RebelPanda

One the scariest, grossest, most disturbing movies I've seen from the past decade. Schizophrenic editing and camera maneuvering that reflects the protagonist's declining state of mind. It's anxiety inducing in a way that made me fall in love with Rosemary's Baby. Nell Tiger Free is a force of nature, it was wildly different this performance was from Servant.

The neverending plot twists and payoffs in the end leaves plenty of rewatch value. Although the ending sets up a sequel, it stands on its own as a well acted, beautifully shot descent into madness. Each callback to The Omen in terms of kills and phrases added more meaning to the story, rather than uncharitable comparisons. The First Omen is an evolution of many supernatural demonic horror tropes, and a step in the right direction for the genre as a whole.

Well-intentioned but predictable and a little too silly to sell a serious grief metaphor. The creative direction of the second half sent the melancholy pacing into overdrive. The story replaces genuinely well acted mother-daughter dialogue with pondering. But all throughout the film, misplaced jokes seemed forced into the script. The computer generated bird in particular was very hard to take seriously due to the annoying voice acting and cringeworthy jokes.

The film reminds me of "Sometimes I think About Dying," which I'd recommend for a more consistent drama that deals with depression in a subtler way.

Midsommar's director's cut in imax is a visually stunning film, made even better by the big screen and immersive sound design. The movie's clean and graceful horror style has its quiet, creepy moments but also goes wild when it needs to. Ari Aster nails the subtle expressions and unspoken words, making it eerie at first and darkly funny on repeat watches. Watching clueless Americans mess up in a foreign culture with creepy rituals is both funny and unsettling, though sometimes the film feels a bit too neat. Leaning into the absurdity more could've made it even better. It's still my favorite of his horror movies and, like Hereditary, it gets better the more you watch it.

I absolutely love X for its refreshing, sleazy take on classic slashers, mixed with goofy, self-aware humor. Sadly, Maxxxine just doesn't measure up. Ti West seems lost, with no clear direction, tension, or relatable characters.

Mia Goth's star power carries the film, but the movie itself just isn't worthy of her performance. My initial worries about the big cast and subgenre shift turned out to be spot on-there are way too many characters, making it feel like Maxine is suffocating in her own movie. Where X and Pearl cleverly wove exposition through subtle references, ambient radio, and background details, Maxxxine awkwardly shoves it in through two pointless cop characters and way too many newscasts.

On top of that, the kills are disappointingly tame. Aside from one notable scene at the end, the horror feels weirdly PG-13, which really takes away from the impact. There are a few funny gags, but the movie doesn't give them enough room to breathe, so they fall flat. It's made worse by the repeated callbacks to X, whether in the form of trauma or visual cues.

The ending is contrived and feels more suited to a Bad Boys sequel. The twist is barely foreshadowed, making the reveal laughable instead of shocking. In the end, Maxxxine tries way too hard to be taken seriously but just doesn't hit the mark. I really wish it had leaned into its goofiness, which could have made it a lot more fun and engaging.

Did you know M. Night Shyamalan's debut feature wasn't The Sixth Sense? He actually had two other movies that didn't do well at all before his big hit. This comes to mind when watching his daughter Ishana's debut, The Watchers. It's a fine start, though she might be following a bit too closely in her father's footsteps with a reliance on unnatural dialogue and a shocking twist.

The Watchers leans more into creepy vibes than outright scares. It won't haunt your dreams, but it'll definitely give you the chills. Personally, I dug the Twilight-esque color grading; it added a cool vibe to the movie. However, the excessive ADR felt slapped together, and there were some glaring continuity errors with people and objects moving between shots.

The first quarter of the movie is genuinely tense, with mysterious creatures lurking in the shadows and eerie sounds coming from the forest, creating some solid suspense. Unfortunately, a lot of the movie could've been trimmed without losing anything important. It often feels like it's going in circles, repeating the same stuff without pushing the plot forward. Despite all of the red herrings and elaborate setup, there's little payoff by the end.

I didn't find the initial reveal as disappointing as others did, though the CGI looks dated, like a 2015 video game. The inclusion of Irish folklore is cool, but the movie grinds to a halt for lengthy exposition several times. This would've been unbearable if not for the strong performances by the cast. Unfortunately the script is filled with unnatural dialogue. While this might add to the creepy atmosphere, it sometimes made me chuckle at the silliness.

