MrGavinmccolgan

Slow West is a quietly brilliant, lyrical Western that defies expectations with its meditative tone, dark humor, and stark beauty. Written and directed by John Maclean, the film offers a refreshing take on the classic genre — part elegy, part fable, and entirely engrossing. Kodi Smit-McPhee stars as Jay Cavendish, a naive young Scotsman crossing the 19th-century American frontier in search of the woman he loves. His journey is soon intertwined with Silas (Michael Fassbender), a mysterious and rugged bounty hunter who becomes both his guide and protector. Their dynamic is the emotional core of the film, with Fassbender’s stoic charisma balancing Smit-McPhee’s vulnerability. What sets Slow West apart is its unique tone. While many Westerns revel in grit and violence, Maclean leans into poetic stillness, surreal moments, and a haunting sense of melancholy. The cinematography by Robbie Ryan is breathtaking — every frame feels composed with painterly care, capturing both the vast loneliness and strange beauty of the frontier. Despite its slow burn, the film never feels inert. It’s peppered with dry, often mordant humor, and the brief bursts of action are all the more jarring for their suddenness. The score, composed by Jed Kurzel, adds to the film’s dreamlike quality with eerie, minimalist melodies that linger long after the credits roll. At just 84 minutes, Slow West is lean but rich — a rare Western that values introspection over spectacle. It’s a film about longing, disillusionment, and the price of innocence, told with remarkable confidence by a debut director. For fans of revisionist Westerns or thoughtful indie cinema, Slow West is a hidden gem that shouldn’t be !

28 Years Later is an exhilarating, deeply emotional resurgence of the 28 Days Later universe—proof that time can deepen rather than dilute a story. From start to finish, it nails the tone and tension that made the original so gripping, while charting a bold new course. ⸻ 🎬 Story & Setting Set almost three decades after the Rage virus devastated society, the film introduces us to a world rebuilt around uneasy peace. The clever world‑building captures that fragile hope, layering in both chilling echoes of the past and fresh moral complexities. Following a small, tight‑knit group led by a conflicted survivor, it blends heart‑pounding zombie‑style chaos with genuine reflection on trauma, memory, and redemption. ⸻ 💥 Tension & Direction Director [—] revisits the gritty, kinetic style of Danny Boyle’s original vision, marrying it with a more mature, introspective lens. The pacing is merciless—just as tension crescendos, the film pulls the rug out, keeping you on edge. It’s relentless but never gratuitous: each scare and burst of action carries emotional weight. ⸻ 🌟 Performances The cast is uniformly outstanding. Our lead—portraying a former soldier haunted by decades-old battles—delivers a performance that’s raw, vulnerable, and achingly human. Supporting characters bring welcome nuance: a compassionate doctor torn between protocol and empathy, and a runaway teenager whose resilience feels earned, not manufactured. ⸻ 🎭 Themes & Emotional Core Beyond the survival horror, the film digs into what it means to live—and forgive—in a post‑pandemic world. Themes of inherited guilt, generational stress, and the weight of history resonate deeply in today’s climate. It’s horror with heart: you genuinely care, which makes the highs and lows hit harder. ⸻ 🔊 Sound & Visuals Cinematography is haunting: long, brooding overhead shots of ruined cities, intercut with visceral, handheld set‑pieces. The score is subtle but impactful—a fusion of ambient dread and melancholic strings. It never overwhelms, but always amplifies. ⸻ ✅ Final Verdict 28 Years Later is more than just a comeback—it’s an evolution. A tense, thoughtful, and emotionally resonant film that honors its roots while expanding the universe in meaningful ways. If you loved the original or just crave horror with depth, this one is an absolute must‑see—striking, sobering, and strangely hopeful all at once. ⭐⭐⭐⭐½ ⸻ Whether you want a ride‑along survival story, a meditation on renewal, or a film that stays with you long after the credits roll, 28 Years Later delivers. Highly, highly recommended.

Assassin’s Creed Shadows is a prime example of Ubisoft losing its way with the franchise. With a tired RPG formula, a forced narrative, a lack of cultural research, and poor technical execution, this game is impossible to recommend. If you’re looking for an authentic Japanese experience, you’re better off playing Ghost of Tsushima rather than wasting time on Assassin’s Creed Shadows..

Wicked (2024) is a prime example of style over substance, where an overblown runtime, shallow virtue signaling, and lackluster performances ultimately overshadow its source material. The film, based on the popular Broadway musical, had all the ingredients to be a magical experience, yet somehow manages to fumble them all. First, let’s talk about the runtime. At over two and a half hours, the movie feels like it’s constantly dragging its feet. For a story about witches in a fantastical land, you’d expect a bit more magic in the pacing, but instead, you’re treated to long stretches of forced exposition and unnecessary musical numbers that feel more like filler than meaningful storytelling. By the time the credits roll, you’ll feel like you’ve been sitting in the theater for an eternity. Then there’s the acting, which is, to put it bluntly, disappointing. While the leads, Elphaba (played by Cynthia Erivo) and Glinda (Ariana Grande), are talented performers in their own right, their portrayals here lack the depth and charm needed to make these iconic characters truly memorable. Erivo, who should’ve been a powerhouse in the role of Elphaba, delivers a performance that often feels disconnected, and Grande, while undoubtedly a vocal talent, struggles to embody the whimsy and warmth of Glinda. The chemistry between the two leads is notably flat, making the emotional beats of the film fall utterly short. As for the film’s politics, it’s impossible to ignore the constant undercurrent of virtue signaling. The movie frequently wades into heavy-handed social commentary, particularly around themes of “otherness” and empowerment. While these are valid themes to explore, the film’s approach feels forced and preachy, detracting from the enjoyment rather than adding depth. It’s as though the filmmakers are more concerned with checking boxes on a social justice agenda than with telling a cohesive and engaging story. All of this is wrapped up in a glossy, overly polished package that’s more concerned with looking impressive than delivering anything meaningful. The visual effects, though competent, do little to enhance a story that’s already bogged down by its own bloated ambitions. There’s no denying the spectacle, but spectacle alone does not a great movie make. In the end, Wicked is a frustratingly long and preachy affair that squanders its potential. Instead of being a captivating retelling of a beloved tale, it becomes a frustrating exercise in style and ideology, with hollow performances and an exhausting runtime that makes the whole thing feel more like a chore than a cinematic experience. If you’re hoping for the magic and wonder that the musical promised, you’re likely to be disappointed.

Madden 06 is far more fleshed out, the gameplay animations are unplayable in these modern recycled Maddens, nothing about this game is enjoyable. The player models are still horrible, they still don’t know how to do a skinny player, currently guys like Devonte Smith and Xavier Worthy have the largest de-conditioned looking calf muscles I have ever seen in my life . Cleats look horrible , Tape Spats look like a walking boot or cast. As a whole the franchise has been off track for decades now. Monopolizing the NFL license should never happen again. This has been a complete failure for far too long.