PERSONEA (1966)

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Written & Directed: Ingmar Bergman

Cinematography: Sven Nykvist

Editor: Ulla Ryghe 

Cast: Bibi Andersson, Liv Ullman, Margaretha Krook, Gunnar Bjornstrand 

A young nurse, Alma, is put in charge of Elisabeth Vogler: an actress who is seemingly healthy in all respects, but will not talk. As they spend time together, Alma speaks to Elisabeth constantly, never receiving any answer. Alma eventually confesses her secrets to a seemingly sympathetic Elisabeth and finds that her own personality is being submerged into Elisabeth’s persona.

A recent watch for the first time and out of the 3 I have seen, my Favorite Ingmar Bergman film.. So far. 

For me a truly perfect film. Believe the hype. Even though it surpasses it. 

A movie I probably would not have even given a second to watching what I was younger I like line I like to think that my Taste has matured overtime, truly appreciate films such as these and discovering them so later in life allows to look a bit deeper into the film and notice as well as study different aspects of the film and the film making as well as a bit of the filmmaker too

Plus, for such a legendary epic film, it’s kind of short by today’s standards, which I’m finding happens with quite a few foreign classic films. Maybe that should be a lesson to some filmmakers that you can say all you need to say and don’t need a three-hour running time, the irony here is that I am long-winded usually myself, and most things

It’s a film taught and shown in film schools and art appreciation courses. Some Look at it as an achievement, Some look at it as work. few have the same Opinion of what it is truly about 

Made to seem so easy and seamless, no one really knows the work that went into it 

this is one of those striking films where it’s been analyzed numerous times, and you can’t help but try to make sense of it once you finally see it 

That’s hard to give a proper review without putting a little bit of your own mindset or interpretation into it. You can tell people the basics, but it doesn’t do the film justice. 

as it’s a film, some people might find boring pretensions or too Artsy, but watch it. It’s revolutionary and revelatory to the senses just the way the stories told and filmed and acted that have one meaning as a viewer, but also another meaning, watching the characters and the performances.

it’s way of telling a story, but also each character story from their own point of view in a connection is that they have that slowly comes into focus the way which story is told not to mention not expecting the way it’s filmed the way it’s edited and the way it all comes together it’s a daring experimental style that might have been imitated but been done sufficiently or clearly as it is done here

it reminds you when cinema for the most part was not only more experimental, but also more willing to challenge the audience and maybe even the artist itself like most artist Director has their own style and here you get that Egmar Bergman loves characters more than anything even stories or plots but also to a certain degree it feels like a Director analyzed like David Lynch

where people tend to put meaning onto certain things in the film that might actually not have as much significance as they think, and might have actually just been a mistake, or just how things went in there, not really meant to at least Bergman is or was, more vocal than David Lynch has been in interviews 

This is a film that, if you are a film fan, and especially if you want to get into film in any way, shape or form, you must see. I saw it recently for the first time and truly appreciate it as it is now one of my favorite films of all time, but also might be out of the previous few films of Ingmar Bergman. I’ve seen my favorite. Maybe I’m jumping on a bandwagon or just with fans

As it says so much, not only back then, but still, what film can be what cinema can be what writing can be what acting can be what characters can be so it’s very inspiring as you amazement.

there’s nothing quite like this film, except what a shock to the system or disorienting it might be at times that the beauty of it is that everything is so subtle and compose given to you in a manner and which most films try to disorient and jar you to get the same feeling here it feels a little more elegant, calm, and simple 

this is supposedly the film where Igmar Bergman fell in love with one of the stars liv Ullmann even though from the beginning, it seems like actress Bibi Andersson is doing all the work while live omen is in insane but or in the background and listening, but as the film goes on, it’s more Andersson occupies the first half of the film and Liv Ullman takes over or they switch rules and away so that then it becomes live once. Though Ullman is it quiet and still has developments in the second half of the film, she more or less shrinks so the other can grow.

The beauty of the film is that even though I was majorly hyped as a classic, it still doesn’t prepare you for how much you’re going to like the film or how good the film is. It still comes across as a surprise by the time you finish watching the film, how far you’ve come, it seems like you’re in the same place

even the camera work, lighting, editing, and film production are just so composed. It’s an art form in itself. Not to mention, of course, the acting, writing and directing. 

not to mention filming it in black-and-white, as I’ve always said if the film is truly good or great, it makes it timeless in itself, as it’s obvious around what time the film is taking place or the years that the film is taking place. A story that could still be told at any time and still have the same meaning as these characters, will always be identifiable to the audience, if not for themselves, they know somebody similar, as well as seeming like they know these characters from somewhere, might even have the same issues.