The 25-minute epilogue could have easily been condensed into the third act, as it drags the movie out unnecessarily. While the movie starts strong with great tension-building, it eventually loses steam due to thin characters and dumb decisions. It's frustrating when characters forget crucial info just to serve the plot. Ishana has potential and could soar with better material, but this movie isn't quite there.

In a year with horrors like Imaginary, Night Swim, and a dreadful Strangers remake, The Watchers is far from the worst, but it's not among the best either.

The writing takes a sharp decline in this episode.

It is apparent from the start that we are in for quite a ride.

Walter suddenly killing Detective Kevin, not being shown, was thrown out of left field and an embarrassing way to kill off a character. But not as embarrassing as Natalie's accidental death. Misty killing Natalie with a random needle, which was not shown up until now, came off as a contrivance to kill off a main character. This was a shabby attempt to meet the climax of last season.

Lastly, the cabin spontaneously combusting was the most obviously contrived twist. No set-up, just a canned ending to hint at story's future progression. We can assume this was the original planned ending for the season because the cabin was becoming a tiresome setting.

Committing Lottie to a mental institution was in the best interest of everyone but a little frustrating no one tried to do it sooner.

Hopefully there will be explanations for the mysterious tree symbols, Javi's two-month hiding spot, and Taissa's alter ego in the third season.

Special mention to Taissa's wife who was entirely forgotten after adult Van's introduction. Wishing her a swift recovery.

Worst horror cliche: cute pet dies. Pretty sure the cat was cgi...

best horror cliche: possessed character gets ghost powers.

Worst contrivance: irresponsible parents buying a home with a pool and not learning CPR.

Best fight: Kerry Condon, fighting against an American accent. Praying she got a bag.

Worst actor: many options but I'll go with Wyatt Russel sleepwalking through his role.

Best part of the production: soundtrack, Robert Eggers' composer! The waterproof make-up is second.

Worst scene: marco, polo. Dumb POV shots and sus camera angles ruin the jump scares.

Best scene: pool party because it finally capitalizes on the fear of drowning in a pool so crowded that no one can see you.

Most egregiously abandoned subplot: a toss up between the son's struggle to live up to his baseball star father's expectations, or the daughter's romance with the swim team guy.

Best line: "THIS POOL IS THE BEST THING THATS EVER HAPPENED TO ME!"

worst leap in logic: stretching a 4 minute short about a haunted pool into a feature length film.

"You Are So Not Invited to My Bat Mitzvah" is a delightful Netflix gem, skillfully navigating the coming-of-age genre with humor, cultural richness, and family dynamics. Sunny Sandler's authentic portrayal of Stacy Friedman, a 13-year-old grappling with teenage confusion and spiritual exploration, is a standout performance. Directed by Sammi Cohen and penned by Alison Peck, the film strikes a vivacious tone, blending humor with profound themes, all while maintaining its buoyant charm.

The film's exploration of spirituality and Jewish culture is enriched by characters like Rabbi Rebecca, played by Sarah Sherman, and the Bat Mitzvah ceremony, which seamlessly weaves themes of atonement without being preachy. The ensemble cast, including Samantha Lorraine and Luis Guzman, breathes life into their characters, making it a heartwarming Netflix original that balances the particular with the universal. "You Are So Not Invited to My Bat Mitzvah" is a must-see comedy that skillfully blends humor and cultural depth, leaving a lasting impression on its viewers.

In Michael Chaves' direction, The Nun 2 revisits the ominous presence of Valak and its reign of terror within the Conjuring franchise. It brings back familiar characters from the 2018 original, including Sister Irene and the possessed Frenchie. However, despite some intriguing aspects, the film struggles to maintain its momentum and fails to provide a memorable horror experience. Set in a 1950s Catholic boarding school in France, the plot revolves around Sister Irene's investigation into a series of gruesome murders across Europe and her growing suspicions about Frenchie's connection to Valak. Regrettably, the movie's predictable pacing and deviation from its core premise hinder its potential to be truly gripping. The scares, primarily relying on jump scares, lack the depth that made the first film so captivating. While the film introduces interesting elements such as Saint Lucy and a holy relic, these aspects remain underdeveloped, and the final revelation feels nonsensical. Furthermore, Frenchie's character development falls short, and the plot seems to assume that viewers have forgotten the events of the original film, diminishing the impact of key revelations. Overall, The Nun 2 suffers from predictability, with viewers often ahead of the characters in understanding the unfolding mystery. While it maintains the Gothic aesthetic characteristic of the franchise, it struggles with narrative balance, heavy-handed exposition, and a disruption of established continuity. While it does offer a few creative moments and scares, the film primarily caters to those seeking additional details about the Conjuring universe, ultimately falling short of delivering a truly terrifying experience.

