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Television Review: Stowaway (Fringe, S3x17, 2011)

drax — Fri, 30 Oct 2026 12:18:42 GMT

Stowaway (S03E17)

Airdate: 18 March 2011

Written by: Danielle Dispaltro
Directed by: Charles Beeson

Running Time: 44 minutes

As the third season of Fringe neared its conclusion, one couldn't shake the growing suspicion that the show's creators were increasingly beginning to rely on cheap plot gimmicks and soap opera techniques rather than delivering something truly original to their audience. The series had always walked a fine line between procedural crime drama and serialized science fiction, but by this stage in its run, the balance was tipping noticeably toward the former at the expense of the latter. Stowaway, the seventeenth episode of the season, serves as a prime example of this trend: a technically competent but ultimately unremarkable instalment that doesn't actually move the general plot forward in any meaningful way. It exists, much like the preceding Os, because the broadcast schedule demands a certain number of episodes per season, not because the overarching narrative desperately requires telling.

The episode opens with the cliffhanger from the previous instalment: the spirit of William Bell has possessed Olivia Dunham's body. Bell, speaking through Olivia, promises Peter and the rest of the Fringe Division that no harm will come to Olivia, but he also makes clear that he needs an adequate new body to serve as his host in order to release his grip on her. Broyles, who needs his top agent back in working order, demands that Bell vacate Olivia within forty-eight hours—a deadline that lends the episode a nominal sense of urgency that it never quite manages to capitalise upon.

Yet, the work of Fringe Division continues regardless of whether it is Olivia or Bell inhabiting Olivia's body. A case presents itself involving a woman (Paula Malcolmson), who jumped from a high building alongside another man. The man died on impact, but the woman simply walked away from the scene as though nothing had happened. The incident was witnessed and duly recorded by video cameras. Bell, occupying Olivia's consciousness, is concerned that this might be caused by another anomaly of the sort that has been systematically wrecking the Redverse—the very reality-warping degradations that threaten to bleed into the Prime universe.

The Fringe Division is contacted by Lincoln Lee, who in the Prime universe happens to be an FBI agent stationed in Hartford, Connecticut. He recognises the woman as Dana Gray and informs the team that she had apparently been killed alongside her entire family during a robbery, only for her body to subsequently disappear from the morgue. Dana was later involved in two similar incidents, apparently with people who were committing suicide. Walter examines a biological sample from Dana and discovers that her molecular structure was altered following a series of lightning strikes, thus rendering her incapable of dying.

Peter and Lincoln, who has effectively joined the Fringe Division for the duration of the investigation, discover that Dana worked as a suicide hotline operator and was deeply religious. Lincoln concludes that she wants to "stow away" towards the afterlife with people who are going to die, and that she herself is willing to commit suicide, thereby sharing the desire of those she accompanies.

Dana visits one of her clients, who is revealed to be a deeply disturbed young man. He shoots himself, but not before informing her that he has prepared a bomb to detonate on a commuter train. The Fringe team arrives at his residence, finds the body, discovers bomb-making equipment, and concludes that Dana has boarded the train hoping to increase her chances of dying through a mass casualty event. Peter, using her late husband's mobile phone, manages to keep her talking long enough for her train to be identified and stopped. Dana leaves the train carrying the bomb, and it goes off. Her body is later found, with the power of the explosion apparently having altered her electromagnetic structure and finally allowing her to die.

Peter returns home, where Walter has invited Bell—still occupying Olivia's body—to stay. Bell suggests that Dana died not because of physics, but because of fate; in death, he argues, she was serving a purpose by saving the lives of innocent people. The episode ends with Olivia briefly reappearing in her own body, only for Bell to claim that his possession will be much more complicated than he had initially anticipated—a transparent setup for further episodes that resolves nothing.

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Sonic speed

captain6 — Fri, 30 Oct 2026 11:47:03 GMT

Sonic the Hedgehog 3: When the Good Guys Need a Villain's Help

I'll admit I went in expecting another breezy kids' romp with Jim Carrey mugging for the camera, and I came out surprised by how much weight Shadow actually brought to the thing.

The setup: fifty years back, a secret government program run by Professor Gerald Robotnik — yes, Ivo's grandfather, also Carrey, because why stop at one — builds an "Ultimate Life Form" using alien tech, loses control of it, and gets shut down hard. When that creation, Shadow, finally wakes up, he's got a grudge the size of the moon and zero interest in explaining it before throwing hands. Sonic, Tails, and Knuckles get outclassed almost immediately, and watching them get humbled enough to form an uneasy truce with Robotnik is such a simple move, but it completely recontextualizes the franchise.

