#Movie Critic

[spongebobssquarepants]

[ki11tr4p]

Like c’mon what were they expecting?

[nanmemes]

It’s insane how out of touch movie critics are.

[zebracorn-chan]

If you're upset the FNaF Movie got low ratings by critics I would like to remind you what they think about "Cuties".

[virginia-the-opossum]

Im not seeing alot of posts on here about this, but i have on youtube sooo...

Doctor Skipper, Nerdstagic, Cinema Sins, Rotten tomato critics, other movie critics and youtube movie reveiwers have ruined media literacy by their need for money.

All they do is sit around and hypercritic movies that they know jack shit about while pretending they do, some of them havent even watched the movie, they just want attention and to ruin the movie for its fandom and its chance in the box office.

Doctor Skipper and Nerdstagic have both made videos shitting on the Monsterverse and American Godzilla in general because Godzilla Minus One was "better". Yeah, the movie was awesome! And it deserves all the attention and The Oscar it got. But GxK: The New Empire isnt even out yet, stop bullying it, telling people something is going to be trash before they see it, means theyre going to view it as trash through the lense of your opinion.

Godzilla Minus One and GxK: The New Empire dont compare, they are two separate genres. Godzilla is allowed to be goofy or serious. There is no right or wrong Godzilla. If you like goofy, good for you! If you like serious, good for you! People are allowed to enjoy the two genres separately or together. I love both! But critics dont look at the fact that in the og showa era made by ToHo, it was goofy as hell, he was doing dances and flying using his breath.

The directors of both movies support each other and love each other's work.

Yes, all the shitty sequel cash grabs we've been getting are awful. But Godzilla isn't that,.... yet. If we keep getting divided on these issues and only viewing them to trash and meme, that spreads negative interest, but more profits. More profits means theyre gonna do it again. Boycott movies you know you wont like, but leave other people alone about it, and especially don't make videos without researching the subject or even watching the movies. Just like some of the recent Marvel movies and shows, if we let it turn into a cash grab, our fandom will inevitably die. Like the posters and trailers for GxK- "Rise together or fall alone".

Sidenote: theres nothing funny about the Lucky Dragon Incident.

Sidenote 2: Please stop spoiling GxK

Edit Sidenote 3: stop using ai for your clickbait thumbnails for your edits of GxK trailers

[theamandacollection67]

Film critic Ruth Waterbury, actress Dorothy Lamour and actor Glenn Ford.

[tulip-in-a-cup3]

Is the Romantic comedy is still relevant?

Like many, I have spent countless endless hours watching romantic comedies. At one point they were the only sort of film I consumed (a very dark period) and also one of the many sparks of my love of film. But as I grew, changed and discovered all sorts of different films I next to completely forgot all about rom-coms only really revisiting them when I feel the need to turn my brain off and watch pretty people do things on screen. But now when I do turn one on I can't help but but notice how painfully sexist and unproductive they can be.

The romantic comedy is a very popular offshoot of the classic comedy genre. Rom-coms have been around since the time of Shakespeare's A Midsummer's night dream. The romantic comedy focuses on the romantic relationship between two characters. The movie usually follows a fairly basic structure with the characters meeting, falling for each other, facing some sort of adversity, and ultimately having a happy ending with them together. That's not to say some don’t break out of this with 500 days of summer being a perfect example. This genre of film became increasingly popular particularly among women because it was one of the only times that women were at the forefront of a movie. They were also easy, quick, and incredibly cheap to make. Allowing them to make massive profits when it came to the box office. Although romcoms did see a significant decline during the late 2000s and early 2010s we have seen a steady increase in them since the rise of streaming platforms producing their movies. On these streaming platforms, romantic comedies have managed to find an audience but that poses the question: are romantic comedies still relevant today?

Most romantic comedies tend to all have main characters that are white, cis-gendered, heterosexual, skinny, and Neurotypical. The rom-con never really showed the range and forms love could take. Rom-coms also sprinkled in this lovely layer of misogynistic undertones. Films like How to Lose a Guy in Ten Days depict women as “emotional, irrational and clingy” and that all these behaviours do is drive a man away, men of course being the complete opposite of these behaviours. Bride wars also show women in questionable ways with the leads completely turning on each other simply because of a wedding venue. Reinforcing the stereotype that marriage is a woman’s number one endgame. Even my personal favourite Bridget Jones isn’t immune to the problems laced throughout rom-coms. Bridget acted like her very healthy 136lb made her disgustingly fat or the fact she felt her whole life was a failure due to her being SINGLE of all things. There are many more examples I don't wish to get into that show how Rom-coms treat women. But does this mean we need to throw them in the bin completely?