Neill Blomkamp's Gran Turismo is a fusion of real-life racing and gaming, showcasing Jann Mardenborough's journey from gamer to professional racer. The film's unusual but fitting tone combines exhortations and motivational phrases with sweet romance and humor, all set against the backdrop of high-speed racing action.

While the racing sequences impress and Archie Madekwe's portrayal of Jann shines, the film falls into sports movie clichés and lacks depth in character development. It skims the surface of corporate aspects in motorsports, emphasizing visuals over substance. Gran Turismo offers thrills for fans of the game but doesn't break free from formulaic storytelling, settling as a competent but forgettable entry in the motorsports cinema genre.

"Birth/Rebirth" is a psychological horror film that explores the consequences of playing God and the ethics of medical advancements. It follows two mothers, Rose and Celie, with contrasting perspectives on life and death. Their lives intersect when Celie's daughter dies, and Rose's experiments to bring the dead back to life become relevant. The film delves into the emotional impact of this resurrection on both mothers, raising questions about the boundaries of maternal instincts. It features unsettling and graphic scenes, drawing inspiration from David Cronenberg and classic horror literature. Laura Moss approaches the concept of body horror and extreme maternal instincts from a feminist perspective, leaving a lingering impact without relying on jump scares.

"Landscape with Invisible Hand" is a 2023 satirical sci-fi comedy that attempts to critique capitalism, economic exploitation, and class divisions through interactions with quirky alien beings called the Vuvv. The film's satire occasionally teeters on the edge of parody as it portrays the Vuvv as whimsical and amusing visitors rather than imposing invaders. The story follows teenager Adam Campbell in a world where the Vuvv have left humanity financially distressed and creatively stifled. While the film has an inventive premise, it struggles with an overabundance of ideas and tonal inconsistency. The characters are emotionally detached, making it hard to connect with them. Despite its promise, the film often falls short in delivering a deep exploration of its themes. The portrayal of the Vuvv verges on becoming caricatures, and the film's tonal shifts disrupt the overall experience. However, it retains an odd charm and occasional moments of amusement, making it worth a watch for those open to its quirky journey.

"Strays" is a comedy film that disappoints with its repetitive and uninspired humor, relying heavily on shock factor related to dogs' bodily functions. It tries to stand out but feels like a desperate cry for attention, lacking wit and depth. Despite talented actors, it fails to deliver meaningful laughs, opting for excessive profanity and explicit discussions. The film squanders its potential for comedic gold, especially with Bug's character. Visually, it's unimpressive, lacking creativity, and it doesn't effectively explore the concept of dogs talking and misunderstanding the human world. It falls into an awkward middle ground, not appealing to adults or children. Overall, "Strays" is a forgettable comedy that doesn't live up to the director's and writer's previous works and suffers from its reliance on live animal actors.

Director Samuel Bodin manages to evoke the emotions of a troubled young boy within a gothic setting in "Cobweb," a horror film that delves into the haunted house trope combined with childhood wonder. While the narrative struggles, the film excels in its visual and audio aspects, boasting a shocking third act that elevates it to a must-watch level. Woody Norman's portrayal of the vulnerable Peter shines, supported by strong visual storytelling that utilizes shadows and silhouettes to create an atmosphere of impending dread. Cleopatra Coleman's portrayal of Miss Devine adds levity, but the film occasionally falters in character development and maintaining her potential. The haunted house setting is effectively brought to life, becoming a character itself, and the third act delivers electrifying twists. Although the film doesn't achieve greatness due to some narrative shortcomings, it remains a commendable effort with memorable performances and captivating moments.

In the latest episode of Only Murders in the Building's third season, titled "Grab Your Hankies," the murder mystery surrounding actor Ben Glenroy's death unfolds further, revealing a complex web of suspects. Meryl Streep's character, Loretta, emerges as a prime suspect due to her history of hostility with Ben. The episode explores potential suspects Tobert and Kimber, highlighting their characters' roles. As Mabel investigates, she encounters Tobert in Ben's penthouse, leading to intriguing chemistry between them. Tobert confesses to having crucial footage of Ben's final moments, implicating Kimber due to a tense conversation and jealousy. The episode artfully balances Loretta's audition and musical involvement, deepening character dynamics. The trio's usual banter takes a backseat, allowing individual pursuits and fresh dynamics. Despite departing from the high-energy premiere, the episode provides character development while maintaining entertainment value.

