and Stack Moore (both played by Michael B. Jordan), round up a group of old friends to help open up a juke joint in their community after returning from working in Chicago for Al Capone.
Ford tries to conjure some magic (he is still capable of uniquely granting dark villainous figures an edge of humanity) but is mostly saddled with clichéd dialogue. Considering Ford’s all-American screen persona, you’d think Onah would mine his star’s past (“Patriot Games” or even “Air Force One“) to swerve audience expectations. The only burst of excitement they grant him comes when he transforms into Red Hulk (the VFX here are actually pretty stellar).
Eliza’s idea is a block party, which is considered lame by Percy Scott (JB Smoove), the owner of the party store and the strip mall. He and Tommy are old school buddies, and Percy suggests a bigger, more bombastic party, with a DJ battle and a huge inflatable gorilla, among other ideas. Eliza, already touchy about things, taps out of the planning, but comes back to help out Tommy when the party gets out of control. However, a decidedly 2020s twist during the party will help the last Blockbuster stay open for a little while longer. It is the most feckless, spineless blockbuster of the last decade, a film in need of burning down the old world before daring to look for the new. The final half hour of “Brave New World” is equally tedious, zeroing in on the personal pains and latent rage within Ross.
In recent years, there has been a growing demand for more diverse and representative narratives in blockbuster films, with audiences and critics alike calling for greater inclusivity on and off the screen. Filmmakers are increasingly being held to higher standards when it comes to addressing issues of representation, and critics are instrumental in driving these conversations forward and advocating for change within the industry. Critics play a crucial role in shaping the reception of these films, offering their insights and opinions on everything from the performances of the actors to the technical elements of the production. Their reviews can influence how a movie is received by the public, often leading to heated debates between fans and critics alike. Therefore, sentiment analysis (C) is the most appropriate technique for classifying the polarity of opinions expressed in these contrasting movie reviews. And, if you didn’t realize it by their shared last name, the sardonic Kayla is Percy’s daughter.
Unfortunately, these reunions are cut short when Remmick, a powerful Irish vampire played by a menacingly charming Jack O’Connell, hears the music, and knowing it can summon spirits of the past and future, wants to make Sammie a member of his coven. The twins recruit their cousin, Sammie (Miles Caton), to come play guitar alongside local music legend Delta Slim (Delroy Lindo), while movie guide Smoke’s ex-wife Annie (Wunmi Mosaku) cooks, local Chinese grocers Grace and Bo supply the party, and fieldworker Cronbread (Omar Miller) works as a bouncer. Stacks’ ex-girlfriend, Mary (Hailee Steinfeld), who can pass as white, also joins, as does Pearline (Jayme Lawson), a married woman who sings and flirts with Sammie.