No of course not it was an unproductive question in the first place. rom-coms can be misogynistic, but they are also changing take for example movies like To All The Boys I've Loved Before which has an asian american protagonist or Crush on Disney Plus which has a lesbian lead and follows multiple lgbtq characters (although it did get next zero marketing and only me and like three other people know it about subject for another day). The rom-com is not the same anymore just like how the landscape of film has changed. People are demanding representation and slowly we are receiving it. The rom-com is also one of the only genres that is dominated by women and tearing it down and ripping into does in some regard play into the demonization of all things enjoyed by women. Rom-coms are still relevant because love is still relevant. We just need to see it done in a way that reflects the variety of love we have and doesn't reinforce outdated stereotypes about women OR men. Rom-coms bring a lot of joy and fun that cinema needs and branding them as not relevant is moving backwards.

[gyarucoded]

quick loki preview bc i have fallen down the rabbit hole since i have nothing else new to watch

the way loki used his magic was such a serve omg

i'm still in love with b-15 ♡

i appreciate the subtle humor, the jokes in other new mcu contents (minus the guardians of the galaxy) annoy me but here it's well balanced yet funny👍

when brad said "playing dress up" to loki idk what he fully meant but my mind wandered to teen loki switching fem presenting & borrowing [stealing] frigga's clothing to try them on for funsies n shit (i used to do that w my mom's wedding clothes as a child 2 lol)

when brad was messing w/ loki he had the opportunity to do the most suicidal thing ever and add sth like "who isn't even your real mother" after bringing up frigga (bro would have gotten ANNIHILATED Ijbol)

the slap was so funny & satisfying at the same time. i didn't saw it coming but i love this side of mobius

this ep's genuinely the most TERRIFYING loki has been in the mcu. in the chase scene and both of the interrogation. i absolutely support it idgaf !! he was more intimidating then he was in the first avengers movie which says a loooot

when loki mentioned the new york incident that was either lazy writing or babe got brain damage cuz i am pretty sure when he was mad at thor & odin that was in new mexico?? when he sent that metallic shit down or wtvt💀 to prevent thor from returning. but i forgive only because he mentioned tony lmfao

i love seeing sylvie finally being content. even if it was thru fuckass mcdonalds. i hope she won't be reduced to the "weird love interest" cuz her chara has potential and you can tell she's tired of this bs as well...

another episode of sylki being forced, toxic, keep disagreeing with & avoiding each other with rather tense chemistry instead of a romantic one they supposedly meant to have & being one sided as hell. their "romance" makes zero sense in this series' context & i could go off for longer regarding this topic but i'll save it for a seeperate post, later!

o.b & casey are so wholesome

bro i'm starting to ship lokius i think? (not in a fetishzing way i just like their dynamics and they just both happen to be dudes/male presenting) cuz i am sensing romantic & soulmate-ish undertones. sad that disney is a coward to make it canon...

overall i loved the 70s-90s vibes they seem to be going for. this show deffo has the best aesthetics we've seen in marvel phase 5 so far and i can't wait to see what's coming next.

[the-celluloid-correspondent]

Shōgun: A Historical Masterpiece.

Set in Japan in the year 1600, Lord Yoshii Toranaga is fighting for his life as his enemies on the Council of Regents unite against him, when a mysterious European ship is found marooned in a nearby fishing village.

Based upon the acclaimed novel, Shōgun is a historical retelling of Lord Tokugawa Ieyasu's (Yoshi Toranaga) establishing the Tokugawa Shōgunate in early 17th Century Japan from the point of view of an English Pilot named, William Adams (John Blackthorn)Premiering on the small screen in 1980, the series received mass critical acclaim and earned an Emmy for Outstanding Limited Series. Four decades later, it returns, breathing new life into the television with its unparalleled storytelling. Breaking away from the mediocrity that often plagues the streaming industry, Shōgun stands as a monumental historical epic of a real-life struggle over the throne for Japan. 