The first two episodes of season three are out and it's off to a great start! New players are introduced stage actors and potential suspects of the murder of their lead actor, Ben. Paul Rudd and Meryl Streep join the cast with impressive performances. Episode 1 and 2 fluctuate between present and four months before the opening night of Oliver's play Death Rattle. Oliver is struck by Streep's character, Loretta and casts her in his play. Loretta is a struggling actor who has never made it big, romance seems to start between the actor/director. Speaking of romance: Joy (Andrea Martin), Charles' makeup artist and new love, has moved in with him. This poses a challenge for Charles because he's absorbed in the role as detective in Death Rattle but wants to spend time with Joy. We learn Mabel is going to move out soon since her aunt is selling her condo, which makes me wonder if this is her last season.

As in past seasons of the series, season 3 continues to offer an abundance of suspects, humor, investigation, clever writing, and charm.

River Wild 2023 is a fairly thrilling Netflix movie. There are definitely some parts where it lingers too long on dialogue and stock footage of northern American wilderness but otherwise its fast pace keeps your attention. There's plenty of action, combat, and white water rafting.

The story is fairly standard, an unhinged ex-con gets into trouble on a camping trip and goes on a crime spree trying to avoid jail. You only really care about the two main characters, Gray and Joey, because they're the only ones with character arcs. There are a few plot holes here and there, a couple really dumb decisions that'd give a cheesy slasher a run for its money. So if you're easily frustrated by dumb people in horror movies, best to avoid River Wild. I didn't mind it as a fan of shlocky horror.

All-in-all, the stunts are good, pretty scenic shots, well-choreographed fistfights, thrilling life or death situations. I wish they spent more time white water rafting, but otherwise it's an enjoyable high-stakes thriller netflix original.

Puss in Boots: The Last Wish is the long-awaited sequel to the beloved Dreamworks animated classic, Puss in Boots. Taking place several years after the original, the film follows Puss (voiced again by Antonio Banderas) as he embarks on a quest to fulfill a wish alongside his tentative partner Kitty Softpaws (Salma Hayek) and an adorably derpy puppy. A variety of new and multifaceted fairy-tale inspired side characters chase after the wish as well. The multiple factions added depth and a sense of urgency. The antagonist, a frightening wolf named Death, scares Puss to the point he must chase after his wish no matter the cost. This danger really allowed the film to show Puss's vulnerability so he could grow as a person. The film explores complex themes like anxiety, toxic masculinity, found families, and more in a kid friendly way, but with enough insight to resonate with older viewers.

The animation in Puss in Boots: The Last Wish is simply stunning. Rather than aiming for realism, this sequel leans into a more stylized comic book aesthetic like The Bad Guys and Into the Spiderverse. The vibrant colors and detailed character designs bring the characters and their world to life. The action sequences are thrilling and exciting, and the musical score is simply fantastic. Every element of the film works in perfect harmony to create a captivating and magical experience. The voice cast also deserves praise, as they all bring their A game to the roles.

All around, this film is a spectacular display of talent, creativity, and depth of character. Animation is trending in the right direction.

My nostalgia for the 2003 Eddie Murphy Haunted Mansion comedy runs deep and might have sparked my love for horror. Unfortunately, this 2023 reboot disappoints. Disney tried to capitalize on past success but missed the mark. Despite a promising premise based on the Disneyland ride, the execution feels more like a theme park attraction than a compelling movie.

LaKeith Stanfield's portrayal of Ben Matthias, a theoretical physics genius and widower, lacks depth, simplifying the grieving process and undermining its emotional impact. The plot is burdened with multiple false starts and convoluted twists, resulting in an overly long, poorly-written film with weak CGI effects.

The movie's product placements and Easter eggs feel more like a corporate gimmick than storytelling, failing to deliver a fun experience. It struggles to find its own identity, lacking originality and depth compared to the beloved park attraction.

The film's forced blend of horror-comedy and family-friendly adventure leads to tonal inconsistencies. The cast, including talented actors like Owen Wilson and Rosario Dawson, is underutilized, with only Jamie Lee Curtis making an impact in her limited screen time.

