If I made a list of the most anticipated movies of 2024, Nosferatu would probably be very close to the number one spot. I was excited about this movie for a while. I am a fan of Robert Eggers, so him making a remake of the classic Nosferatu: A Symphony of Horror (1921) just made so much sense. And everything about it worked, even before seeing any trailers. Well, there was one thing I thought I might struggle with – originally, the main protagonist was meant to be Anya Taylor-Joy, and then she dropped out and was replaced by Lily-Rose Depp. And I wasn’t as familiar with Lily-Rose; the only thing I knew of hers was The Idol (2023), a show I haven’t seen yet but heard awful things about. But the moment this movie opened in the UK, I had to be among the first ones to see it, and now, I feel like I owe Lily-Rose an apology for ever doubting her. Nosferatu is a perfect example of how one movie can make many excellent decisions when it could have gone wrong.

I don’t even know where to start because I don’t know what to compliment first. Firstly, the movie looks stunning. Whether you love him or hate him, Eggers understands how to frame a shot, transport you back in time, and put you in a certain mind space, and Nosferatu does all of the above and does it superbly. Eggers is someone who I will watch anything he makes from now on, as his movies seem to be my vibe. The phrase “every frame a painting” gets thrown around a lot these days, but this movie deserves it because there are so many shots you could pause the film, print what’s on the screen, hang it on your wall and be happy about it. Jarin Blaschke (the director of photography who worked on all Eggers’ movies) is one to acknowledge as someone who should be much busier and shoot many more films.

I also loved how this remake honours the original film, but only with one or two scenes. Nothing over the top, the movie forges its own path, and it’s better for it. It stays true to the story of Count Orlok, but Eggers uses this film to talk about a clash of science and faith about love and sacrifice, and everything feels natural. Nosferatu is 132 minutes long, but I never felt that runtime. The movie definitely has a lot of setup, but because of its mood, vibe, call it whatever you want, I was in it, and not one scene felt useless or like something that could have been cut out. The pacing was as smooth as the blood on Lily-Rose’s mouth in some scenes.

It’s time to talk about all the performers, and let me start with Lily-Rose. I have already apologised for not believing in her, so let me just add this – she just gained a new fan. The way she commands the screen every time she is on is phenomenal. She felt vulnerable, and, at the same time, you can see her being a powerful woman who, if need be, can face someone like Count Orlok. Speaking of him, we need to mention Bill Skarsgård. For many, he will always be Pennywise from It movies (my reviews for the first It (2017) can be found here, and for It Chapter Two (2019) here), and even though he is brilliant in both, he is on another level in this film. That’s another decision the people behind this film did well – they never revealed Count Orlok’s look or voice. So the first time you hear him, it’s chilling. And then, later on, you finally see him, and all I can say is wow. Not only did the creature design work well, but there was a tiny thing about Count Orlok’s face that was a choice, but that choice made that already creepy character ultra creepy. I won’t spoil it, but it took me out from a movie for a bit but in the best way. And Bill transcends on the screen and portrays this pure evil so well; I wouldn’t hesitate to put him right next to Heath Ledger‘s Joker. He is menacing and calm; he is this bigger-than-life presence that is somehow felt throughout the movie, and even when he isn’t in the scene, it’s almost like you can feel his aura in every scene. Everything about this character is spot on.

The same goes for Nicholas Hoult, Willem Dafoe and Emma Corrin. They each get at least one scene where they shine, and it’s hard to say anything negative about either of these actors. But Nosferatu isn’t “their” movie; you will leave the cinema thinking about Bill’s and Lily-Rose’s performances the most. I must discuss Aaron Taylor-Johnson because, at first, he was the only performer I struggled with. I couldn’t put my finger on it, but he felt out of place, almost as if he was in a different movie than the rest of the cast. And then it hit me – his performance must be like that because he is us. He is the only “normal” character who tries desperately hard not to lose his mind when his world is collapsing and doesn’t believe immediately. The moment I realised it about his character was when I got on board with his choices.

I also need to mention the soundtrack, which is beautifully haunting. However, another smart decision about this movie is that Eggers understands when to have none of it, resulting in some moments/scenes with no music, and it’s just as effective, maybe even more. I thought Robin Carolan did a stellar job, as it doesn’t sound like your stereotypical “spooky medieval vampire horror”.

If you couldn’t guess by now, I adore this movie, which is a bit strange because my expectations were extremely high going into it. But everything from the casting, camera work, soundtrack, atmosphere, story… it clicked for me and formed a unique cinema experience where the horror is almost secondary. This is, first and foremost, a story about control, love, modern thinking vs “old fashioned” one, and what strength looks like. It’s hauntingly beautiful, and it’s a film I definitely must own when it comes out on 4K.

