There’s an old Russian joke: What happens when you put a group of conniving, sycophantic, power-hungry, self-serving, ruthless, frightened, nasty men together in a room?
Alright, there is no joke. Let’s try again.
What happens when filmmaker Armando Iannucci (In the Loop, Veep, Thick of It) puts the above Gang of 7 into a suite of rooms and adds the poisoning presence of Joseph Stalin, both as a living, John Wayne loving, Mozart appreciating, mass murderer, and as a corpse, ripe for peasant grieving, and soviet secretaries’ scheming?
What you get is a very dark comedy that walks the trapeze line between pain and laughter, between mockery and uncomfortable humor, between moral repugnance and a very squeamish empathic recognition. You get satire of the darkest hue. You get The Death of Stalin, which really does feel like a dangerous feat accomplished admirably well.
As both his body of work and his interviews attest to, Iannucci is a political junkie. He is endlessly fascinated with the machinations of statecraft and can rattle off the names of politicos the way some fans can list every New England Patriot to wear the uniform. But what most fascinates him are those patriots that have gone terribly afoul, both the incompetents and the sharks. And here, at the end of Stalin’s (Adrian McLoughlin) reign of terror and the introduction of Nikita Khrushchev’s (Steve Buscemi) Cold War Soviet Empire, he finds plenty of both.
It all begins with a Mozart Piano Concerto, a piece of gentle and sublime beauty, that, as is typical with Iannucci, only lasts a few moments before it becomes an element in a scene about both political fear and survivalism and personal courage on the part of the pianist.
It’s best to enjoy that moment of courage because it is the last you’ll see. For the next two hours it’s going to be one summary execution, urine or blood soaked carpets, and acts of political backstabbing, blackmailing, and pedophilia enacted behind closed doors or recorded in dossiers after another. And that’s just the first hour. We can look forward to brain removals and more in the second hour. So, how could all of this be funny?
It begins with a flawless cast, including a welcomed return by Monty Python’s Michael Palin and knockout performances by both Buscemi and Simon Russell Beale as Khrushchev’s nemesis, whose mixed nationalities and accents make this as much about the world today and forever, as about Russia in 1953.
Also, the script’s ceaseless barbs, fumbling excuses, whispered terrors and conspiracies, childish tantrums all seem perfectly plausible given the characters and situations, but they are also devilishly wicked. (As an aside, Iannucci’s Olympian talent at writing the most vulgar and poetic swearing is not on the scene in this period piece) But what makes it all come together is the deadpan delivery. Not for a moment does he grant the characters a chance to wink and nod, nor himself to rest on his laurels or his easy targets. These are horrible times and these men are a truly pathetic and awful confederacy of dupes and dictators, but the mayhem continues and the men take themselves awfully seriously.
And that will work for some viewers and not for others. For some, this will not be a comedy, nor will it be a drama. It will be something unclassifiable and even off-putting. For the current Russian state, it is very classifiable: It’s been condemned and banned. Though, I personally didn’t care for it as much as I like all of his other work, for those with a taste for the underbelly of political satire, done relentlessly and ruthlessly, you’ll enjoy Stalin’s death. Cue the Mozart.
Director: Adhik Ravichandran
Starring: Ajith Kumar, Arjun Das, Trisha, Simran
Genre: Action / Crime Drama
Rating: 4.5/5
“Good Bad Ugly” centers on Red Dragon (Ajith Kumar), a notorious gangster who chooses to surrender himself in the hopes of turning over a new leaf and reuniting with his estranged son. However, when unforeseen threats emerge, Red Dragon is forced to step back into the dangerous underworld to protect the only family he has left.
“Good Bad Ugly” plays to the strengths of Ajith Kumar, delivering a fan-pleasing portrayal of both his vintage villainy and his matured emotional depth. Ajith’s powerful screen presence, coupled with his iconic voice, shines against Arjun Das’s brooding and intense new-age antagonist, creating an electric old-school versus new-school dynamic. The nostalgic return of Simran is a clever nod to longtime fans, bringing heart and familiarity. Trisha brings a strong, grounded performance as the moral compass in Red Dragon’s life, helping move the emotional threads of the story. The film smartly balances action, comedy, and sentimental fan-service moments.
While the film delivers on fan expectations, its narrative could have benefited from tighter pacing and deeper character development for its supporting cast. Some plot conveniences and an overreliance on nostalgia may limit broader audience appeal beyond the fanbase. Certain dramatic beats felt rushed, leaving little time for emotional resonance to fully land.
The ambition to blend high-octane action with heavy emotional stakes sometimes leads to tonal inconsistencies. At moments, the shift from gritty underworld drama to lighter fan moments feels abrupt. Additionally, though Ajith Kumar’s effort to showcase his dancing skills is commendable and welcomed by fans, it slightly disrupts the otherwise darker tone the film establishes.
“Good Bad Ugly” is a tribute to Ajith Kumar’s enduring legacy, offering vintage thrills while teasing new dimensions to his craft. It’s a solid entertainer that successfully taps into fan nostalgia while hinting at an exciting evolution for AK. While not without its flaws, the film’s heart, energy, and performances make it a must-watch for fans and a compelling action-drama for broader audiences.
In these uncertain times, you can’t beat a good old-fashioned horror movie. Unfortunately, Presence is not an old-fashioned horror movie. Yet, as I discovered, this is a good thing!