The movie relies on cheap jump scares and clichés, lacking genuine suspense. The visual effects, while attempting to bring ghosts and haunted house transformations to life, are unconvincing.

Disney's 2023 Haunted Mansion disappoints as it tries to cash in on nostalgia and a beloved ride. Despite some scares and campy charm, it's hampered by a weak script, shallow characters, and subpar CGI. Excessive corporate tie-ins make it feel soulless. Whether you're a Disney enthusiast or a casual viewer, it's a forgettable addition to Disney's park-ride films.

There's no point watching this. It's less entertaining, as well as less informative than reading a Wikipedia article. The short-lived Beanie Baby craze is an intriguing true story, but this is not a biopic. It is heavily dramatized, relies on clichés, and fills too much space with 1990s stock footage. Although they embellished the melodramatic lives of those responsible for Beanie Babies, they remained one-dimensional (it's probably why most of their real names were changed). A lot of the movie's runtime is dedicated to graphics and oversimplified explanations of Beanie-related milestones, flipping between the 80s and 90s, making it feel more like a marketing video than a piece of entertainment. Ultimately, the movie never comes up with a meaningful social message, ending up feeling insignificant and unoriginal.

They Cloned Tyrone is a gripping urban drama that turns unexpectedly into the surreal, filled with wild twists and turns.

The story follows Fontaine, a brooding drug dealer living in The Glen, who becomes embroiled in a mysterious and surreal situation. What starts as a gritty urban drama takes an unexpected turn when Fontaine is shot and killed. However, she wakes up the next day as if nothing happened. Seemingly resurrected, those around him, including the pimp Slick Charles and Yo-Yo, are baffled. In an effort to figure out what's going on, they reluctantly join him on an investigation. As they delve deeper into the mystery, the film balances comedy and drama, with the trio navigating through tense and humorous moments. The trio embark on an investigation that uncovers unimaginable and horrifying forces beneath their community. Their eventual transformation into unlikely heroes is driven by the desire to disrupt the oppression and the conspiracy!

However, as Fontaine gets closer to unraveling the nefarious activities in The Glen, the plot struggles to maintain tension and coherence. The unevenness is partly due to excessive comedic relief and exposition. The myriad of plot twists, mostly unpredictable, will ensure you never lose attention. Its Grindhouse-style film grain contributes to the immersive experience, along with a constant foggy atmosphere. The film draws comparisons to "Get Out," "Sorry to Bother You," in both cinematography and story elements, but it is impressive on its own. It forges its own path by weaving references to various movies, like "Hollow Man" and "Foxy Brown," into its well-written comical dialogue.

They Cloned Tyrone's authentic audio/visuals craft an alternative present-day universe, embracing and celebrating its Black identity from the start. The setting is adorned with flashy 1970s cars, tube TVs, and 'Hotbox Fried Chicken' chains, contributing to the distinct vibe. The fashion is captivating as well, particularly with Slick Charles' Oscar-worthy collection of jackets. The funky and bass-heavy soundtrack by Pierre Charles & Desmond Murray perfectly complements the carefully selected soundtrack featuring popular tracks from artists like Erykah Badu, Bootsy Collins, and Diana Ross.

The film's greatest asset is its three charming performers. Jamie Foxx's character, Slick Charles, is a riot with his rapid-fire one-liners and occasional vulnerable moments. His dynamic with Teyonah Parris, who portrays the intelligent and strong-willed Yo-Yo, is delightful and unpredictable. John Boyega's portrayal of Fontaine, initially a man of few words but a lot of attitude, is physically intimidating. He conveys emotions without speaking. His accent work, particularly in the film's conclusion, is so convincing that one could mistake him for an American. Throughout the film, the script is consistently inventive and funny, which is especially helpful during the film's banter-heavy first hour.

There are fascinating underlying themes about community and predetermined roles told through black mirror-esque sci-fi. Hints at hidden forces undermining the Black community through various means like food, religion, and beauty products. However, they could have been further explored without explanation monologues. In that respect, it feels like a Netflix original film. However, other themes are portrayed with more nuance. A Black character who says the phrase "assimilation is better to annihilation," reveals how the film delves into various topical themes like passing, self-hatred, and skepticism towards institutional figures like the police, doctors, and scientists.

