movie-a-day-challenge

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 239! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey there friends!

So, last night I had a ‘film noir’ evening and checked out the 1944 movie called “The Woman in the Window,” directed by none other than Fritz Lang. If you’re into suspense, psychological thrillers, and a bit of old Hollywood glam, then this one’s for you.

First things first—this movie is like stepping into this monochromatic dreamscape where shadows have secrets and every glance could kill. I swear, the atmosphere is so thick you could practically taste it. You know when you’re in a room filled with those super old books, and you get a whiff of that musty yet sweet aroma? That’s the vibe. Picture it as an aroma you can see.

Our protagonist, Richard Wanley, is played by Edward G. Robinson, who’s got this everyman charm but with a whole lot of inner turmoil going on. He’s a psychology professor, bored with his mundane life, who finds himself entangled in—surprise, surprise—an affair with danger. Robinson, with his soft-spoken, nearly vulnerable style, just pulls you right into his web of poor decisions.

One night, while Wanley’s family is away, he gets captivated by a portrait of a mysterious woman in a shop window. This chance encounter leads him down a rabbit hole of intrigue, obsession, and ultimately, murder.

The plot thickens as Wanley gets entangled with the woman from the portrait, Alice Reed, played by the stunning Joan Bennett. Their relationship takes a dark turn, and soon, Wanley finds himself caught in a web of lies, blackmail, and a desperate attempt to cover up a crime. The tension builds with each scene, and Lang’s masterful direction keeps you on the edge of your seat.

Edward G. Robinson is brilliant as the conflicted professor, perfectly capturing the character’s descent into desperation. Joan Bennett is equally captivating as the femme fatale, exuding both allure and danger.

Oh, and Dan Duryea shows up as an ominous and shifty character named Heidt. Duryea’s got that perfect blend of snake-like smarm and charm. He’s not someone you wish to run into in a dark alley—or a lit one, for that matter.

The film’s cinematography is top-notch, with its use of shadows, light, and angles creating a visually stunning and atmospheric experience. The score also adds to the suspense, heightening the emotional impact of each scene.

Lang’s direction is like a masterclass in suspense. He knows exactly when to pull you to the edge of your seat and when to let you breathe, just a little. Imagine being on a calm sailboat ride, suddenly dropping into Class V rapids out of nowhere. One scene, in particular, stays vivid in my mind: Wanley and Reed trying to dispose of a body. The intersection of desperation and gloom on their faces combined with nerve-jangling tension is something that only the golden era of noir can offer you.

The ending, though, might leave you scratching your head. It’s a bit of a curveball, and you might either love it or hate it. I won’t give it away, but let’s say it adds an unexpected twist to the story. I was completely surprised. It turns out that a lot of film critics back in the day hated the ending, and the film did poorly at the box office because of it.

“The Woman in the Window” is a classic film noir experience that’s definitely worth watching, IMHO. Its gripping plot, stellar performances, and stylish visuals make it a must-see for any fan of the genre. Just be prepared for that ending – it might leave you pondering (or pissed off) long after you’ve turned off the TV.

Cheerio!
Roger

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 238! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends!

So, the other night I finally got around to watching “American Psycho,” the 2000 flick directed by Mary Harron. I’d heard so much about it, but I never actually took the plunge. Wow, what a wild ride! First off, let me say, if you haven’t yet seen this film, brace yourselves. It’s a wild, unhinged journey through the mind of a yuppie psychopath, which, trust me, is as intense as it sounds. Picture a New York City drenched in neon and greed, with a side order of male-model vanity and toxic masculinity.

To kick things off, Christian Bale’s performance as Patrick Bateman is nothing short of legendary. It’s absolutely chilling. I mean, this guy doesn’t just play Bateman, he becomes Bateman. Like, seriously, there are moments when you can’t tell if he’s just acting or actually slipping into this twisted character. His chiseled jaw, piercing gaze, and unnervingly calm demeanor make for one heck of a creepy yet magnetic portrayal.

He nails the whole Wall Street yuppie vibe, with his obsession with designer labels, skincare routines, and his ridiculous business card obsession. Plus, that scene where he meticulously explains his skincare routine is both bizarrely hilarious and terrifying at the same time.