Sometimes you should believe the hype as even the hype doesn’t do it justice. It’s a film that manages to make so much out of what looks like very little.

At times we all need to take a break from the world, I watch or try to watch classic films, and classic foreign films to me. It’s the cinematic equivalent of reading the classics seeing what inspired or seeing if these films are worth the hype usually they are full of so much depth And amazed that they still hold up and are better some of the modern offerings there’s a  deep to them and it’s not only because with black-and-white they come across as timeless manages to do so much and say so much and under 90 minutes that some films can’t even muster with an over two hours of the revolutionary time, but even-still while watching it

Sometimes you want to get lost in their worlds, even if just for a few moments, not necessarily fees, but a certain beauty  and amazement

Happy I took my time and finally watched it and experienced it at the right time when I could more appreciate it as if I had seen it when I was younger. I might’ve even liked it, but it wouldn’t have made as much of an impact on me. I don’t believe, as I might not have had the patience or recognized certain identifiable aspects of the film

This is an excellent movie, another one to add to my favorites of all time, definitely a must-see for any film lover or film student, as well as a writer.

Either way you shouldn’t be reading this until after you’ve watched the film 

GRADE: A

LE BONHEUR (*HAPPINESS) (1965)

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Written & Directed By: Agnes Varda 

Cinematography: Claude Beausoleil And Jean Rabier 

Editor: Janine Verneau

Cast: Jean-Claude Drouot, Claire Drouot, Marie-France Boyer, Marcelle Favre-Bertin, Manson Lanclos 

François, a young carpenter, lives a happy, uncomplicated life with his wife Thérèse, and their two small children. One day he meets Emilie, a clerk in the local post office.

There is no way I can talk about this film without spoiling it, so if you haven’t seen it, check it out first and then come back for the review.

This is one of those films where I could give you a simple review, but this film wasn’t made for that if you want the simple review, it’s good watching, though I’m not sure a lot of people will appreciate it or like it, but in a long-term sense.

This is one of those films that’s meant to be experienced, but also discussed as different people will see different things in it, and have different opinions about and touch subjects that most of us have experienced or have witnessed, and have definite opinions from our point of view that might not match the film’s

First off, this is my first Agnes Varda film, the celebrated late Director, so I wasn’t exactly sure what I would get. 

Most of this film is a happy-go-lucky movie, but as you get towards the end, that is when the films seem to present itself.

This is a tricky Film where everything no matter what happens seems happy though there’s a subversive current going through it as we see this man who is perfectly happy just starting fair and fall in love so easily with another woman, even though he’s in a supposedly happy marriage and we never see any signs of stress or boredom within it he is willing to give everything to his mistress who doesn’t seem upset that he’s actually married.

After we watch how he functions with his wife and his marriage, and then this affair starts and then around the end of the second act, he finally tells his questionable wife, consequences that we are never 100% sure of as it is sad that she has drowned, seems rather questionable as to maybe she decided to end her life, especially after he has informed her of his affair and then expects her to be OK with it and makes love with her and Field, like his actions were a mere Infraction that he will Keep Doing but the story goes along.

Even though he told his wife that he loved the woman and her both, he is willing to end the affair and just be with her, but if she truly loved him, she would let him continue as he can still love both of them equally as long as they love him.

This would seem like a film made by a misogynistic man who wants to come across as romantic and sympathetic, but actually made by a female Director, trying to present this with a bow, but also expose the hypocrisy involved becomes all the more disturbing and basically replaces his late white with his mistress and everything seems to go back the same, and he never pays any consequences. 

Never seems to show any sorrow and gets exactly what he wants, and there’s no confrontation. There’s no real drama, which gives the film a kind of sarcasm, as the film seems to just let this man get away with everything and never pay any consequences.

which was a reality at the time, and unfortunately might still be in most cases, but also the fact that it seems to be having a commentary on how romantic films of this type played under the male gaze, where the woman always suffers, in the man gets exactly what he wants here. It feels like you should feel outraged over this, but unfortunately, there are no real problems for the character and it feels like an injustice.