When I heard about the premise of this movie, I was intrigued. The stylishly subtle trailer was, appropriately, haunting. And was that Lucy Liu? A haunted house movie from the perspective of the ghost? As a seasoned horror movie buff, I was all in!
Like the majority of people I missed the films brief theatrical release. Luckily I was able to catch it on streaming. Visually the film is easy to enjoy from your own home, as it’s rather cosy looking. I never thought I’d be describing a horror movie as ‘cosy’ looking but it’s true! This is not a James Wan type creepy, dusty, decrepit house harbouring a haunting. No, this is a 100 year old jewel toned, oak finished colonial style home.
Despite this the story follows the beats we are all familiar with: troubled family of four move into a new house. The big deviation from the trope is we, the audience, are seeing events unfold from the POV of the ghost or presence.
Director Steven Soderbergh (Ocean’s Eleven) chose to film the entire piece using a small (14mm) hand-held digital camera. Soderbergh himself acted as the ‘presence’ following the actors around. From the audiences perspective it is like watching the family through a barrier or pane of glass. Cleverly, windows and mirrors are hugely prominent and integral throughout.
The presence mainly follows and tries to interact with the daughter of the family, Chloe (Callina Liang), who has recently suffered the trauma of her best friend dying suddenly. Through Soderbergh’s experimental filming, we feel the dysphoria and frustration the ‘ghost’ is feeling at trying to affect the world around it, particularly during the anxiety-inducing final scene!
However, in what could be yet another mismarketing of a film, the trailer promised to be the ‘scariest movie you will see this year’ and ‘terrifying’; instead, they delivered this subversive, character-driven, family drama. If you are expecting jump scares and dramatic music stings, this is not your movie. I could understand if someone was disappointed that the only seemingly scary thing is the mother’s and son’s relationship, right up until the gut-punch of the final scene.
Presence is definitely a slow burn, tension building until the final scene, and the unveiling of the ‘presence’ giving us a new understanding of the whole story. The ending is disturbing and stays with you as you re-analyse earlier scenes.
My one complaint is that the character Ryan (West Mulholland) with his Chesney Hawkes hair, perhaps needed more subtlety. The rest of the cast was completely solid and believable as a family with so many unspoken issues.
I wouldn’t recommend this film for everybody but maybe be as so bold to say it’s a horror movie for people that don’t like horror movies. It’s well-lit and cerebral with realistically flawed characters.
Presence is available to stream.
Three and a half stars.
Genre: Action, Fantasy, Martial Arts, Historical
Runtime: Each episode runs approximately 20-30 minutes
Director: Lin Hun (also the Creator)
Studio: Samsara Animation Studio
Main Voice Actors (Chinese Cast):Liu Zhi Shi as Wen Ren Yu Xuan Zhou Qi as Shen Nong Fang Yuan as Xuan
Overview
Fog Hill of the Five Elements is a breathtaking Chinese anime (donghua) that merges traditional Chinese ink-painting aesthetics with high-intensity martial arts action. Created and directed by Lin Hun, this series delivers a spellbinding visual experience that rivals, and in many ways surpasses, mainstream Japanese anime. Produced by Samsara Animation Studio, the anime is a labor of love, known for its hand-drawn animation and meticulous detail.
Set in a mythological world where elemental beasts roam free, the series follows the Five Elemental Envoys tasked with protecting humanity. The story focuses on Wen Ren Yu Xuan, the Fire Envoy, whose actions set off a chain of events threatening the delicate balance between humans and beasts. The tale is steeped in Chinese folklore and myth, weaving a complex narrative of duty, power, and sacrifice.
Without question, Fog Hill of the Five Elements is one of the most visually stunning animated series in recent memory. The blend of traditional Chinese ink wash painting with modern dynamic action scenes is masterful. Every frame looks like a moving scroll painting, with fluid character movements and kinetic fight choreography that puts many mainstream series to shame.
The characters are deeply tied to traditional archetypes found in Chinese legends but are fleshed out with emotional depth and conflict. Voice acting by Liu Zhi Shi, Zhou Qi, and Fang Yuan brings authenticity and gravitas to their respective roles. The dialogue is steeped in poetic language, enhancing the mythic feel of the story.
The soundtrack complements the epic visuals with traditional Chinese instrumentation mixed with modern elements. The sound design heightens the impact of every battle and emotional moment.
Rating: 9/10
Fog Hill of the Five Elements earns a 9 out of 10 for its groundbreaking animation style, deep mythological storytelling, and heart-pounding action. The only downside is its limited number of episodes and slow release schedule, which leaves fans craving more.
Pros
- Unparalleled hand-drawn animation
- Unique art direction inspired by traditional Chinese painting
- Rich mythological lore
- Epic fight choreography
Cons
- Sparse episode release
- Story pacing can be uneven at times
Final Verdict 9/10
If you’re an anime enthusiast or a fan of animation artistry, Fog Hill of the Five Elements is a must-watch. Its fusion of stunning visuals, martial arts action, and mythological storytelling makes it one of the standout titles in modern animation. Whether you’re into Japanese anime or Chinese donghua, this series deserves a spot on your watchlist.
Review of “Good Bad Ugly”
Presence: A Horror Movie For People That Don’t Like Horror Movies
Anime Review: Fog Hill of the Five Elements (Wu Shan Wu Xing)
Dammu (2012) Movie Review: NTR Jr. Delivers a Thunderous Mass Action Performance
Devil May cry
