Aarcflick

 *72 Hours* is a pretty decent movie overall. Going into it, I expected a straight-up comedy given Kevin Hart's involvement, but it’s actually more of a light action flick with comedic touches. The humor is fairly mild throughout; there were barely one or two moments that actually made me laugh out loud. Most of the comedy stems from the situations themselves rather than a constant stream of jokes. The story is reasonably original, though at times it inevitably brings *The Hangover* to mind. It captures that same chaotic vibe where everything that can go wrong does go wrong, yet it manages to retain enough of its own identity to avoid feeling like a mere copycat. Director: Tim Story Writers: Jon Hurwitz, Hayden Schlossberg, Kevin Burrows Stars: Kevin Hart, Marcello Hernández, Mason Gooding The pacing is good, and the film never drags. It’s nothing groundbreaking or particularly memorable, but it’s an easy watch if you’re looking for something entertaining that doesn’t require too m...

 When watching or reviewing a biopic, I don’t recall spending much time wondering what the real-life subject would think of it. Would James Brown have liked *Get On Up*, the magnificent 2014 drama about his life? He probably would have found something to complain about. Elton John enthusiastically endorsed *Rocketman*, the 2019 film about him—a movie I found to be a ridiculously phony disaster. However, while watching *Tony*—Matt Johnson’s drama about the young Anthony Bourdain and the summer he spent in Provincetown working in a restaurant kitchen for the first time—I couldn’t help but wonder what Bourdain himself would have thought of the film. How could one not? He was a man of strong opinions who had no patience for nonsense; he was a huge cinephile and the sort of person who, far from being flattered by a movie about his life, would have torn it apart for failing to capture the real story. In my view, if a biopic about Anthony Bourdain doesn’t clear the "Bourdain would have l...

What Markus Goller delivers is disappointingly trivial; his cinematic approach is deeply mediocre and unsatisfying. In the summer of 2015, a young man named Lukas (Louis Hofmann) was so distressed by the plight of refugees attempting to reach Europe across the Mediterranean that he decided to take matters into his own hands. These refugees made the crossing in rubber boats—often dangerously overloaded—resulting in many lives being lost at sea. Faced with a lack of government assistance, Lukas decided to act on behalf of the refugees. He sought a boat to purchase and approached both banks and charitable organizations for funding.  Director: Markus Goller Writers: Michele Cinque, Oliver Ziegenbalg Stars: Louis Hofmann, Mala Emde, Katharina Stark He even printed flyers to distribute on the street and raise public awareness of his cause. Initially, his appeals fell on deaf ears; no one wanted to help him. Later, Nina (Katharina Stark), inspired by his passion, joined him; following her...

Set during the Joseon era, the series follows Gu-cheon, a spirit hunter capable of crossing into the realm of the dead, and Saeng-gang, a cursed court lady with the ability to hear ghosts. Every so often, a Korean drama comes along determined to throw a mix of genres into a blender; usually, the result is chaos. Surprisingly, *The East Palace* makes this formula work. From the very first episode, the series makes one thing clear: it has no interest in being a typical, conventional palace drama. Yes, there are royal conspiracies and power struggles over the succession, but these elements are filtered through restless spirits, ancestral curses, and an unsettling mythology that constantly blurs the line between the living and the dead. It feels as though *Kingdom*, *The Guest*, and a traditional *sageuk* briefly crossed paths inside a haunted building. The result is undoubtedly ambitious. Stars: Nam Joo-hyuk, Roh Yoon-seo, Cho Seung-woo Nam Joo-hyuk delivers a captivating performance in h...

 "I just wanted to feel desired again," says Lucero (Ludwika Paleta), a lawyer who begins an affair with a swimming coach named Matías (Óscar Casas). Lucero has been "happily" married to Fernando (José María Yazpik) for twenty years and has two children: Julián (Matías Coronado) and Viviana (Pilar Pascual). The latter, who is also a swimmer, begins to feel attracted to Matías. In one scene, she drops her towel and kisses the coach.  Matías, of course, immediately rejects her advances because he is intoxicated by the intense sex he is having with Lucero—a state of extreme arousal he mistakes for love due to, well, hormones. Lucero, however, is very clear about the nature of her relationship with him: it is simply fun, casual sex. She wouldn't have embarked on this illicit affair if Fernando had possessed the libido of a teenager. During the couple's anniversary party, guests ask them the secret to a happy marriage. Ultimately, *Desire* reveals that the answer...

 Jati is a brilliant student, but he struggles to cope with the pressure that comes with that status. *Me Before Me* presents a deeply emotional story that explores the invisible burden carried by many children and adolescents. At the heart of the narrative is Jati, a gifted student who has won one of his school's most prestigious academic competitions. To the outside world, he appears to be a highly successful young man with a promising future: his teachers admire him, his peers look up to him, and his family is proud of him. Yet, hidden behind all these accolades is a young man grappling with profound emotional distress. Director: Gina S. Noer Writers: Salman Aristo, Gina S. Noer Stars: Ringgo Agus Rahman, Bima Sena, Widuri Puteri His achievements no longer motivate Jati to excel; he has lost his sense of happiness because he feels constantly compelled to prove his worth at every turn. Complicating matters is his relationship with his father—an aspect the creators and screenwrite...