Shōgun unfolds like a meticulously played game of Shogi, where every move, character, and line of dialogue is infused with purpose and significance. This captivating narrative takes viewers on a journey through a power struggle that shapes feudal Japan, weaving together political intrigue and human drama in a rich tapestry of storytelling. From the intricacies of Japanese society to the cunning maneuvers of rival warlords, Shōgun immerses audiences in a world where every scene serves a distinct purpose. Each twist and turn of the plot is carefully crafted, drawing viewers deeper into the heart of the conflict and revealing the complex web of alliances and betrayals that define the era. The dialogue and monologues in Shōgun are masterfully written, brimming with both context and subtext that add layers of depth to the narrative. Like beautiful lines of poetry, they flow seamlessly together, driving the story forward with precision and purpose. At its core, Shōgun captures the essence of one of the most pivotal moments in Japanese history, offering a compelling exploration of power, ambition, and the human spirit. As viewers are drawn into this world of political conspiracy and personal sacrifice, they are treated to a mesmerizing blend of drama, suspense, and historical authenticity that commands the screen from start to finish. 

Shōgun derives its true essence from its characters, each intricately woven with layers of complexity and depth, enriching the overarching drama. Among them, Cosmo Jarvis's portrayal of John Blackthorn emerges as a standout performance, deftly navigating the challenges of embodying a character whose natural loudness and clumsiness contrast sharply with the subtleties of his Japanese counterparts. While some may initially interpret Blackthorn's demeanor as a flaw in the performance, Jarvis's deliberate portrayal serves a greater purpose—to underscore the cultural abyss between him and the people of Japan. Through his portrayal, Jarvis adeptly captures the profound culture shock experienced by his character, allowing viewers to witness a compelling transformation from a brash and ambitious Englishman to a man deeply immersed in Japanese customs. It is in these quieter moments that Jarvis truly shines, infusing his character with depth and nuance.

Similarly, Anna Sawai's portrayal of Toda Mariko exemplifies the art of subtle acting. With a mere glance, Sawai effortlessly conveys a myriad of emotions, her thousand-yard stare speaking volumes about her character's inner turmoil and quiet resilience. Her performance is a testament to the power of restraint, as she deftly navigates Mariko's journey of suffering and hope, her emotions simmering beneath the surface until they erupt with raw intensity. Even in moments of despair, Sawai's portrayal radiates a glimmer of hope, underscoring the resilience of the human spirit.

The ensemble cast of "Shōgun" shines brilliantly, each member delivering performances that leave a lasting impact. From the charismatically charming yet brutal portrayal of Tadanobu Asano as Yabushige to the scheming and cunning rendition of Fumi Nikaido as Ruri, every actor breathes life into their character with skill and precision. Moeka Hoshi's portrayal of the broken yet resilient Fuji, and Takehiro Hira's power-hungry depiction of Ishido, further solidify the ensemble's strength, while Tokuma Nishioka's powerful and wise portrayal of Hiromatsu adds depth to the narrative.

However, it is Hiroyuki Sanada's performance as Yoshii Toranaga that truly stands out, marking a triumphant moment in his career. Despite being typecast and overlooked by Hollywood for years, Sanada seizes the opportunity to showcase his talents as both an actor and a producer in Shōgun. In his portrayal of the powerful and intimidating Toranaga, Sanada commands the screen with a commanding presence, embodying his character's intellect, ambition, and prowess with aplomb. What sets Sanada's performance apart is his ability to infuse Toranaga with an unpredictable nature, keeping viewers on the edge of their seats as they anticipate his next move. With each moment on screen, Sanada captivates audiences with his depth and nuance, delivering what can only be described as his finest performance to date. Finally given a role where he can truly shine, Sanada proves himself to be a force to be reckoned with, cementing his status as one of the industry's most talented actors.

Every aspect of this series is a visual feast. The cinematography is nothing short of breathtaking, capturing the stunning landscapes and rich cultural tapestry of Feudal Japan with remarkable skill. From the intricate costumes to the meticulously crafted production design, every detail is thoughtfully considered, drawing viewers deeper into the immersive world of Shōgun.

But Shōgun is more than just television—it's an immersive journey into one of the most pivotal moments in Japanese history. With its masterful storytelling and captivating characters, the series transcends the screen, offering viewers a profound exploration of the human experience against the backdrop of historical upheaval. In a landscape dominated by formulaic narratives, Shōgun stands as a shining example of the power of the historical epic, reminding us of the importance of stories that not only entertain but also enlighten and inspire.