Keanu Reeves voicing Shadow shouldn't have worked as well as it did. That flat, clipped delivery usually reads as miscasting, but here it plays as a guy who's spent decades alone with nothing but his anger — every line sounds like it costs him something.

The real engine of the movie, though, is Carrey playing against himself. Gerald isn't just "sad Robotnik" — he's a grief-wrecked old man who lost his granddaughter Maria and has been rebuilding Shadow's purpose around revenge ever since, and Carrey plays that completely straight in a way that makes the comedy hit harder when it shows up. There's a heist scene where both Robotniks have to dance their way past a room full of security lasers to reach the Eclipse Cannon, and it's some of the best pure physical comedy he's done in this franchise — immediately followed by a Shadow/Maria flashback that actually got me, which is not a sentence I expected to write about a Sonic movie.

Setting a chunk of the back half in Tokyo instead of another suburban cul-de-sac also gives the action a different texture — there's a rooftop chase that's genuinely one of the better video-game-movie set pieces out there.

If I've got a complaint, it's that the film is juggling a lot — Shadow's backstory, the Robotnik double act, a corporate subplot that never quite earns its runtime, Team Sonic's own arc — and the middle stretch sags under the weight of all of it. It never loses me, but I felt the seams.

Still, I walked out having more fun than I expected, and that Amy Rose tease in the credits has me actually looking forward to the next one instead of just assuming I'll catch it on Paramount+ eventually. First Sonic movie that felt like it was building toward something instead of just coasting on Carrey.

Film Review: Deathsport (1978)

drax — Thu, 29 Oct 2026 17:45:39 GMT

Roger Corman has rightfully earned his reputation as the grand master of American independent cinema. Over a career spanning decades, the legendary producer shepherded hundreds of films into existence, and among that staggering output one can find genuine classics—The Masque of the Red Death, The Trip, Rock 'n' Roll High School, and of course Death Race 2000. Yet the laws of probability dictate that such a fruitful filmography cannot consist entirely of gems. For every Little Shop of Horrors, there must inevitably be something that stands out for precisely the opposite reasons. One such unfortunate example is Deathsport, a 1978 science fiction action film directed by Allan Arkush that represents perhaps the nadir of Corman's otherwise impressive 1970s output.

The film unfolds in a distant future, one thousand years after something called the Neutron War has ravaged the planet. An opening narration describes a world reduced largely to wasteland, punctuated by scattered city-states that have managed to preserve fragments of old technology and civilisation. Between these enclaves roam two distinct populations: cannibalistic mutants who prey upon the unwary, and noble nomadic warriors known as Range Guides who traverse the desolation on horseback. Lord Zirpola (David McLean), rules the city-state of Helix and harbours ambitions of conquering his rival, Tritan. His dominion rests partly on control of the Death Machines—motorcycles, essentially—and partly on the gladiatorial contests known as Deathsport, in which condemned prisoners fight to the death using these vehicles for the entertainment of the masses.

Our protagonist is Kaz Oshay (David Carradine), a legendary Range Guide who finds himself imprisoned in Helix. Zirpola requires a female contestant for his Deathsport spectacle, and she arrives in the form of Deneer (Claudia Jennings), another Range Guide captured while attempting to rescue a young girl named Tara from the mutants. Kaz and Deneer wind up in the same cell, where they forge a bond, and Kaz recognises Ankar Mor (Richard Lynch), Zirpola's chief enforcer, as the man who murdered his mother. When the pair are brought to the arena to compete, they seize the opportunity to escape, and together with a handful of fellow prisoners they flee across the wasteland, pursued relentlessly by Ankar Mor and his forces.

Corman originally conceived Deathsport as something of a spiritual successor to Death Race 2000, the futuristic action film that had become an instant cult classic three years earlier. The thinking was sound enough: motorcycles would be cheaper to film than automobiles, allowing the production to capture similar thrills at reduced cost. The result, however, could hardly have been more different from its predecessor. Deathsport is a bad film by even the most charitable criteria—poorly directed, sloppily edited, and indifferently acted, with only Richard Lynch appearing to take his employment seriously. Where Death Race 2000 crackled with satirical energy and transgressive wit, Deathsport plods through its brief running time with all the excitement of a particularly tedious episode of a low-budget television serial.