The plot, if you’re unfamiliar, revolves around Patrick Bateman, a wealthy and materialistic investment banker living in 1980s Manhattan. His days are filled with superficial socializing and his nights… well, they tend to get a bit bloody. Balance sheet by day, chainsaw by night – yes, it’s quite the dual lifestyle. The storyline meanders through his increasingly erratic behavior, leaving you wondering what’s real and what’s just another figment of his demented imagination.

Okay, so we have to talk about the violence. It’s definitely graphic, but also kind of darkly comedic. The scene where Bateman chases a naked woman with a chainsaw while “Hip to Be Square” plays in the background is both horrifying and absurd. And the way he narrates his murders in this calm, detached voice while meticulously cleaning up afterwards is just… unsettling. It’s like he’s more concerned about his apartment’s decor than the fact that he’s just dismembered someone.

Speaking of music, the 80s soundtrack is packed with all the classics from that era, like Huey Lewis and the News, Phil Collins, and Whitney Houston. But the way the music is juxtaposed with Bateman’s gruesome murders is just genius. It creates this bizarre contrast between the upbeat tunes and the utter horror of what’s happening on screen.

As for the supporting cast, Willem Dafoe as the detective, Kimball, is just perfect – the way he oscillates between charming and intimidating is pretty brilliant. Then there’s Jared Leto as Paul Allen, whose fate is sealed in one of the most iconic and twisted scenes in cinema history. You’ll never look at business cards the same way again, that’s for sure. Also, Reese Witherspoon as Bateman’s oblivious fiancée is just the cherry on top of this bizarre cake.

What hit me the most, though, was the underlying commentary on the absurdity of consumer culture and the hollowness of the yuppie lifestyle. Bateman and his Wall Street buddies are all obsessed with status, appearances, and material possessions. They’re empty shells, devoid of any real emotion or empathy. And Bateman’s violent outbursts are like a manifestation of all that repressed rage and frustration.

It’s like a grotesque mirror of the 1980s American Dream, where success is measured by the number of zeroes on your paycheck and the designer labels in your closet. And boy, does this movie have a way of making you squirm while doing it. Like, hey, can we talk about how a simple visit to a restaurant turns into a descent into madness? It’s hauntingly funny and eerily relevant, even today.

The ending is a bit ambiguous, leaving you wondering if any of the murders actually happened or if it was all in Bateman’s head. But honestly, I think that’s part of what makes the movie so interesting. It forces you to question what’s real and what’s not, and it leaves a lasting impression.

So there you have it, friends. “American Psycho” is a film that’s quirky, unsettling, and oddly thought-provoking all at once. If you’re in the mood for something that’s a smidge fancy and a tad freaky, give this one a go. Just be prepared for some seriously messed-up stuff. Oh, and maybe don’t watch it right before bed.

TTFN,
Roger

P.S. Seriously, make sure your business cards are on point – you never know who might be judging them.

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 237! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends,

Guess who just had a date with the 1955 classic, “To Catch a Thief” last night? Yup, yours truly. And boy, oh boy, was it a cinematic treat! This Alfred Hitchcock gem is the perfect blend of suspense, romance, and just a dash of good old-fashioned glamour. Did you guys know this was the last film Grace Kelly made with Hitchcock before she became a real-life princess?

Picture this: a sunny French Riviera, swanky mansions, and, oh, the undeniable allure of Grace Kelly and the suave Cary Grant. For real, if you haven’t seen this film yet, you’re in for a treat that’s smoother than a glass of vintage champagne.

So, the plot kicks off with John Robie (played by Cary Grant), known as “The Cat,” who’s a retired jewel thief living it up in picturesque French retirement. Robie is no ordinary retiree – if you can call an ex-cat burglar who’s trying to lead a quiet life while surrounded by luxury gardens ‘ordinary.’ Anyway, things get spicy when a new wave of jewel heists echoes his old signature style, and everyone’s pointing their impeccably manicured fingers at him. Seriously, talk about bad luck, right?

Now Robie has to clear his name, which means catching the real thief. He does so with all the panache you’d expect from Cary Grant. And then, bam, in walks Frances Stevens (Grace Kelly), the icy blond heiress with a steel-edged wit and an endless supply of glamorous gowns. Her entrance alone is like a visual of all things elegant and sophisticated.