My Rating: A

[whatiwishfanfiction]

Movie Rant

One thing that bothered me about the 2012 Lorax is what a psychotic jerk the Lorax was. He literally tried to kill the Once-ler ("I was just trying to calmly float you away." Yeah sure!) and only bopped in occasionally to insult and bicker with him.

This is one of the main reasons I chose to rewrite the story and make him a better character. I imagine the Lorax as more of a mysterious fae-like creature who can be mischievous but capable of more compelling arguments, rather than just being a bumbling smart aleck.

(Illustration by Tony DiTerlizzi)

What other movies do you think they made the good guy seem like a villain or vice versa? I'm hoping this will be the first in a series of rewrites in the form of full novelizations on Ao3. (I'm looking at you Wish movie).

[airconditionertm]

Why does every thing have to be criticaly aclaimed to be good now

I don’t get why people stopped liking fun movies, like it’s not enough for a movie to be entertaining enjoyable and funny anymore everything needs to be „a good movie ��� which is super deep and intellectual.I feel like this is honestly why the movie and cinema landscape is so bad right now because if a movie is not „good „ it is immediately torn to shreds by all the super smart critics on social media because they can’t just let themselves enjoy things if it doesn’t make them seem smarter. If any of the now iconic movies from the 2000 and 2010s like pitch perfect came out today they would probably be torn down and be considered a so called bad movies . I feel like this is A big reasons for why stuff like romcoms teen comedy’s and family movies have basically died out . Just because a story isn’t deep or intellectual doesn’t mean it’s not worth telling especially ,Stories that make people happy that make them laugh. we live in a world that isn’t always great so people should at least be allowed to enjoy things just because they make them happy.

Sorry for the rant this was all prompted by me coming out of the theater for argyle and searching it for mabey some fun edits of the characters or people talking about the movie only to find people just talking about how bad it was and what a flop it was. Where it was honestly a really funny and entertaining movie like literally the entire theater was laughing when I was watching it and it made me really sad and i felt almost insulted like am I stupid for enjoying this movie.

[lackablazeical]

Okay yall I was fucking LIED TO. I fucking hate the movie Bones And All and I was told it was good. Yall just see a man covered in blood and say it's good and look I understand that but the actual movie is fucking terrible.

Like why are cannibals just a whole fuckn. Species in of themselves. Bffr. It would've been so much more of an amazing love story if it was just the main girl who ate ppl, and this boy finds her and loves her even past the eating ppl part and like. Helps her and shit. Not this weird fucking cannibal subspecies thing. It didn't need lore and shit. She could've just fucking ate ppl to do it (see the movie Raw)

Also why were they just eating ppls bodies like dogs casually. Like I get it to show animalistic tendencies but then have there be contrast between how she eats WHEN she does. They don't need to be on their hands and knees eating when they ARENT desperate for food.

And not to be het-phobic but WHYYYY WHY WOULD A MAN BE THERE. CANNIBALISM METAPHORS ARE FOR THE GIRLIES GET THAT FUCKING TWINK AWAYYYY. Would've easily been a better movie if it was 2 girls btw. Just. Just EASILY.

Also this is just me but clearly they don't NEED to eat ppl. All I can think the entire movie is 'these people have no basic self control'

Also how she was mad at the guy who wasn't one of the cannibal ppl but still ate ppl. Like yeah I get the metaphor, someone idolizing what makes you suffer yeah yeah, but like. She Doesn't Need to eat people. They can eat non human-flesh food and get nutrition from that. She really was pissing me off yall

Also stop with that stupid guy who was like creepy and stuff that she didn't like. Like what. First, he's definitely coded as being special needs which. Very ableist to make the creepy cannibal villian coded that way when no other characters are.

And that also just muddles the theme of the movie. Like is the theme supposed to be about how women are unable to express their deep desires? About eating disorders? Like what the fuck is it even supposed to be cus it changes and isn't even consistent in the like 20 it decides to take a stance on. Pisses me off

Also they try in the movie to villianize the mom and dad of the girl in the movie but comma. They were literally both so valid.