Much of this failure can be attributed to Corman's notorious penny-pinching. Carradine, brought back to anchor another futuristic action vehicle, later revealed that the bulk of the budget disappeared into his salary—substantially inflated following his prestigious role in Bergman's The Serpent's Egg, which had elevated him to greater star status. What remained was squandered on unconvincing special effects, including a mere two matte paintings that serve as the only visual representation of the warring city-states. The production team was forced to improvise extensively, shooting in recognisably twentieth-century buildings and at Vasquez Rocks—that distinctive geological formation familiar to generations of Star Trek fans. The mutants wear laughable make-up, while the futuristic weaponry consists of handheld blasters alongside plastic-looking swords referred to as "whistlers," which look as though they were purchased from a novelty shop shortly before filming commenced.

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Standing Alone: Watching Gary Oldman Become Winston Churchill in Darkest Hour

panosdada — Thu, 29 Oct 2026 06:52:00 GMT

Photo by MovieBox

There are moments when watching a movie stops feeling like simple entertainment and turns into a profound realization of history. That is exactly what happened when I watched Darkest Hour. From the moment the film starts, you are thrust into May 1940—a terrifying period when Western civilization was literally hanging by a thread. The Nazi war machine had swept through Europe, France was collapsing, the British army was trapped on the beaches of Dunkirk, and the shadow of fascism was about to swallow the entire continent.

At the center of this storm stood one man: Winston Churchill.

Before diving into the historical weight of the story, we have to talk about Gary Oldman’s performance. Calling it an acting masterclass feels like an understatement. Transformed by incredible prosthetics and carrying a heavy physical presence, Oldman vanishes into the role entirely. You don’t see a famous Hollywood actor wearing a suit; you see an exhausted, flawed, stubborn, and brilliant 65-year-old leader struggling under the weight of the free world. Every grunt, every nervous puff of his cigar, every quiet tremble in his hands, and every explosive roar of defiance feels terrifyingly real.
What makes Oldman’s portrayal so captivating is that he doesn't paint Churchill as a flawless superhero. He shows him as an isolated, deeply doubted man. The War Cabinet didn't trust him. His political peers wanted peace talks with Hitler. King George VI was hesitant, and the public was terrified. The film captures his agonizing inner conflict—the crushing weight of knowing that one wrong decision could lead to the complete annihilation of his nation and the permanent enslavement of Europe.

Watching Darkest Hour made me realize something fundamental about the world we live in today. It is so easy to take modern freedom, democracy, and a free Europe for granted. We look at history through textbooks as if the defeat of Nazi Germany was an inevitable outcome. But watching this movie reminds you that it was not inevitable. There was a specific, terrifying fork in the road where history could have easily swung the other way.

If Churchill had yielded to the intense pressure from figures like Lord Halifax and Neville Chamberlain to negotiate a peace treaty with Adolf Hitler, Britain would have stepped out of the war. Europe would have been completely abandoned to tyranny.

The Nazis would have consolidated their grip across the entire continent, locking down resources and securing their western flank. Without Britain staying in the fight as an active fortress of resistance, there would have been no staging ground for the United States to enter the European theater years later, no Operation Overlord, and no D-Day.

It becomes chillingly clear: Winston Churchill was the ultimate firewall.

His absolute refusal to bend the knee—his fiery insistence that "you cannot reason with a tiger when your head is in its mouth"—is the exact pivot point upon which modern history turned. His ability to weaponize the English language and instill defiance in a terrified nation didn't just save Great Britain; it preserved the fragile spark of liberty for all of Europe.

He forced the free world to hold the line until help could arrive.

Director Joe Wright frames this historical crunch with incredible visual tension. The tight, claustrophobic corridors of the War Rooms, the dimly lit Parliament chambers, and the towering shadows emphasize just how narrow the margin between victory and utter defeat really was. The famous speech sequences—where Churchill promises nothing but "blood, toil, tears, and sweat"—give you actual goosebumps because Oldman delivers them not with polished political theater, but with the raw, desperate power of a man fighting for survival.

Darkest Hour is a masterpiece because it reminds us that history is shaped by conviction. Watching Gary Oldman bring Churchill to life isn't just a great cinematic experience; it's a humbling lesson in leadership. It makes you look at modern, free Europe with a renewed sense of gratitude, knowing that our freedom today rests on the shoulders of a man who looked into the absolute darkest hour of human history and refused to surrender.

If you haven't watched it yet, do yourself a favor and experience it. It is one of the most powerful biographical dramas ever put on screen.