Grace Kelly, by the way, is an absolute vision. Every shot of her feels like it should belong in an art exhibit. It’s all glossy and chic, and believe me, the fashion in this movie is to die for. Fun fact: Grace Kelly’s costumes were designed by the legendary Edith Head, who basically ruled fashion in Hollywood’s golden era. If you’re interested in fashion history, this film is like a visual feast.

And oh, the settings – imagine sprawling vistas of the Mediterranean, opulent estates, and lively market scenes filled with colors and that undeniable charm of the ‘50s. It’s like a two-hour vacation to a time when travel was just dripping with elegance. The way Hitchcock plays with light and shadow kinda feels like you’re stepping into a sun-drenched, stylish dream.

Now, this isn’t your typical edge-of-your-seat Hitchcock thriller. It’s more of a leisurely stroll through a picturesque landscape, punctuated by witty banter, simmering chemistry, and the occasional jewel heist. But that doesn’t mean it’s not captivating. Oh no, my friends. Hitchcock’s masterful direction keeps you guessing, and the plot twists, while not overly shocking, are still satisfying.

Hitchcock throws in plenty of twists and red herrings – classic Hitchcock – you know he loves keeping us guessing. As Robie cajoles, conspires, and, yes, romancing Frances, the backdrop of the coastal Riviera almost becomes a character in itself. It’s got an ambiance that’s equal parts romance and tension. It’s the kind of film that feels like sliding into a perfectly seasoned story, with just the right mix of intrigue and sparkling dialogue.

And if I’m being honest, Cary Grant just nails the “suave retired thief turned sleuth.” It’s a role that allows him to be charmingly self-deprecating and wickedly clever all at once, with that devil-may-care attitude. There’s a scene in particular – without giving away spoilers – where they’re at a masquerade ball. Hitchcock cleverly uses masks and fireworks to play on themes of deception and revelation. The whole thing is so stylish you might need to catch your breath.

So yeah, if you’re in the mood for a stylish, charming, and just plain fun movie night, “To Catch a Thief” is the way to go. Prepare to be transported to the sun-drenched French Riviera. Just try not to get too jealous of Grace Kelly’s wardrobe, okay?

Catch you on the flip side,
Roger

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 236! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends,

So, I did something crazy. I rewatched “Grease” after, like, a million years. Yeah, I know, I know, it’s a classic, but still… I was a bit nervous. Would it hold up? Would I still be singing along to “Summer Nights”? Would I still have a crush on Danny Zuko? Spoiler alert: the answer is yes to all of the above. This is a splash of 70s high school nostalgia that pretty much everyone and their mom has seen at least once. Seriously, even just hearing a few notes of “You’re the One That I Want” sends me right back.

First off, if you’ve somehow missed this flick, let me paint you a picture. We’re talking about the ultimate high school musical and romance set in the 1950s, complete with slicked-back hair, poodle skirts, and those classic cars that make your current ride look like a tin can. The story circles around Danny Zuko and Sandy Olsson, two lovebirds who have a summer fling, only to unexpectedly reunite at Rydell High. But things get real complicated real fast. Danny’s got his “cool dude in a leather jacket” reputation to uphold, and Sandy’s just trying to fit in. All sorts of drama and, of course, musical numbers ensue.

John Travolta plays Danny, bringing all that boyish charm and killer dance moves that made him a heartthrob. And Olivia Newton-John as Sandy? Absolutely iconic. She transforms from this sweet, innocent girl into a leather-clad, high-heeled force of nature by the end of the movie. The chemistry between them? Off the charts! But they’re not the only ones who shine. The whole cast is amazing, from Rizzo (Stockard Channing – my favorite!) with her tough-girl attitude to Kenickie (Jeff Conaway) with his hilarious one-liners. And let’s not forget Frenchy (Didi Conn) and her pink hair!

