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Downton Abbey: The Grand Final is the third film in the series and is directed by Simon Curtis, who also directed the second Downton Abbey film.
Humanity is about to enter the 1930s. The family will soon be led by Lady Mary Talbot (Michelle Dockery), but when she becomes entangled in a public scandal involving a divorce and the family faces financial troubles, it seems the Crawleys are on the verge of losing much of their respect and status.
As the new bearer of the family scepter, Mary must guide her family successfully into the future. To achieve this, however, the family-like the rest of the world-may have to adapt to new ways of life.
The film portrays well how change in the world and in life is necessary, yet remains difficult for some to truly accept. This is also a theme that still resonates strongly in today's society.
With this third Downton Abbey film, they once again deliver a delightful experience, especially for fans and followers of the series and previous films. These viewers will more easily recognize references and details, and it will be enjoyable for them to continue following the familiar characters and witness how many of them bring their time at Downton to an end. The roles are once again played by the returning cast, who manage to give most of the characters a fitting farewell.
This is certainly true for the character Violet, portrayed in the series and earlier films by Maggie Smith, who sadly passed away last year. Despite her real-life absence, the filmmakers manage to conclude her character's story in a respectful way. In this film, a portrait of her character can be seen, giving the impression that she is still present in this final chapter.
Humanity is about to enter the 1930s. The family will soon be led by Lady Mary Talbot (Michelle Dockery), but when she becomes entangled in a public scandal involving a divorce and the family faces financial troubles, it seems the Crawleys are on the verge of losing much of their respect and status.
As the new bearer of the family scepter, Mary must guide her family successfully into the future. To achieve this, however, the family-like the rest of the world-may have to adapt to new ways of life.
The film portrays well how change in the world and in life is necessary, yet remains difficult for some to truly accept. This is also a theme that still resonates strongly in today's society.
With this third Downton Abbey film, they once again deliver a delightful experience, especially for fans and followers of the series and previous films. These viewers will more easily recognize references and details, and it will be enjoyable for them to continue following the familiar characters and witness how many of them bring their time at Downton to an end. The roles are once again played by the returning cast, who manage to give most of the characters a fitting farewell.
This is certainly true for the character Violet, portrayed in the series and earlier films by Maggie Smith, who sadly passed away last year. Despite her real-life absence, the filmmakers manage to conclude her character's story in a respectful way. In this film, a portrait of her character can be seen, giving the impression that she is still present in this final chapter.
The Conjuring: Last Rites is the fourth Conjuring film in the series. This fourth installment is directed by Michael Chaves, who also directed the third Conjuring film, as well as the two spin-offs from the series: The Curse of La Llorona and the second Nun film.
Paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have scaled back their investigations as they've grown older and due to Ed's heart problems. These days, they more often give lectures about the paranormal world.
When the Smurl family experiences a malevolent demonic presence in their new home-manifesting through a mirror-they ask the Warrens for help. The Warrens are willing to step in, but this case may turn out to be their most terrifying investigation yet.
This film is the last in the Conjuring movie series to truly focus on the paranormal investigation duo, the Warrens. Possible future films in the franchise will likely center more on the stories behind the demons they have confronted.
With his previous Conjuring film, Michael Chaves approached the story from a different angle. That installment focused more on victims who were likely wrongly accused of murder, with the Warrens helping to prove their innocence. With this final Conjuring film, the series returns more to the classic horror concept of a haunted house.
However, the storytelling this time is somewhat drawn out. The story of the Warren family, trying to live with fewer paranormal involvements, and the story of the possessed mirror at the Smurl household largely run separately. Only later do the storylines truly merge when the Warrens finally investigate the Smurls' case. Because of this, the film feels more like two separate stories: on one hand, the horror elements surrounding the Smurl family; on the other, the family life of the Warrens, where their daughter also begins a romantic relationship. This was likely done to give their story a proper conclusion, but sometimes too much time is spent on it. After all, in a Conjuring film you expect more horror elements rather than family drama.
What this final Conjuring film especially lacks is originality. For horror fans, it may quickly bring other titles to mind. The demonic mirror, for example, evokes memories of Oculus. Unlike other demonic forces in the Conjuring series, the mirror has little to no real personality. The only frightening aspect comes from the occasional sinister reflections. In addition, many of the horror elements remain clichéd or predictable, with characters once again wandering off alone to investigate suspicious noises.
Patrick Wilson and Vera Farmiga reprise their roles for the last time, and they manage to give them a fitting conclusion while maintaining a convincing chemistry. Since the film's first half is largely shared with the actors portraying the Smurl family, both groups come across somewhat weaker. Only toward the end does their collaboration truly shine.
Paranormal investigators Ed (Patrick Wilson) and Lorraine Warren (Vera Farmiga) have scaled back their investigations as they've grown older and due to Ed's heart problems. These days, they more often give lectures about the paranormal world.
When the Smurl family experiences a malevolent demonic presence in their new home-manifesting through a mirror-they ask the Warrens for help. The Warrens are willing to step in, but this case may turn out to be their most terrifying investigation yet.
This film is the last in the Conjuring movie series to truly focus on the paranormal investigation duo, the Warrens. Possible future films in the franchise will likely center more on the stories behind the demons they have confronted.
With his previous Conjuring film, Michael Chaves approached the story from a different angle. That installment focused more on victims who were likely wrongly accused of murder, with the Warrens helping to prove their innocence. With this final Conjuring film, the series returns more to the classic horror concept of a haunted house.