Film Review: Dungeons & Dragons: Honor Among Thieves (2023)

drax — Thu, 29 Oct 2026 06:30:33 GMT

To say that Dungeons & Dragons, the oldest and most iconic role-playing game ever made, has had little fortune in being adapted to the screen would be something of an understatement. The first attempt to turn the property into an action fantasy epic in 2000 was a disappointing failure—a film so misguided in its execution that it has become something of a cautionary tale among genre enthusiasts. This was followed by two utterly forgettable direct-to-video sequels that did little to restore the franchise's cinematic reputation. Yet the game that represents such a significant part of the world's popular culture had enough devoted adherents within Hollywood to warrant a second try. Their efforts in 2023 bore significantly more fruit with Dungeons & Dragons: Honor Among Thieves, a film that won surprisingly good favour among critics, who are usually not terribly inclined towards this type of blockbuster fare.

The nominal protagonist, played by Chris Pine, is Edgwin "Ed" Darvis, a bard and former member of the Harpers, an order of peacekeepers. After his wife was murdered by the Red Wizards, he turned to thievery in order to provide for his daughter Kira (played by Chloe Coleman), whom he raises with the help of Holga Kilgore (played by Michelle Rodriguez), a barbarian who has become something of a surrogate mother to the child. In order to rob a treasure hoard that includes the "Tablet of Reawakening"—an artefact that could potentially resurrect his deceased wife—he assembles a party comprising Simon Aumar (played by Justice Smith), an aspiring sorcerer of questionable competence; Forge Fitzwilliam (played by Hugh Grant), a rogue con artist; and Forge's mysterious wizard acquaintance Sofina (played by Daisy Head). Predictably, the heist goes spectacularly wrong, and Ed and Holga end up imprisoned, while Forge promises to take care of Kira in their absence.

Two years later, Ed and Holga manage to escape from prison, and Ed, whilst attempting to reunite with his daughter, discovers that Forge has become the new Lord of Neverwinter—a city that he rules with the counsel of Sofina, who is revealed to be a Red Wizard herself. When Ed and Holga learn that Forge actually betrayed them during the original heist, Forge orders their execution, but they manage to escape once again. Ed is now determined to obtain the Tablet and free Kira from Forge's custody, but this requires money, which could be found in Forge's vault. Ed and Holga form a new party, recruiting Simon once more and adding Doric (played by Sophia Lillis), a tiefling druid from the nearby Neverwinter Wood. They are to be temporarily assisted by Xenk Yendar (played by Regé-Jean Page), a paladin of impeccable honour and rather exhausting seriousness.

Originally conceived in 2013 and brought to the screen after years of development hell—complicated by litigation between the producer and toymaker Hasbro over rights, as well as delays caused by the COVID-19 pandemic—Honor Among Thieves functions largely as a typical Hollywood summer blockbuster. Thankfully, the directing duo of Jonathan Goldstein and John Francis Daley appear to have learned plenty of lessons from their predecessors' failures, as well as from those summer blockbusters that actually work, and ultimately delivered what is supposed to be delivered from these films: unassuming but professionally made family-friendly light entertainment that does not overreach or take itself too seriously.

The main problem facing this film was that D&D is still something of a niche property, so the script, co-written by Goldstein, Daley and Michael Gilio, had to take into account that many in the audience would be unfamiliar with the franchise's lore and mechanics. Instead of stuffing the film with exposition that would alienate casual viewers, they opted for a more generic high fantasy adventure, with the game origins being reflected through protagonists belonging to its iconic races and character classes, whose ultimate alignment and function can be easily recognised even by non-fans. This approach makes Honor Among Thieves, despite a few potentially confusing scenes here or there, comprehensive enough for general audiences. Using the protagonist telling his backstory in the very beginning was also a clever way of delivering exposition in a convincing and coherent manner without resorting to clunky narration or text crawls.

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Dr Sleep movie based on the Stephen King book

gooddream — Thu, 29 Oct 2026 03:14:12 GMT

I wrote yesterday about how nonplussed I was with the follow up to The Shining book of 500+ pages by Stephen King and how I felt this book was unnecessary and was just a corporate add-on to King's library and a follow up on a story that had already reached its conclusion with the first novel.

The book was well-written in a prose sense, but just kind of fell flat as far as the story was considered. I didn't feel any sense of dread or fear throughout the book and this is kind of a staple of King horror. I have been genuinely frightened by the written word only a couple of times in my life and a few of them were by Stephen King. This book didn't have that impact on me and when the book was over I was very glad that it was so I could finally move on to something else.

I had read the movie was better than the book - which is a rare situation indeed - so I figured I would dive straight into that.