Grade: A – 

AMUCK! (1971)

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Written & Directed By: Silvio Amadio

Cinematography: Aldo Giordani

Editor: Antonio Siciliano 

Cast: Farley Granger, Barbara Bouchet, Rosalba Neri, Umberto Raho, Patrizia Viotti, Dino Mele, Petsr Martinovitch, Nino Segurini

The secretary of a writer and his wife investigates the disappearance of her lover – their previous secretary – and finds herself the target of the couple’s erotic desires and a murder plot.

When it comes to older foreign films, especially let’s say Italian or Spanish. They truly encapsulate and showcase culture going through a transition at the time, trying to be as modern as the times that the film was made, but also still having a classic-looking feel. 

The female characters always dress well and in style. The protagonists are usually sexy and beautiful. With homosexual activity or seduction. It is surprising some of these films as they are more explicit than some of the films coming out today, which are supposedly more open-minded. Which then makes the scenes like these sexy though a bit more fetishistic.

Especially here as many scenes have a slow motion softcore scenes that are quite revealing and usually same-sex. There are quite a few that make the film at times feel like it’s more lesbian erotica with a plot, with gorgeous women. Not necessarily regular or ordinary-looking women. It offers a distraction or entertainment. As the film has a mystery at its heart, though you know who is guilty, the only question is how or why.

Though shot more for a male viewing audience as it has that day through it, most of the women appear naked or topless, and all seem to have great voluptuous bodies and petite frames.

Though the erotica is more in the first half, making it seem like the film will be a sexual liberation movie most of the time. The second half becomes mortgage, dramatic, and fashionable, yet slows down and becomes dull and not quite as titillating or flashy.

One wishes that there was more mystery to the whole endeavor. Which is at heart a giallo 

Barbara Bouchet looks so incredible that you can barely take your eyes off of her throughout. Except when co-star Rosena Neri Osnon screens who has the more dangerous-haired look. Whereas Bouchet is the innocent, Neri is the liberated wild card.

Ultimately, the film feels like more of a tease with nudity rather than too much action. The action that there is is more exploitative than Romantic, leaving a more will they are won’t they question in the minds of the audience rather than any real or threat of violence.

One of the few strengths of the film is the rather surprising ending, though an explanation more than anything else, and perfectly unpredictable as no one in the audience would have guessed it.

More to look at if you admire the female form and how it’s filmed, kind of like a film filled with beautiful bombshells and a weak mystery.

Grade: C+ 

BLOW JOB (1980)

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Written, Directed & Edited By: Alberto Cavallone

Cinematography: Maurizio Centini

Cast: Danilo Micheli, Andrea Massarelli, Anna Bruna Cazzato, Mirella Venturini, Valerio Isidori, Antonio Mea, Alea Armani

Stefano Vicinelli and his girlfriend Diana fall two weeks behind on their hotel rent and face having their luggage and car impounded until they can pay the bill. Conveniently for them, a distraught woman in the room right above theirs leaps to her death from the window. Using that as a distraction, the lovebirds sneak out and take off. Running low on money, they pool what little cash they do have and go to the racetrack. Stefano encounters a crazed woman wearing sunglasses who demands he give her a key so she can unlock a door. After she calms down, she proposes a deal with him: She’ll help him win money in the horse race if he’ll help her “get past the gate.” Having no clue what she’s even talking about, Stefano reluctantly agrees and bets on her suggestion. After the horse wins and he collects, he feels obliged to accompany the strange woman – who introduces herself as Countess Angela – back to her home.

The film has a misleading title that seems used to get an audience interested. Sure, it’s an erotic movie that doesn’t actually show or revolve around the sexual act in particular. It hints at the act once. 

Though it is more like a softcore erotic movie with a supernatural plot that isn’t too convoluted but leads to erotic interludes. So that it literally feels like a porno with a plot and professional production values. That never goes in the direction of being a full hardcore adult film, but also barely has any direction. 

As it never quite comes across as a believable supernatural thriller either. Though the eroticism is the only thing that makes the film entertaining 

Strangely enough, the film takes itself too seriously instead of going full steam into a more cultural exploitation experience. 

There is of course plenty of nudity as well as softcore sex of all kinds, with a love story thrown in. The film feels heavily edited to make sure the action doesn’t go too far into more hardcore territory. 