The dad abandoning her? YEAH. He saw what happened to the mom. He didn't really understand her like subspecies. He could literally be charged as an accomplice to murder, assault, messing w/ a crime scene, hiding evidence, etc. Not even counting identity fraud and more. She could've easily turned and tried to eat him. He's so real for dropping her honestly

And the mom is so real for wanting to kill her daughter. Her daughter is killing innocent people for no fucking reason and clearly doesn't care that she is. Like I was hoping the mom would succeed so hard UGH. That's a whole plot, that the guy doesn't care he ate a guy that had a wife and kids but like. Even if he didn't you shouldn't eat random fucking people just Because. Bffr.

Also why they so wasteful of the people they do eat? Part of the movie is eating someone 'bones and all' (ikr) is a big deal but like. She SHOULD be saving these bodies and like. Processing the meat for later. All we see is them take like 2 bites of these people and move on. Like It's not hard to make jerky. I get she's from America and the idea of eating guts/bones/eyes/etc isn't popular but humans have so much muscle to eat and she just. Never does. We only see them ever take like a few bites and that's it????

If yall wanna argue feel free but don't expect shit from me abt my opinion changing cus I truly enjoyed watching A Serbian Film more bc at least it knew it was a shitty concept and story and acted accordingly

[littlelenas-blog]

Dawn of the Planet of the Apes Critique:

⭐️⭐️⭐️⭐️

Great Things about this Movie:

Debates what it means to be human, and how humans can be more animals than ape

“They’re just smarter apes” just like us?

Raises amazing self reflection questions, what we need to survive and be happy really what we need? Or just what we want?

Can we find peace without a destructive modern society?

The Caesar vs Koba rivalry demonstrates not only what a good leader but how hate persists past trauma alone, and forgiveness and trust will always outlive hatred and resentment

Demonstrates not only the horrible results of war in a nuanced manner but also its uselessness

Shows positive masculinity through main characters like Caesar and Malcom by comparing them to war driven, hateful, aggressive men like Dreyfus and Koba

Bad Things About this Movie:

Lack of female perspective: most of the movie is propelled by male protagonists

Only woman is a doctor who lost a child, and the only female ape in the movie is Caesar’s wife and Blue Eye’s mother

There is a major portion of the movie that could have been driven by women or solved by a female perspective, however in order for the story to progress I understand that it needed to be more of a manly action movie than anything

Does depict war as something that’s not only singular to humans, which is only semi-accurate and spreading a message I would not prefer to be spread—as animal’s already have a bad rep and human’s have a superiority complex

Overall I loved it! Always very good movies, a wonderful trilogy, and the story is full of heart and action, it’s absolutely amazing. Only lacking what female perspective and protagonists could add.

[virginia-the-opossum]

GxK was fucking awesome, fuck the critics

[gemsofgreece]

Η ΦΟΝΙΣΣΑ (The Murderess): A film review

My cinecritic side greets you again! This time I watched The Murderess, (only!) half a year after its release. I had to watch this one because it is based on my favourite Greek book, written by Alexandros Papadiamantis, which is also one of the most acclaimed Greek stories.

I knew that the movie would be underwhelming compared to the book because there was not any chance a movie could match it. Therefore it was unsurprising that I had this watered down response to it. It is a good movie, it has several merits. If you have read the book however, you tend to focus on the drawbacks and those are very prominent.

My biggest issue was the understandable choice to make adjustments to the story, in order to fill it some more, because the original is a short story. Reasonable, yet the adjustments made were in my opinion poorly thought out for several reasons.

PROS:

The cinematography is amazing. I also liked the camera work. Congratulations to Eva Nathena, very neat job. Very haunting atmosphere, great scenery chosen. We need more creative direction in Greek movies, so this was refreshing. However, I have some criticism about it too, below.

The elements of the folk culture and the architecture were beautiful and very interesting. The movie in general is stylized (in an appropiate way) and I have no problem with this at all. Nathena's first profession is actually costume designer, so her attention to detail makes total sense.

The score is imposing and appropriately used.

Karabeti has the leading role. Obviously, the acting is great. I will say that I had imagined Frankogiannou different in my mind, even less refined or, idk less agile?, but that doesn't mean her approach is not valid.

Okay this is silly but it was a long time since I read the book and that moment when Frankogiannou says to her daughter "Σα σ' ακούω, θυγατέρα", a reference to her favourite catchphrase, it brought back the memory I had forgotten and I nearly cheered!