[src](https://upload.wikimedia.org/wikipedia/en/c/cf/Doctor_Sleep_%28Official_Film_Poster%29.png?utm_source=en.wikipedia.org&utm_campaign=index&utm_content=original)

I was quite hopeful going into this one because I like Ewan McGregor and Stephen King adaptations always have an opportunity to be really good.

This 3 hour monster of a film is highly rated and because it was made 40 years after The Shining I thought that a lot of the stuff that they couldn't do back in 1980 because of the limitations of technology, could be perfected in this big-budget story. Well, the CGI was definitely on point in a way that Kubrick could have only dreamed of back in the day, but for the most part the film wasn't something that really held my interest.

It took me 4 sittings to finally get through it and I feel like my mind was somewhere else for most of it.

[src](https://danadargos.com/wp-content/uploads/rebecca-ferguson-doctor-sleep-interview.jpg)

There is a character in the movie and book named "Rose" who is the leader of a group of immortal vampire-like creatures called the "True Knot" who have vast resources and supernatural powers. They did a fantastic job casting Rebecca Ferguson in this role because her accent is just evil enough to be intimidating and she is also quite pretty, which is what Rose was like in the book.

However, I was disappointed that they didn't amp up her powers in the film even though that would have been a straying away from the book. That is one of the major flaws of both the book and the film. The "baddies" including their leader Rose, just don't ever feel like the dominant force that they should be in order to be a group of several thousand year old immortals who just have their way with humanity. They are quite easily conquered around every turn by both Danny Torrence and the little girl "Abra" that is kind of co-star of people who know how to "Shine" in this story.

It's difficult to find fear in an enemy that gets defeated every single time they are on screen. Pennywise was terrifying even though I didn't like the "It" remakes because he was omnipotent in a way. He was insurmountable and something to definitely be afraid of. Rose on the other hand, gets dominated in what seems to be relative ease every time she interacts with the good Shiners, especially young Abra who doesn't really even understand her powers in both the book and the film.

I think that is what irked me the most.

[src](https://static0.srcdn.com/wordpress/wp-content/uploads/2019/12/Doctor-Sleep-Abra-vs-Rose-the-Hat.jpg)

Abra is a little kid and of course she is a good student and great child to her parents, but she doesn't really have control of her powers.. well that is until one day inexplicably she just DOES have control of it after just a few meetings with Danny, who understands "The Shine" better than a 13 year old does but he doesn't have the level of power that she does so how can he possibly explain it?

Just like with the book this film really leans into alcoholism because King has a lot of experience with that and rather than a battle between Danny, Abra, and the True Knot, we have a battle between Danny and bottles of whiskey. I suppose this is trying to tie into Jack Nicholson's brilliant performance of Jack / John Torrence and how the bottle truly was his real enemy.

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🎬 Movie review: Practical Magic 2 [ES/EN]

erigm — Thu, 29 Oct 2026 03:12:27 GMT

![magia practica 2.png](https://files.peakd.com/file/peakd-hive/erigm/48K7a3Az2PGdWgnUQRGxXN461WPeKddv3D6oGwMRdXzinuFNn11MbgVD66uDBijtg5.jpg) _{Cover made in Canva. [Image](https://www.imdb.com/es/title/tt32588798/mediaviewer/rm1116336386/?ref_=ttmi_mi_23_1)}

¡Hola amigos! Hoy me paso por acá para traerles mi reseña de la película Prácticamente magia 2. Estaba deseando verla y finalmente pude hacerlo.

Hi, friends! I'm stopping by today to share my review of the movie Practical Magic 2. I've been looking forward to seeing it, and I finally got the chance.

![separador pochoclo.png](https://files.peakd.com/file/peakd-hive/erigm/23ynoruFPPpbfZrMeBPMahzGoqqswuBApmuZRhcWyX1bAw2r4Kss7dMiP9KdTRGzah7ar.png)

Trama - Plot

![Captura de pantalla 2026-10-27 205439.png](https://files.peakd.com/file/peakd-hive/erigm/23tGXQfSyKZRFVfWZieiRr3Nz4dUynMKHwo8vsvZdSzgJsrJDEjhbdjz76wsyLvrccFmz.png) _{[Source](https://www.imdb.com/es/title/tt32588798/mediaviewer/rm195545602/?ref_=ttmi_mi_3_1)}

En esta segunda entrega después de muchos años de la primera, seguimos a las hermanas Owens y su vida. Sally, tras perder a su segundo marido, decide alejarse de la magia y tener una vida tranquila junto a sus dos hijas que viven en la ignorancia de su linaje. Sin embargo, el pasado siempre vuelve a tocar la puerta y tal vez haya una manera de romper la maldición de amor que aqueja a las mujeres de esta familia, pero para ello deberán conectarse con la magia de nuevo y enfrentarse a una magia ancestral para lograr vencer. Aunque en el camino deberán sacrificar algo.