The film’s plot really makes no sense. Though the movie tries to hypnotize the audience with surreal imagery. That feels more like arthouse pretensions with hippie philosophy and astrology thrown in for plenty of ceremonies. 

No, the grade isn’t because it doesn’t live up to the title, but at least if the filmmakers had just decided to go with a more out-and-out pornographic movie. Maybe the audience wouldn’t;t have been so let down by a title that seems more meant to shock, but ultimately becomes more a gimmick

Grade: F

DEATH WALKS ON HIGH HEELS (1972)

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Directed By: Luciano Ercoli 

Written By: Ernesto Gastaldi and May Velasco 

Story By: Dino Verde, Ernesto Gastaldi and May Velasco

Cinematography: Fernando Arribas 

Editor: Pedro Del Rey and Angelo Curi

Cast: Susan Scott (Nieves Navarro), Simon Andreu, Frank Wolff, Carlo Gentilli, George Rigaud, J. Manuel Martin, Luciano Rossi, Claude Lange

After a French stripper is harassed by a man who wants a cache of diamonds stolen by her late father, she flees to England in the company of a doctor, but danger follows.

There is a murder mystery at the heart of this film that seems to take a backseat to showing the body fashions, styles, wigs, and beauty of the film’s star Nieves Navarro. As the film practically worships her as much as most of the male main characters do in the beginning 

So much so that it feels like like a star vehicle as we see her in states of undress and high fashion, where each scene seems to be her in a new outfit or look even in her striptease in which it seems like she does blackface or it’s just very heavily tanned with an Afro wig. She manages to burn through the scree. She manages to burn through the screen. A chance for her to role-play and these costumes, even as she plays the same character.

Their scenes of her whole striptease and scene of her eating by a fireplace that plays more like sex between her and her married lover, then just simple foreplay, especially with all the close-ups of their faces. As the film tries to exude glamour, class, and a fair bit of being campy.

Now, once the second half of the film starts, it almost feels like a different film. This is where it becomes more of a murder mystery and it’s not as magical or fun. The reality seems to set in. 

As almost everyone is a suspect as they all seem to be fascinated or stalking the lead female character, even both. Even the married man’s wife becomes a suspect, and she seems to resemble an older version of the main character, the actresses look alike

The main female character is the truly interesting part. She seems to be the bait for all of the characters, including the audience.

There is even a ridiculous action scene that seems obsessed with the female character who keeps seeming to hit her silence in the balls times throughout a scene.

The film offers plenty of twists and turns, though it does feel lengthy at times. The film isn’t as thrilling or spooky as expected, and a movie of this kind that resembles a Giallo. Though it feels like a naughty version of a police procedural from the 1970s on foreign land. We see the before, the actual crime, and the after with an investigation. 

It’s also not the most artistic as the first half works more as a relationship drama with lavish locations and some intrigue. It ends up being more fun than expected.

GRADE: B-

G20 (2025)

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Directed By: Patricia Riggen 

Written By: Caitlin Parrish, Erica Weiss, Logan Miller & Noah Miller 

Story By: Logan Miller & Noah Miller 

Cinematography: Checco Varese 

Editor: Doc Crotzer and Emma B. Hickox 

Cast: Viola Davis, Anthony Anderson, Anthony Starr, Ramon Rodriguez, Marsai Martin, Douglas Hodge, Elizabeth Marvel, Christopher Farrar, Clark Gregg, Angela Sarafyn 

Terrorists take over the G20 summit with President Sutton, bringing her governing and military experience to defend her family, company, and the world.

 I wish I could say that this film still apart or was better considering who stars in it, but this film is pretty basic and predictable for anyone who’s ever seen a movie before especially an action movie 

One of the main differences is that the hero of the film is female and a woman of color African-American to be exact and it feels a little revolutionary considering that the film takes place in South Africa 

This film you wonder if they were expecting a different outcome for the presidential election of 2024 as the main character or the first family in this film is African-American, who, along with other leaders are taken hostage and at some point, each of them managed to escape being captured and then come together to the end

The action sequences are nothing to write home about, but they are serviceable and Viola Davis still has all that muscle from the woman king so she’s got the guns to be an action hero, and we all have to take a paycheck now and then because she is definitely better than the material and even the film.