The music, of course, is a huge part of what makes “Grease” so iconic. From the get-go with “Grease Lightning,” complete with its revving engines and greasy overalls, to the dreamy “Hopelessly Devoted to You,” each track isn’t just a song; it’s an anthem that probably ruled the radio waves long enough to drive our parents nuts. I dare you to listen to “You’re the One That I Want” and not want to jump up and dance. And “Summer Nights” is the ultimate sing-along song. Oh, and let’s not forget “Beauty School Dropout” – a classic.

Now, I know what some of you might be thinking: “Isn’t ‘Grease‘ a bit… dated?” And yeah, sure, some of the attitudes and stereotypes in the movie haven’t aged well. But honestly, I think that’s part of its charm. It’s a snapshot of a different time, and it’s still so much fun to watch.

Rewatching it now, what struck me was how the film captures that bittersweet edge of high school—the cliques, the first loves, the dreams about the future—all wrapped up in a glossy, sometimes exaggerated, package. It’s like, they managed to turn the dial up on every emotion, making everything feel super intense.

Plus, there are some things about “Grease” that are just timeless. The themes of teenage angst, peer pressure, and trying to figure out who you are are still relevant today. And the message of being true to yourself is one that we can all get behind.

And the dance scenes? They’re not just filler; they’re explosive. That school dance-off has to be one of the most energetic scenes in movie history. It’s all swinging skirts and swiveling hips, and you can’t help but tap your foot, wishing you could jump in and join them.

Something else I love? The ending. That flying car scene where Sandy and Danny literally ascend to the skies in their transformed “Greased Lightnin’” is as wonderfully absurd as it sounds. It’s like the filmmakers just threw realism out the window and said, “Let’s end this with a bang!”

So, whether it’s your first or hundredth time, watching “Grease” is like stepping into a time capsule. It’s a film that doesn’t just depict an era; it celebrates it with every high note and hip thrust. And if you’re watching closely, you might notice that beyond the glitz and the catchy tunes, it’s really a story about growing up, finding yourself, and being true to who you are, despite what the crowd might think. Damn, I love this film!

Peace Out,✌️
Roger

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 235! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey there, friends!

So, I finally watched “Ghost” for the first time. I know, I know, how did I manage to avoid this 1990 classic for so long? Life’s a mystery, right? Anyway, I grabbed some popcorn, dimmed the lights, and settled in for what turned out to be quite an experience.

First off, let’s talk plot. If you haven’t seen it, “Ghost” is this supernatural love story that somehow blends romance, thriller, and comedy all into one. We’ve got Sam (played by Patrick Swayze) and Molly (Demi Moore) who are this adorable couple. Sam’s a banker and Molly’s an artist, and they’re living the dream in their swanky New York apartment. But, just when you think they’re going to live happily ever after, bam! Sam gets murdered. I was like, “What just happened?” Talk about a plot twist.

Now, here’s where it gets really interesting. Sam becomes a ghost, but he’s not ready to move on because he’s got some unfinished business. Mainly, he wants to protect Molly from the same fate and figure out why he was killed.

Enter Whoopi Goldberg as Oda Mae Brown, a a fake psychic who suddenly finds herself actually communicating with the dearly departed Sam. Whoopi totally steals the show here. Her comedic timing is impeccable, and she brings a much-needed lightheartedness to an otherwise heavy story. Plus, her chemistry with Swayze is off the charts – they’re like a bickering odd couple from beyond the grave.

As a ghost, Sam can’t physically interact with the world, which leads to some pretty creative problem-solving. There’s this whole bit with him learning to move objects through sheer willpower, and let me tell you, watching Patrick Swayze struggle to move a penny was oddly satisfying. It’s one of those scenes that makes you think, “Man, they don’t make movies like this anymore.”

The chemistry between Swayze and Moore is palpable, even when one of them is a ghost. The iconic pottery scene? Oh my God, talk about steamy. And all to the tune of “Unchained Melody” by The Righteous Brothers. That song gets stuck in your head, but in a good way, you know? It’s such a blend of tender and sensual, it’s no wonder it’s been parodied a million times.

Now, as for the villain, Carl (Tony Goldwyn), he’s your classic best-friend-turned-bad-guy. His descent into betrayal adds this layer of suspense. Like, every time he’s on screen, you can’t help but think, “What’s this guy up to now?” It’s a bit melodramatic, but hey, it’s the ’90s. Go big or go home, right?