However, the storytelling this time is somewhat drawn out. The story of the Warren family, trying to live with fewer paranormal involvements, and the story of the possessed mirror at the Smurl household largely run separately. Only later do the storylines truly merge when the Warrens finally investigate the Smurls' case. Because of this, the film feels more like two separate stories: on one hand, the horror elements surrounding the Smurl family; on the other, the family life of the Warrens, where their daughter also begins a romantic relationship. This was likely done to give their story a proper conclusion, but sometimes too much time is spent on it. After all, in a Conjuring film you expect more horror elements rather than family drama.
What this final Conjuring film especially lacks is originality. For horror fans, it may quickly bring other titles to mind. The demonic mirror, for example, evokes memories of Oculus. Unlike other demonic forces in the Conjuring series, the mirror has little to no real personality. The only frightening aspect comes from the occasional sinister reflections. In addition, many of the horror elements remain clichéd or predictable, with characters once again wandering off alone to investigate suspicious noises.
Patrick Wilson and Vera Farmiga reprise their roles for the last time, and they manage to give them a fitting conclusion while maintaining a convincing chemistry. Since the film's first half is largely shared with the actors portraying the Smurl family, both groups come across somewhat weaker. Only toward the end does their collaboration truly shine.
Caught Stealing is a new crime thriller directed by Darren Aronofsky, known for Black Swan and The Wrestler.
Hank Thompson (Austin Butler) is a former baseball player who once had the chance to build a career, but fate was not on his side. After missing out on that path, he has become an unlucky, alcoholic bartender who struggles to maintain a relationship with his girlfriend Yvonne (Zoë Kravitz). When his neighbor Russ (Matt Smith) asks him to take care of his cat while he is away, Hank discovers that Russ is involved in shady dealings with several gangster groups. These groups expect Hank to provide them with valuable information.
Unaware of what he's getting into, Hank tries to keep the various gangsters satisfied. But when the threats start to get personal, he must play things smart and carefully to ensure that neither he nor his loved one becomes a victim of these criminal gangs.
Darren Aronofsky has directed many unique and distinctive films, but with this new project he seems to lean more toward the style of Guy Ritchie, who in the early years of his career also made many crime thrillers. At times Aronofsky seems to borrow elements from Ritchie's style, which keen-eyed fans of both directors will quickly recognize.
Just as with his previous work The Whale (2022) for which Brendan Fraser won the Academy Award for Best Actor-Aronofsky once again entrusted the screenplay to the author of the original novel. In this case, writer Charlie Huston, who has little experience as a screenwriter, and at times this inexperience shows.
The film feels somewhat uncertain in terms of genre: is it meant to be a crime mystery, or rather a blend of comedy and drama? The balance between the two is thin and unstable, as jokes are often inserted at dramatic moments, either by the characters or the situations they find themselves in. Huston could have looked more critically at his own writing and created a clearer balance here.
Despite the somewhat messy storytelling, Aronofsky succeeds in convincingly presenting the film as if it were truly set and filmed in the 1990s. For connoisseurs, or anyone who lived through those years, there are plenty of recognizable details to spot.
Austin Butler delivers a strong performance in this more dramatic role. His character has lost much through personal trauma and has sunk into a dark, hopeless life where alcohol-fueled escapism seems to be the only outlet. When circumstances grow even darker, he is forced to take responsibility in order to protect both himself and his loved one.
Other well-known cast members, such as Zoë Kravitz and Matt Smith, play smaller supporting roles. Their characters occasionally help push the protagonist forward, but ultimately Hank must find his own way to solve his problems and keep himself and others-out of danger.
Hank Thompson (Austin Butler) is a former baseball player who once had the chance to build a career, but fate was not on his side. After missing out on that path, he has become an unlucky, alcoholic bartender who struggles to maintain a relationship with his girlfriend Yvonne (Zoë Kravitz). When his neighbor Russ (Matt Smith) asks him to take care of his cat while he is away, Hank discovers that Russ is involved in shady dealings with several gangster groups. These groups expect Hank to provide them with valuable information.
Unaware of what he's getting into, Hank tries to keep the various gangsters satisfied. But when the threats start to get personal, he must play things smart and carefully to ensure that neither he nor his loved one becomes a victim of these criminal gangs.
Darren Aronofsky has directed many unique and distinctive films, but with this new project he seems to lean more toward the style of Guy Ritchie, who in the early years of his career also made many crime thrillers. At times Aronofsky seems to borrow elements from Ritchie's style, which keen-eyed fans of both directors will quickly recognize.
Just as with his previous work The Whale (2022) for which Brendan Fraser won the Academy Award for Best Actor-Aronofsky once again entrusted the screenplay to the author of the original novel. In this case, writer Charlie Huston, who has little experience as a screenwriter, and at times this inexperience shows.
The film feels somewhat uncertain in terms of genre: is it meant to be a crime mystery, or rather a blend of comedy and drama? The balance between the two is thin and unstable, as jokes are often inserted at dramatic moments, either by the characters or the situations they find themselves in. Huston could have looked more critically at his own writing and created a clearer balance here.
Despite the somewhat messy storytelling, Aronofsky succeeds in convincingly presenting the film as if it were truly set and filmed in the 1990s. For connoisseurs, or anyone who lived through those years, there are plenty of recognizable details to spot.
Austin Butler delivers a strong performance in this more dramatic role. His character has lost much through personal trauma and has sunk into a dark, hopeless life where alcohol-fueled escapism seems to be the only outlet. When circumstances grow even darker, he is forced to take responsibility in order to protect both himself and his loved one.
Other well-known cast members, such as Zoë Kravitz and Matt Smith, play smaller supporting roles. Their characters occasionally help push the protagonist forward, but ultimately Hank must find his own way to solve his problems and keep himself and others-out of danger.