She has been in the suicide squad movies and across the DC universe as I’m on the Waller even though all of the films she’s been involved in her action films. She’s never personally done any action scenes herself in those films here shows she’s capable of it.

But this is a perfectly fine time. Keep your interest while you watch it, but forgettable once it’s over.

Think typical Jason Statham-type action films only with a lack of one-liners after a kill or action scene 

As this is a film, you don’t have to think or make sense as one of the qualities of films or films like these usually is that they have so many writers and you would think having so many would make the film a little bit more intricate or cleanup maybe some of the other writers mistakes but it seems like the case of too many cooks in the kitchen or maybe they oversimplify everything and try to explain even though they’re probably there to brush up on elements that the filmmakers are studio didn’t like about the last draft

There are no big surprises as you can tell exactly where the story is going you can tell the double crosses in advance could almost be a modern black film because all colors are good and bad, but you’ll notice that most of the villains are heroes people of color which is inspiring.

Grade: C- 

SUBSERVIENCE (2024)

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Directed By: S.K. Dale

Written By: Will Honley and April Maguire 

Cinematography: Daniel Lindholm 

Editor: Sean Lahiff 

Cast: Megan Fox, Michele Morrone, Madeline Zima, Matilda Firth, Andrew Whipp, Atlas Srebrev, Manal El-Feitury, Antoni Davidov 

Follows a struggling father who purchases a domestic SIM to help care for his house and family, unaware she will gain awareness and turn deadly.

The film seems like it should be a bit more exploitive and dirty, but the right mix of being trashy and a B-Movie that is pure entertainment and thrills. 

One would have enjoyed this film more if one didn’t dislike the lead actor  Michele Morrone playing the husband, performance. The roles he has been seen in before are in Netflix‘s erotic Fifty Shades of Grey Italian knock-off 365. So while he is definitely Candy for the ladies, his performance is quite unbelievable only because looking at him he never is convincing as the faithful husband mentally Latroy though just as Megan Fox is eye Candy for the audience so is he?.

It’s an interesting sci-fi thriller with an eroticism laced through it. The film stays entertaining throughout. Though you know what will happen most of the film a satisfying time waster 

The best film Megan Fox has been in, in a while. Used her perfectly as her looks seem her to seem unreal or crafted and she is believable throughout. A bit of a comeback for her. 

Will admit watched this film because Madeline Zima was part of the cast and she has more of a supporting role. 

The film does well in building its futuristic science fiction world to be believable and create a tight if comfortably familiar story.  

Grace: C

IT’S WHAT’S INSIDE (2024)

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Written, Directed & Edited By: Gregory Jardin 

Cinematography: Kevin Fletcher 

Cast: Brittany O’Grady, James Morosini, Gavin Leatherwood, Nina Bloomgarden, Alycia Debnam-Carey, Reina Hardesty, Devon Terrell, David Thompson, Madison Davenport 

A group of friends gather for a pre-wedding party that descends into an existential nightmare when an estranged friend arrives with a mysterious game that awakens long-hidden secrets, desires and grudges.

It feels like the film is too in love with its cleverness just like the characters are. Though most are unlikable and insufferable.

It earns its stripes as it is definitely a dark comedy. That is too cruel at times. That tries to justify itself. Though it truly lives up to its title. 

At times the film feels like the recent release Bodies Bodies Bodies only here you at least get characters rather than types.

The film is inventive and stylistic, but you can’t admire it because it’s too busy moving on to the next dazzling piece. 

In this film so much happens too fast that the film seems afraid to rest as everything must be done and can never be allowed to sit stop and think especially the audience throwing you off balance so that you truly never know what will happen next 

It also doesn’t help that the film and the script seem to want most of the characters to shine. There isn’t truly that much room in there. 

You get the feeling that maybe the filmmakers or film doesn’t trust itself by standing still that there must be a bunch of distractions so the few questions. Which makes the film come across like a game trying to play with the audience.

Essentially, it feels like a group of actors getting together and scratching the material into a comedy group exercise or comedy group trying to make a film to serve all their sensibilities. 

Luckily, the film does get better as it goes along as you gain some knowledge about the situation, the characters, and some of its rules and plays the questioning of identity that doesn’t get that deep but tries to have fun test itself into deeper waters once we get to know them and their true colors start to show 

It’s a film to enjoy as long as you don’t think too deeply about it.