I did not like the liberties taken in the screenplay but I LOVED Maria Protopappa as Frankogiannou's mother. This character does not exist in the book but I don't care, she was amazing. Honestly she doesn't do all that much but her presence, so DORIC so STERN so SCARY. A perfect portayal of an abusive, misogynistic mother. I don't know, she was chilling, unpopular opinion but somehow I liked her more than Karabeti. Of course I acknowledge Karabeti's part was a lot harder.

Protopappa as Frankogiannou's mother, facing the camera.

CONS:

I already praised the cinematography, right? Yes, it was good but I would appreciate it more if the story actually took place in Mani! The story however takes place in Skiathos, not Mani! Whereas the choice to film such a dark story in an ominous place like Mani seems fitting, the true challenge would be to bring it to life in a happy looking place like Skiathos, where it is supposed to have happened after all. In short, the scenery fits the story but it was also a cheap trick to avoid making the direction more challenging. If foreign followers read this, Nathena in short said "I have a very dark movie to direct so I'll shoot it in this place

so I will avoid filming it in its original place which looks like this:"

I mean, the scenery looked awesome but you get what I mean? Moreover, my point is that she removed a lot of the realism from the movie - the scenery looks so gloomy, the people are so pensive, it kind of creates a type of dystopia where the Murderess's tale is just another part of it and not a shocking outlier.

[this paragraph contains spoilers]Which brings me to the second point. For anyone who doesn't know, the Murderess was written in 1903 by Alexandros Papadiamantis, a man, and it is one of the very first feminist literary works quite possibly on an international level. The way the inequality against women is portrayed in the book is so... novel and unique and genius and groundbreaking for its time and even for today, that I loathed to see it getting a coating of the standard contemporary mass feminist perspective. Because on its own, it was in my opinion far more successful and piercing. There are a lot of changes made in the film. Essentially, all men are depicted as straight out monsters and the only man who was probably not a monster, the priest, is blind. Get it? As in, blind to the evilness. That level of symbolism, come on, guys. Too much. Furthermore, the movie makes the whole community of the town in some way or another complicit to what is happening. That was horrible in my opinion. Instead of showing how inequality and hardship created an outlier whose mind got in a really bad place, like Papadiamantis did, the movie just creates a whole society of horror, where most everyone is a criminal. What is this, the Lord of the Flies? Men are viewed as problematic in Papadiamantis' book as well but in a more realistic way, some being absent, some being indifferent husbands, some being lazy, some rejoicing in their gender privilege and living expecting everything from women. But in the movie ALL of them are !Spoiler! kin rapists and kin killers??????The fuck?????? Live your myth in Greece, I suppose. [SPOILER] The incident of female infant killing by poor people who had no money to raise and provide a dowry for their daughters was indeed a phenomenon in Greece and elsewhere before the abolition of this custom (as pointed out in the movie credits), maybe it still is in some countries, but I want to believe that it wasn't happening in the way that it happens in this movie. In the movie this town's people are one step away from hiring her as a professional baby killer. Like, that wasn't how it was happening or how often it was happening. They turned a documented crime of the past into a custom?! A person who was suspected to do that did not casually live amongst the rest with their family as if everything was alright. Which is why it is stupid in the film that even though most everybody has asked her help (apparently in this movie they were giving birth everyday to 58259 girls and 0.1 boys), then everyone turns against her and wants her arrested. In short, she was portrayed almost as a scapegoat and I did not like this. It's like abdicating her a lot from her guilt. She is a tragic character indeed but she is not a scapegoat. And in the book the townfolk had no idea what she was doing until it became obvious.

At least a little touch of the extremely heavy, drool-enducing Skiathian dialect Papadiamantis was known for using was greatly missed. Then again there was nothing from Skiathos in this movie whatsoever. Even the folk attire was not Skiathian. It looked like a mix of Peloponnesian and Roumeliote, totally irrelevant. It wasn't even Maniot, I think.

Too. Many. Symbolic. Scenes. It made sense to add them but I mostly enjoyed only the ones with Protopappa.

The acting of the supporting cast was subpar in my opinion. Not bad necessarily but too theatrical for my taste.

So, with all this in mind but also taking into account that someone may watch it without having read the book first, I give it a 7+/10. If you compare it to the book, it must fall to a 6+/10. My recommendation? Watch the movie if you want but read the book ASAP.