They Cloned Tyrone is a gripping urban drama that skillfully weaves into the surreal, offering wild twists and turns that keep audiences captivated. The film's long climax, partly involving an exposition dump scene with a menacing villain played by Kiefer Sutherland, felt rushed and traditional compared to the more engaging first hour. While some elements struggle to maintain tension and coherence, the film's Grindhouse-style visuals and well-curated soundtrack add to its immersive experience. The outstanding performances of Jamie Foxx, Teyonah Parris, and John Boyega infuse the story with charm and depth. Despite a few shortcomings, the film stands on its own, offering an original and promising debut from director Juel Taylor.

Fast X, the not-so-anticipated tenth installment in the iconic Fast and Furious franchise, endeavors to uphold the thrill and excitement that defined its earlier predecessors. Nevertheless, despite its fervent attempts to rekindle the magic of past glory, the film ultimately succumbs to the wearisome aspects of a long-standing franchise.

Once known for reveling in its own absurdity, the previous movies fearlessly drenched audiences in jaw-dropping action and gravity-defying stunts that relentlessly challenged the boundaries of cinematic adrenaline. These audacious feats, which were enough to make hearts race beyond the speed limit, have now transformed into familiar spectacles that no longer evoke the same awe and astonishment. Even the once-mind-bending spectacle of Vin Diesel executing a gravity-defying 90-degree angle drive has lost its luster, having been viewed ad nauseam throughout the nine preceding installments.

The allure of the franchise's former bravado, which once shimmered with an air of audacity, is now overshadowed by a sense of formulaic predictability that hangs heavy in the air. Fast X's narrative finds itself trapped within the confines of its own legacy, reluctantly recycling well-worn tropes and clichés in a bid to replicate the past glories that have etched the franchise into the annals of cinema history. This reliance on established elements stifles the potential for genuine innovation and leaves the audience longing for a breath of fresh air.

Even the commendable attempt to inject novelty into the film through celebrity cameos unveiled via a submarine reveal falls short of resuscitating the once-pulsating nerve of the series. The grandeur and extravagance of these surprise appearances momentarily raise eyebrows, but they do little to quell the creeping sense of déjà vu that hovers over the viewing experience.

For devoted fans who have embarked on the tumultuous 22-year journey, Fast X might still offer moments of gratification and nostalgia, serving as a testament to their unwavering loyalty to the beloved franchise. However, for those in search of a rejuvenated and imaginative cinematic encounter, the film's adherence to timeworn conventions and a regrettably formulaic approach may leave them yearning for a fresher, more invigorating direction. As the tenth installment in the series, Fast X stands as an illustration of the inevitability that even the most cherished of franchises can endure the passage of time, prompting reflection on the fleeting nature of cinematic enchantment.

"The Girl I Like Forgot Her Glasses" has an intriguing premise, promising a heartwarming story about two classmates discovering their feelings for each other. However, the execution of the first episode is mind bogglingly bad.

One of the most noticeable issues is the animation. Studio GoHands' decision to employ their patented janky camera angles feels more like a distracting gimmick than a creative choice. Instead of enhancing the storytelling, it pulls your attention away and nauseates you, making it difficult to focus on the two lead characters and their interactions. For a romcom, these interactions are crucial, but presented with wild hair motions and cameras swinging all over the place you can barely pay attention.

This inconsistency in art style is further exacerbated by the clash between the hyper-realistic background art and the 2D character designs. The designs look fine, a bit glossy, it's the same GoHands character designer as Hand Shakers and K. The contrasting aesthetics create a jarring inconstancy in the compositing.

The storyline itself is has plenty of potential to be funny, cute, and lovable, centering around Kaede's crush on Ai and her struggle with poor eyesight. However, the first episode fails to establish a strong foundation for their relationship. While Kaede's willingness to help Ai is kind, the story lacks depth and it's hard to feel anything for them. The characters feel underdeveloped, and their interactions often fall flat. It comes off as Kaede is enjoying getting to treat Ai like a child, which seems to be the anime's appeal. As a result, it is challenging to become fully invested in their budding romance or empathize with their respective struggles.

Despite these shortcomings, there are a few redeeming aspects. The concept of Ai frequently forgetting her glasses adds an interesting layer of vulnerability to her character, creating opportunities for growth and self-discovery. Additionally, the potential for exploring themes of reliance and personal growth is promising. It remains to be seen whether subsequent episodes can capitalize on these aspects and deliver a more engaging and satisfying narrative.