But we have to talk about those pottery wheel scenes. I mean, come on! The sexual tension is palpable, and “Unchained Melody” playing in the background just amps up the romance factor. It’s a classic movie moment for a reason, and I totally get the hype now.

But “Ghost” isn’t all lovey-dovey moments and witty banter. There are some genuinely creepy scenes, especially when Sam encounters the shadows that represent evil spirits. The special effects might seem a bit dated now, but they still manage to give me the chills.

One thing I wasn’t expecting was how much this movie would mix genres. One minute you’re tearing up over Sam and Molly’s love story, the next you’re laughing at Oda Mae’s antics, and then you’re on the edge of your seat during the thriller parts.

Also, shoutout to the special effects team. The scenes where Sam walks through walls or interacts with other ghosts were pretty impressive for the time. Sure, they’re a bit dated by today’s standards, but there’s a charm to that old-school movie magic.

By the end, I was fully invested. There’s something really touching about the idea of love transcending even death. When Sam says goodbye to Molly, it hits you right in the feels. I may have shed a tear or two. No shame.

So yeah, “Ghost” is a timeless classic that deserves all the praise it gets. It’s a unique blend of romance, comedy, drama, and even a little bit of horror. Plus, it’s got Patrick Swayze, Demi Moore, and Whoopi Goldberg giving performances that are memorable for all the right reasons. It just works.

Until Tomorrow!
Roger

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 234! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends!

Okay, so I just saw “Lisa Frankenstein,” and wow! This isn’t your grandma’s Frankenstein story (although, let’s be real, grandmas are pretty cool and could probably handle some reanimated corpses).

Imagine “Heathers” meets “Edward Scissorhands,” but with a generous sprinkle of 80s nostalgia and a dash of “A Trip to the Moon” – a cinematic cocktail that’s as weird as it is wonderful. This flick is a whole lot of something—but whether that “something” is good or bad depends on your taste for the bizarre.

The whole vibe of “Lisa Frankenstein” throws you right back to the late 80s, with every frame dripping in nostalgia—from the Madonna-esque fashion to the big hair and even bigger cell phones. And let me tell you, the attention to that retro detail is like stepping into a time machine, except with way more cemetery scenes and reanimated corpses.

Our protagonist, Lisa, played by the ever-charming Kathryn Newton, is not your typical high school loner. After her mother’s tragic murder, Lisa finds herself often wandering to an abandoned cemetery (as one casually does), where she chats up a storm with a grave belonging to a handsome young dude from the mid-19th century.

Plot twist: a rogue lightning bolt strikes, and BAM! Our dashing corpse, played by Cole Sprouse, is up and about, missing a few body parts but ready to charm the socks off you. Now Lisa’s got herself a science project that would make Dr. Frankenstein proud.

This dude, who we never actually learn the name of (maybe he forgot it after being dead for so long?), is missing a few body parts. And wouldn’t you know it, Lisa has access to a tanning bed that can do a whole lot more than give you a bronze glow.

The film isn’t just a quirky tale of a girl and her zombie pal; it dives into some deeper, darker themes too. There’s a wild ride of emotions as it explores grief and mental health through a lens smeared with dark humor. There’s murder, mutilation, and even a creepy stepmother who could give Cinderella’s a run for her money (really, she’s just awful). But somehow, it’s all hilarious. Like, I found myself laughing out loud at things that probably shouldn’t be funny. Maybe I need to re-evaluate my sense of humor?

Kathryn Newton as Lisa is fantastic. She nails that awkward teen vibe while somehow making corpse-reanimation look cool. Oh, and did I mention Cole Sprouse? Yeah, Jughead himself is in this, and he’s surprisingly charming as a mute, undead dude. Who knew? Seriously, the guy doesn’t talk but still delivers one heck of an emotional punch.

Now, what’s interesting is that this movie is a wild mix of genres. It’s got horror, comedy, romance, even a dash of social commentary. And while some scenes are laugh-out-loud funny, others are just plain cringe. The tone shifts are jarring, and some of the jokes fall flat. But what the heck, IMHO that adds to the film’s charm.