In this second installment—coming many years after the first—we follow the Owens sisters and their lives. After losing her second husband, Sally decides to turn her back on magic and live a quiet life with her two daughters, who remain unaware of their lineage. However, the past always comes knocking, and perhaps there is a way to break the curse of love that plagues the women of this family—but to do so, they must reconnect with magic and confront an ancient magic to emerge victorious. Though along the way, they will have to make a sacrifice.

![separador pochoclo.png](https://files.peakd.com/file/peakd-hive/erigm/23ynoruFPPpbfZrMeBPMahzGoqqswuBApmuZRhcWyX1bAw2r4Kss7dMiP9KdTRGzah7ar.png)

Reseña - Review

![1000038057.jpg](https://files.peakd.com/file/peakd-hive/erigm/23tbo2gGdpYihapU2hfXVJ6nzh95vkGUxYtFz6rbkqoMLRkE9GznHFgdYGBYRnYCHBJzv.jpg) _{[Source](https://m.filmaffinity.com/es/movieposters.php?movie_id=711879)}

Estaba deseando ver la película y cuando surgió la oportunidad ni lo dudé, lo que no tenía idea es en el golpe emocional que me causaría. A los 20 minutos de empezada yo ya estaba llorando, y así sucedió en algunos otros momentos. Me sentí muy conectada a la historia y me encantó esta segunda parte, aunque reconozco que tuvo sus detalles, que podría haber estado mucho mejor y que hay cosas que no me gustaron, pero en general la disfruté muchísimo.

I was really looking forward to seeing the movie, and when the opportunity came up, I didn’t hesitate—but I had no idea what an emotional impact it would have on me. Twenty minutes into the movie, I was already crying, and that happened a few other times as well. I felt very connected to the story and loved this sequel, although I’ll admit it had its flaws—it could have been much better, and there were things I didn’t like—but overall, I enjoyed it immensely.

Acá vemos a las hijas de Sally ya adultas que no tienen idea de la magia, no saben que son brujas y no tienen recuerdos al respecto. Sin embargo, cuando Kylie llega con un novio, y este tiene un accidente luego de decirle que lo quiere, ahí descubre toda la verdad detrás de las advertencias de no enamorarse jamás. Pero no está dispuesta a rendirse y es la que emprende el viaje para hacerle frente a su linaje y poder romper la maldición antes de que su amor fallezca.

Here we see Sally's daughters as adults—they have no idea about magic, don't know they're witches, and have no memories of it. However, when Kylie arrives with a boyfriend—and he has an accident right after telling her he loves her—she discovers the whole truth behind the warnings never to fall in love. But she’s not willing to give up, and she’s the one who sets out on a journey to confront her heritage and break the curse before her love dies.

![1000038059.jpg](https://files.peakd.com/file/peakd-hive/erigm/23u5Z9qo6v5kPXsKMEdYJdGNW7K4NjuGsXrpCyfwj4evtVVBZAodoVstnoje2FdobVjKe.jpg) _{[Source](https://m.filmaffinity.com/es/movieposters.php?movie_id=711879)}

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Scream 5 Brings Ghostface Back For Another Bloody Trip To Woodsboro. This 2022 Slasher Reboot Sequel Introduces A New Generation Of Victims While Bringing Back Familiar Faces, Delivering Plenty Of Suspense And Franchise Humor Even If It’s Step Down From

thefed — Wed, 28 Oct 2026 17:19:12 GMT

Scream 5 Brings Ghostface Back For Another Bloody Trip To Woodsboro. This 2022 Slasher Reboot Sequel Introduces A New Generation Of Victims While Bringing Back Familiar Faces, Delivering Plenty Of Suspense And Franchise Humor Even If It Never Quite Matches The Original Classic.

After working through the earlier Scream movies, it is time to move into the modern era with Scream, released in 2022 and often referred to as Scream 5. The movie arrived eleven years after Scream 4 and had the challenge of reviving the franchise for a new generation of horror fans. It is an okay film with some entertaining moments, but for me, it does not reach the heights of the first two movies.