In conclusion, the first episode of "The Girl I Like Forgot Her Glasses" fails to live up to its potential due to its eye searing animation style, lackluster character development, and mediocre storytelling. While the concept shows promise, it is overshadowed by the clashing visuals and a constant need to catch the viewers' attention. Hopefully, future episodes can address these issues and deliver a coherent viewing and less nausea inducing experience.

An Incomplete and Confusing Conclusion

As a fan of the first half of Wonder Egg Priority, I eagerly anticipated the special episode that was supposed to shed light on the confusing and incomplete ending of the original show. However, upon watching it, I was disappointed and perplexed. The special episode, spanning 46 minutes, failed to provide a satisfying resolution or explanation for the unresolved plotlines and character arcs from the original series.

The first 23 minutes of the special episode recap the entire show. This felt redundant and repetitive for people who had already seen the original episodes. While it could have been a helpful refresher for those who may not have watched the show before (you will be very lost if you start here), it added no new insights or clarifications to the confusing ending. Instead, the final 23 minutes of the special episode introduced more confusion and raised further questions, leaving me scratching my head.

The main characters spent the whole show trying to resurrect deceased girls, fighting metaphorical monsters in their dreams. After they defeated the final boss, the deceased girls never returned to life. In this special, they were resurrected in an alternate universe-none of that was explained, we have to assume that's what happened. The deceased girls who were resurrected lost all of their memories, and the timeline reformed around the heroines never meeting them. Does this imply all of the main characters caused the deaths of the resurrected girls? We were left to assume that this is what happened, as no details or context were provided.

Moreover, the resurrected girls lost all of their memories, and the timeline reformed around the heroines never meeting them. This raised questions about the implications of the main characters' actions in causing the deaths of the resurrected girls, but no clear answers were provided. The lack of explanation and ambiguity surrounding this plot point is both frustrating and oddly bewildering. Another unresolved plotline was the protagonist Ai Oto's relationship with her teacher, Mr. Sawaki. In the original series, Mr. Sawaki was implied to have inappropriate feelings towards Ai. In the final episode of the special, he was shown to be responsible for Ai's suicide in an alternate reality. However, the nature of Ai's feelings towards Mr. Sawaki and his actions in the special ending timeline remained unclear and unexplored. The show failed to address this sensitive issue and its consequences, leaving discomfort and unease.

Furthermore, Ai's friend's suicide, which was Ai's initial motivation for fighting the monsters and resurrecting the deceased girls, was never addressed or explained in the special episode. This significant aspect of the story was brushed aside, and the show offered no meaningful insights or commentary on teenage suicide and mental illness. Instead, mental illness was reduced to a simplistic and dismissive explanation that "teenage girls just get depressed sometimes," which was both insensitive and inadequate. Two characters made insensitive remarks about suicide, attributing it to emotion in girls and logic in boys.

Additionally, the supporting characters in the special episode were barely addressed, with minimal development or progression. Neiru's revelation as a robot, Momoe's brief singing scene, and Rika's continued depression were mentioned briefly but left unexplored. Ai's decision to abandon her friends by symbolically throwing away her phone also lacked proper justification or explanation. This lack of depth and development for the supporting characters was disappointing and left their story arcs unresolved.

The special episode of Wonder Egg Priority failed to resolve or clarify the confusing and incomplete ending of the original series. The recap of the original episodes added no new insights, and the additional content in the special episode only raised more questions without answers. The issue of inappropriate relationships, teenage suicide, and mental illness were not adequately addressed in the show. The lack of explanation, unresolved plotlines, and ambiguous character arcs left me frustrated and disappointed.

Hell's Paradise sets the stage for a treacherous journey by explaining the processes of beheading. Meanwhile, an executioner struggles to decapitate the main character with a sword-Gabimaru, a seemingly invincible boy who just wants to die. What follows is a montage of failed attempts to execute him. He explains his history, motivations, and flaws to a stranger who randomly interviews him in prison. Almost all the information we learn about the protagonist is delivered lazily through forced exposition. Whether narration in non-diegetic form, flashbacks, or characters uttering their backstory, it's all forced. The quiet and enigmatic protagonist shows us his 'ninjutsu,' a superpower fighting technique that unleashes flames.