Grade: B- 

MORGAN (2016)

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Directed By: Luke Scott

Written By: Seth Owen 

Cinematography: Mark Patten 

Editor: Laura Jennings 

Cast: Kate Mara, Anya Taylor-Joy, Rose Leslie, Toby Jones, Michelle Yeoh, Garret Hudlund, Paul Giamatti, Jennifer Jason Leigh, Brian Cox 

A corporate risk-management consultant must decide whether or not to terminate an artificially created humanoid being.

In this grand cinema study, there are some Films you know a bit about. Yet manage to avoid or skip for some reason or another.  then when looking For Something new, you finally decide to give the film a chance. Sometimes it truly does work For the better, but other times you remember why you Wanted To skip it in the first place.

It isn’t necessarily bad, but it just feels like a waste of time or a wasted opportunity, especially considering what it had. This is one of those films unfortunately it’s more of the latter.

One of the more shocking appeals of the movie is in looking back at this film. It has such a stacked cast for a film That doesn’t

Offer much in the form Of material for them to work with. It comes off as a workman and everyone seems more here for a paycheck.

Those looking for a horror film might be disappointed as though its Advertisements make it look That way and there is violence the film is more like a strictly science fiction tale.

Which is what is at least admirable about the film.

This feels like one of the first of more recent trends of films about androids and AI and how much humanity exists in them. Surrounded by humans who go about being absent, if any humanity at all or trying to show none for the supposed greater good.

It doesn’t offer enough material to be truly thought-provoking and lacks action throughout  to truly be a genre picture 

In the final act, the film Finally Releases the violence and gives the audience what it has been waiting for most of the characters you have come to know will most likely become

Victims. They pay the price, In different ideologies, and pick the wrong side which proves fatal because of choosing to show their humanity.

It feels especially cruel to one character who truly fights back and gets the most violent death in a scene that feels cut down because of how gory it could get. While any action resorts to a BOURNE IDENTITY intensity with bad club music to accompany the action for those brief Moments only that feel like it’s coming from another film

Jennifer Jason Leigh is only in a few scenes and seems here to be punished more than anything else. which seems to be a trend in her more recent roles. As of 2025 most of the cast signed up for the same feet, but they have a few more scenes and more to do.

The film offers a perfect example of corporate culture versus a family and a more nurturing culture.

It does offer a sensational ending that wasn’t expected though hinted at throughout 

Grade: D+

KINDA PREGNANT (2025)

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Directed By: Tyler Spindel 

Written By: Amy Schumer and Julie Paiva 

Cinematography: Stuart Dryburgh 

Editor: Tom Costain and J.J. Titone

Cast: Amy Schumer, Will Forte, Brianne Howey, Jillian Bell, Damon Wayans Jr., Lizzie Broadway, Urzilla Carlson, Chris Geere, Joel David Moore, Molly Sims

When Lainy’s plan to settle down and start a family falls apart, she puts on a fake baby bump, tells a lie, and accidentally falls for her dream guy.

Not shocked by the quality of the film it comes from Adam Sandler’s production company Happy Madison Productions.

It maintains that kind of goofy stupid humor of most happy Madison productions. That seems more devoted to throwing everything you can at the audience to see what sticks and satisfies them.

So that you know going into these movies Hamlet or anything close to that though what I can give this film is that it’s simply entertaining. It’s not good but it’s not that horrible and the time passes there’s nothing that memorable about it but again you stay entertaining if you’re a fan of Amy Schumer this is the first leading role in a movie that she’s had in a while, especially in a romantic comedy

The film is not insulting and the cast does what is required of them. Though if you’re not into Adam Sandler movies or his type of comedies, I would say definitely skip as this tends to go for not necessarily the gross-out but more wacky as of course his daughter and wife have cameo roles.

Actress Urzilla Carlson gets the more over-the-top supporting role that probably in the past would’ve gone to Rebel Wilson, who would’ve either played that role or the lead. 

The one thing I can say that is likable about this film is it’s nice to see a female lead comedy that can get nasty when it needs to, but still here plays pretty much tame. 

The film is overly predictable, but at least it doesn’t insult your intelligence and everybody seems like they’re thrown at them and they seem like they generally are having fun and like one another so it is a pleasant viewing experience.

It’s not original nor good it’s just more of a comfort movie than anything that offers very few surprises. 

Grade: C-