The film was directed by Matt Bettinelli-Olpin and Tyler Gillett, the filmmaking team known as Radio Silence. They took over the franchise following the death of original director Wes Craven in 2015. That was a difficult act to follow, considering how much Craven’s style helped define the series. The new directors clearly understand the material, and they make an effort to respect what came before while bringing their own approach to the familiar slasher formula.

The story begins with Tara Carpenter, played by Jenna Ortega, receiving a terrifying phone call from someone claiming to know her favorite horror movies. What starts as a conversation about horror trivia quickly turns into a violent attack when Ghostface arrives. Tara survives, but the incident brings her older sister, Sam Carpenter, back to Woodsboro. Melissa Barrera plays Sam, a young woman with a troubled past who soon discovers that the new killing spree has a disturbing connection to her own family.

Sam and Tara are the emotional center of the new story. Their relationship gives the movie a personal conflict beyond the usual mystery of who is wearing the Ghostface mask. Sam wants to protect her sister, but she is also dealing with secrets that make her question her own identity. Barrera gives the character a serious, sometimes troubled presence, while Ortega brings plenty of energy to Tara. Ortega would go on to become an even bigger star, and it is interesting to see her in one of the early roles that helped raise her profile.

The movie also brings back several familiar faces. Neve Campbell returns as Sidney Prescott, the original survivor who has spent years trying to move on from her experiences with Ghostface. Courteney Cox is back as Gale Weathers, still chasing a story and trying to make sense of another series of murders. David Arquette returns as Dewey Riley, who is now living a quieter life away from the police force. Their presence gives the movie a connection to the earlier films, even as the story shifts its focus toward a younger cast.

Dewey is particularly important to this installment. He has been through so much over the course of the franchise that seeing him older and worn down gives the story a different emotional tone. Arquette brings genuine warmth to the character, and his involvement reminds viewers that these murders have lasting consequences for the people who survive them. His storyline is one of the movie’s more effective elements, even if some of the other characters are not as well developed.

The supporting cast includes Jack Quaid as Richie Kirsch, Sam’s boyfriend, along with Dylan Minnette as Wes Hicks, Mason Gooding as Chad Meeks-Martin, and Jasmin Savoy Brown as Mindy Meeks-Martin. Mindy is the niece of Randy Meeks, the horror movie enthusiast from the original films, and she fills a similar role by explaining the rules of modern horror franchises. The movie uses her character to poke fun at reboots, legacy sequels, and the tendency of Hollywood to revisit familiar stories instead of creating something entirely new.

That commentary is one of the more interesting ideas in Scream 5. The characters discuss the difference between a reboot and a sequel, the expectations surrounding legacy characters, and the way fans sometimes react when a franchise takes an unexpected direction. These are subjects that fit naturally into the Scream universe, which has always enjoyed making fun of horror movies while delivering the very things it critiques. The problem is that some of the commentary feels a little too obvious, as though the movie is explaining its own existence rather than letting the story speak for itself.

The central mystery follows the familiar structure. Ghostface begins targeting a group of young people connected to the original Woodsboro murders, and the survivors try to work out who is behind the mask. There are plenty of suspects, red herrings, and references to earlier installments. The film does a reasonable job of keeping the audience guessing, although some of its twists are easier to predict than the filmmakers might have hoped.

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Why You Should Use Letterboxd.com To Track Your Movies

moviesonhive — Wed, 09 Mar 2022 15:36:45 GMT

Hello everyone! As part of my little series of sporadic tips and features for posting here in the Movies & TV Shows Community here on Hive, I've been wanting to find ways in which this community can not just improve the types of posts we all share in the community, but seek ways in which we can expand and market such posts to a broader audience, even if that means sharing such posts across social media websites. As of late, we've been quite active on the Twitter side of things -- follow us here -- but there's still so much more we all could do.

In this post, I want to introduce you all to an incredibly useful platform: Letterboxd. I feel for many of you, this service is precisely what you'd all love to use, and it serves a lot of potential in how you may market your reviews here in the community to an outside audience; leading to not just more exposure to the community and Hive, but to additional eyes on the posts you all put so much effort into crafting.

What is Letterboxd?

To put it briefly: Letterboxd is a movie database that allows you to create lists for movies you'd like to see and archive movies you have seen. Users can post reviews of the movies they're logging on their profiles that others can see. People can follow you, like your reviews, and see your own personal lists that you've created.

When you create an account and begin logging movies, you can see which movies you've seen throughout the past year, as well as in total. Each logged movie can be rated under a star scoring system and displays the exact date it was either added or watched. This means you and all others on the site can see when you watched a movie, what you rated it, and what your thoughts are in a review.