Gabimaru and many other criminals have been sent to a monster-infested island to find the "elixir of life." Upon achieving their goal, the nation would pardon their crimes. Every criminal has an executioner to monitor them. Gabimaru's is Sagiri. She is a blank slate, a hard-working, disciplined rule follower known as an Asaemon. Sagiri's internal monologue spoon-feeds Gabimaru's character development. If they want us to understand how emotionless yet emotional he is, she will tell us painstakingly. Let's just say neither of them will make any "Best Character of the Year'' lists. It's not only Sagiri, either. Half of the screen time is devoted to people dumping exposition onto one another or, worse, the viewers. For an anime with such mature content, it treats us like children! We can handle visual storytelling, natural dialogue, and context clues. Is that asking for too much? Aside from its overly literal nature, the script is blander than an unseasoned boiled chicken breast. I like humor, wit, charm, irony, sarcasm, or flavor. There's none here!

If there's one thing Hell's Paradise does better than its contemporaries, it's how it doesn't waste too much time on world-building. It keeps its terms comprehensive. The monsters on the island are just called monsters. The energy that monsters harness to fight is called Tao. Ninjutsu, basically ninja superpowers-all pretty basic stuff. Aside from the Mcguffin storyline, I didn't care about the generic world. It's an exciting anime for the violent death island and increasingly grotesque monsters. There's some lore behind how the monsters came to be, but it's mostly an excuse for big bug battles and giant killer statues. Body horror lovers won't be disappointed. The most challenging enemies heroes encounter are the Tensen-seemingly immortal flower/human hybrids. The Tensen control the island's monsters and use Tao to slice and dice human trespassers. Early in the series, the writers establish that cutting off a Tensen's heads doesn't kill them, yet no one seems to share this information, leading to predictable outcomes. One of the side characters chops off a Tensen's head, then it regrows, and now they're disadvantaged. Marvelous, what else do you have for us?

Hell's Paradise embraces a recurring theme of women's empowerment. A significant moment occurs when one of Sagari's superiors tries to belittle her by suggesting her weakness as a woman. He also urges her to leave the island. However, Sagiri courageously stands her ground, and it is refreshing to see the show firmly supporting her stance. As one of the few female Asaemon, she must demonstrate her combat prowess to silence misogynistic criticism. There are other female characters in the anime, and the overall portrayal can be deemed feminist in its approach.

Caring about Hell's Paradise characters could be an Olympic sport. After a few minutes of development, the series dispatches them so quickly that you may wonder what's the point. The supporting character development resembles Demon Slayer's worst aspect-they develop right before dying. Usually in the form of a badly-timed flashback meant to make you pity or sympathize with the short-lived fighter. This first season offers plenty of unique faces with likable personalities. It's a shame it's over right before you get to know them. Thankfully, they don't do this with the Tensen monsters. Flashbacks work in moderation, but their overuse here looks like lazy writing. The series' only alternative to quick flashbacks is inserting a character whose sole purpose is to spew background information. Like Sagiri, random people will appear just when we need to hear about the person's life story. You'd have to be blind not to see the played-out formula.

Speaking of played out, it's no surprise the production is mediocre. As the compositing shows, Hell's Paradise was a less significant production for MAPPA. Whether their productions will come out well is a coin flip. One of the problems is overexposed art and excessive brightness-this results in a loss of detail and a washed-out appearance like a low-budget anime. Additionally, the characters seem alien to their surroundings due to a significant disparity between the background art and characters. Instead of seamlessly integrating the characters into the environment, it looks like stickers haphazardly placed on wallpaper. The issue is made worse by slow fights. Combat constantly pauses for flashbacks, basic observations, or monologues. The battles aren't particularly well choreographed, relying on wild camera movements and close-ups to avoid animation. It's a lot of build-up for a fight that ends up being lame.

Hell's Paradise falls short in many aspects, especially character development, scriptwriting, and art. The forced exposition and dependence on flashbacks hinder the story's natural progression, leaving little room for viewers to form a genuine connection with the characters. The lack of humor, wit, and charm further detracts from the overall enjoyment of the anime. However, the series succeeds in concise world-building and delivers on the promise of violent battles and grotesque monsters. The body horror elements and the Tensen enemies provide genuine excitement. Hell's Paradise deserves credit for highlighting the strength and determination of the female deuteragonist, Sagiri. Hell's Paradise falls short in production quality and writing competence, resulting in an irritating sense of disappointment.