But despite its flaws, “Lisa Frankenstein” is a film that’s both a tribute to and a parody of the 80s horror-comedy genre. It’s got guts, laughs, and a whole lot of heart. I had so much fun watching this.

So yeah, if you’re a fan of quirky, offbeat dark comedies and quirky romcom-horror hybrids — and you have a sick and twisted sense of humor — then this might be your jam. Just be prepared for a wild ride. It’s like a roller coaster—you’ll scream, you’ll laugh, you’ll cringe, you might even throw up a little. Just remember — I warned you.

Peace out ✌️
Roger

This post is part of my movie-a-day challenge in which I will watch a film every day for 365 days. Today is Day 233! You can see all the posts for this challenge HERE. To see the original Movie-a-Day Challenge post, click HERE.

Hey friends,

So, I finally got around to watching “2012,” that disaster flick directed by Roland Emmerich. You know, the one everyone was buzzing about back in 2009. I figured, why not? It’s like, the ultimate end-of-the-world movie. And let me tell you, it did not disappoint in delivering all the explosions, crumbling landmarks, and intense survival drama you’d expect from a disaster epic.

The movie kicks off with the discovery that the Earth’s core is heating up due to some crazy solar flares. This basically means the whole world is about to go up in flames. Enter our hero, Jackson Curtis, played by John Cusack. He’s a struggling writer (aren’t they always?) who stumbles upon the government’s top-secret plan to save humanity. What follows is an insane race against time as Jackson tries to save his family and, well, the world.

John Cusack really nails the everyman role here. He’s just trying to keep it together while everything around him falls apart, literally. He’s not some superhero saving the day; he’s just a dad trying to do right by his kids. You can’t help but root for the guy, especially when he’s doing all these daredevil stunts to stay ahead of the apocalypse. There’s one scene where he’s driving a limo through a collapsing city, and it’s so over-the-top you just have to laugh and cheer him on.

Then we’ve got the supporting cast. Amanda Peet plays Jackson’s ex-wife, Kate. She’s got that whole “strong and independent” vibe going on, but also a vulnerable side. It’s a good mix. and she brings a lot of heart to the role. Their chemistry is spot-on, especially during the more tender moments amidst the chaos.

And let’s not forget Chiwetel Ejiofor as Dr. Adrian Helmsley, the scientist who first discovers the impending doom. Ejiofor brings a sense of gravitas and urgency that really grounds the movie. Also, Woody Harrelson is in this movie as a crazy conspiracy theorist broadcasting the end times from his RV. He’s hilarious and kind of steals every scene he’s in.

Now, I’ve got to mention the special effects. Holy smokes, they went all out. I mean, the special effects are out of this world! There are so many jaw-dropping scenes of destruction. Like, California sliding into the ocean, the Yellowstone super-volcano erupting, and those giant tsunamis swallowing up everything. It’s all very dramatic and, honestly, kind of terrifying when you think about it. But, the visuals are so stunning you can’t look away. They really capture that apocalyptic vibe, you know?

One thing I found particularly interesting is the whole concept of these arks the governments built to save a select few. It’s a bit of a moral conundrum, right? Who gets to live, who doesn’t, and the whole political maneuvering around it. It’s like the movie is saying, “Hey, even at the end of the world, we’re still going to be fighting over who gets the last lifeboat.”

But hey, no movie is perfect, right? “2012” definitely has its flaws. The dialogue can be a bit cheesy at times, and some of the characters’ decisions are just plain questionable. Like, who in their right mind would drive a limo through a collapsing city? Also, the movie is over two and a half hours long! It could have been trimmed down a bit, especially since some scenes felt a little repetitive.

Okay, I know I’m rambling a bit, but I can’t help it. This movie is just one of those guilty pleasures. It’s got everything: drama, action, humor, and a dash of that human spirit stuff. Sure, it’s cheesy and the science is, well, let’s just say ‘creative.’ It’s not going to win any awards for its script or character development, but it delivers on the disaster movie front.

So, if you’re in the mood for some mindless entertainment and want to see the world go to hell in a hand-basket, give this one a watch. Just don’t expect it to be a cinematic masterpiece. And don’t blame me if you start having end-of-the-world dreams!

Catch you later,
Roger