The platform uses a database of movies that extends far beyond just western movies released in Hollywood, so there's a vast amount of support for any languages; meaning even if you wish to log movies from your own countries and comment in your own native language, you can!

The platform is entirely free, so there's no restrictions to how you interact with people or the platform itself. The Pro version is simply if you wish to support the platform financially and receive a few profile customisation features.

Letterboxd even has a mobile application which is really simple to use, and again: totally free!

How does this benefit us?

Well, as mentioned above: this community of movie fanatics can interact with each other, see what others from the community are watching, would like to watch, and even see links to their reviews here in the community when they're published.

As you can see above, I've added a link to my review on Hive to the log of the movie 'Brother', of which I did see a while ago, but only just reviewed the other day. Now imagine if we all did this! Not only would this community see an increased number of eyes appearing in it, but we'd be seeking new ways of engagement with each other both in and outside of Hive -- connecting more and establishing new friendships based on the ways we watch and review/log movies.

We could create lists of movies we've reviewed here on Hive each with links to our posts; lists of movies we wish to review, and more. All in addition to seeing constant feeds from our fellow community members, allowing us to discover new films to both watch and write about here on Hive.

Engagement

Engagement means everything to any community. The ways in which we interact with each other is what allows a community to both grow and remain. I believe Letterboxd could play a very important role in how Hive, and our community, establishes itself to a broader audience in ways that benefit each and ever single person that contributes to it.

I highly recommend each of you create an account and check out Letterboxd. Either it's something you need and will love; didn't know you needed but love, or don't need at all. It's worth checking out and seeing if there's a chance at integrating it into your Hive growth and flow.

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How To Improve Your Posts

moviesonhive — Fri, 21 Jan 2022 15:13:36 GMT

Sometimes we get asked the question of why a certain post didn't receive a high amount of curation rewards. Typically, there could be a number of different reasons as to why a post hasn't been chosen: perhaps the person is frequently posting and already receiving high rewards, or perhaps a persons general engagement within the community is rather low to justify higher rewards. However, the main reason as to why someone may be left curious as to why they didn't get curated is down to presentation and effort.

In this post, we'll be taking a look at the general presentation and effort that we'd like to see in your posts, and provide you with a checklist of certain criteria that we generally follow prior to curating your content. Not only will following the content in this post increase your chances of being curated, but should increase your likeliness of attracting others here on Hive as well.

I, @namiks, will also provide some visual examples from my own posts that you may see for references going forward.

Presentation

**Images**

The first thing people will notice about your posts is the thumbnail: the very first image in your post that people will see when roaming through their feeds here on Hive. As you would expect, you should aim to make your thumbnails as appealing as possible so that people stop at your posts and click on them to find out more regarding the subject. We see many posts in which the thumbnail is a low resolution poster for the film they're reviewing, which gives the rest of the post a bad look even when the text could be excellent. Sadly, this encourages us to prioritise the posts that do have better quality images in their posts.

This brings us to our next step: how do you improve the images in your posts? Well, this is rather easy for the most part. The majority of people will be watching their movies and television shows from a streaming service. This means that you'll be capable of logging into them on a device capable of taking screenshots: desktops, smartphones, tablets, and laptops. From there you can choose key moments within the movie or television show that appeal to you, and may be of interest in your writing later on.

By taking and using screenshots, your post is not only going to be more appealing to your potential readers, but will have a significantly better level of presentation and formatting. Your subject will be more appealing, and more direct in telling your readers about the very thing you're discussing. Not only does this tell your audience more about the subject, it displays to them that you've taken the extra effort to visually convey interest in that subject.

Take into consideration the scene, what's happening within it. Find moments that appeal to you either through the narrative or visually. Interesting screenshots that show beautiful composition and use of colour will hold more weight than those taken at random intervals.

With images, it is entirely your decision as to how you place them around your post. This isn't something we take too much consideration of, since the formatting of the post's text itself differs from each person's style of writing. Though, we do recommend that you use multiple images in your posts, for it can serve as a break between your text as you change to different areas of interest within the subject. These breaks allow your audience to breathe and slowly take in the information, rather than being greeted with an overwhelming wall of text.

**Effort**

Effort is something that can be broken down into three main areas: post length, context, and style. These three areas come together to create some very fundamental aspects of writing structure that results in a finished piece that is informative, entertaining, and well written. To break things down more visually, here is a general template of post structure to follow:

Introduction: the foundations to the post and subject.
Context: the narrative description.
Opinions: your thoughts.
Conlcusion: the end of the post, final thoughts.

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