Overall, Nosferatu is one of the best movies of 2024. I haven’t seen all the major ones yet, but I can’t imagine many would top the experience I had with this movie. I am glad when I am proven wrong, and Lily-Rose in this film proved me wrong. Any other tiny concerns I had also disappeared, and this film is a must-see in the cinema. Funnily enough, despite this being a vampire horror film, this might be Eggers’ most “audience friendly” movie yet, and that is saying something about his wild filmography of only four movies, but each one is unique in its own way. Nosferatu is one hell of an experience.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

This movie wasn’t on my radar at first because it takes something special to get my ass into the cinema to watch an animated film. Mostly, that something special either must have “Spider-Man” in its title or Pixar producing it. DreamWorks has had some great films, but historically, their catalogue is full of fine-ish movies. But that seems to be slowly turning, and lately, they have been coming out with new, innovative animated movies, and The Wild Robot feels like the most Pixar film DreamWorks has done to date.

Ever since Spider-Man: Into the Spider-Verse (2018), many animated films have started experimenting with their animation style and incorporating different techniques, making their animation stand out. This movie is no exception. Sure, for the most part, it’s beautifully “conventional” animation, but even here, you can find hints of different styles and frame rates, and I always appreciate those little touches. Needless to say, The Wild Robot looks incredibly beautiful. There were sequences where you just wished you could live in such a vivid and animated world.

I also loved this movie’s dark sense of humour. I think where this movie stands out is that sense of humour, which, many times, gets derived from death or how some animals should be killing others. That is not something you would often see in a mainstream animated movie, but here, it fits. It almost felt like the parody movies of the golden years, where characters say the most outrageous/funniest stuff with this dry, deadpan delivery. The film is aware that death is a very natural and frequent occurrence in the animal world, and it doesn’t shy away from it, and by talking about it and making fun of it, it feels honest.

Whoever decided to cast Lupita Nyong’o in the leading role of Roz deserves a nice, chunky Xmas bonus. Her line readings hit every time, and she puts so much into her performance that you can tell how much that robot evolves throughout this movie. There is a believable growth with Roz’s character, and you will quickly fall in love with her. A special shout-out also goes to Pedro Pascal, as his Fink character plays well off anyone he encounters.

But the main selling point and the reason I absolutely loved this movie was the story and how effortlessly this film talks about so many different things. From parenthood, AI, environment, class system, adoption… You find all these themes in this film and more, but the film meshes them so well with each other that I never felt like it was hitting me over the head with anything in particular. The story flew naturally; the pacing was spot on, and I can’t say I would change anything about this movie. The Wild Robot is one of those rare movies that feels perfect. It’s almost like you have a giant puzzle and put all the pieces together; you can’t just replace one or two pieces, as the entire picture gets ruined.

And this is where my Pixar comparison from earlier comes from. This is how I used to feel watching any of their movies. Sure, they still produce great ones, but lately, they haven’t hit me as much as they used to. You could argue it’s because I have grown, but that argument is rendered mute when I tell you The Wild Robot had me choked up about five times. Yep, it almost made me cry that many times because it understood the emotional peaks and valleys this story had to hit to nail all the emotions, and they did. It bares repeating not once I felt emotionally blackmailed or cheated; all of those emotions felt raw, and the movie earned them. I know this will be a long shot, but I know which animated film I will be rooting for at the 2025 Oscars. And as far as DreamWorks is concerned, I really hope they will produce more movies like The Wild Robot. Especially now, when Pixar won’t be taking many chances with original ideas, we desperately need a big animation studio to step up and take that mantle.

Overall, The Wild Robot is one of the most touching and delightful movies of 2024. Everything from the animation to the voice casting to the story and its themes worked for me beautifully, and I can’t wait to get my 4K copy and rewatch it. It’s one of those “proper” family movies where kids will laugh, and parents might cry just a tiny bit, but the entire family can have an absolutely great time with it. If you haven’t watched it yet, do yourself a favour and check it out.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

In the age where many movies look and feel the same, it doesn’t take much to stand out. But if you make a film that deals with several things surrounding women and package it in the “body horror” genre, you have something unique on your hands. The Substance is “that something unique”, and whilst watching it, I knew halfway through that this would become a cult classic and (hopefully) one of the reasons smart body horror movies might come back into the mainstream.

The biggest reason I loved this movie was how unapologetic, raw and sure of itself it was. Coralie Fargeat isn’t a name I was familiar with, but after watching this movie, I will remember her, and she gained a new fan. The sign of a great director is to create a living, breathing world within your movie where we can get lost in, but more importantly, one that feels real. Despite everything that happens in this movie (especially in the last 30 minutes), The Substance always felt grounded, poignant and sure of its world and what it was trying to say; it was easy to just let go and get lost in this stylised world.

Many times, I can be critical of movies that seem to shout their message in your face, and there are many movies that lack any subtlety. However, with this one, “it’s not a bug, it’s a feature”, as the IT saying goes. As far as the main themes, The Substance can feel like it has a megaphone and is shouting at you for most of its runtime. But that is very much the point. The themes of beauty standards, the pressure society (whether it’s Hollywood or not) puts on women to look a certain way, how we deal with age, and just replacing an older woman with a newer, “fresher” looking one… Those are the most prevalent, “loudest” themes this movie wants to examine, alongside seeing men as these caricatures. But it never felt simplistic because the movie doesn’t say it hates all men. The one man we get to know is almost a personification of the entire industry, rather than the “men bad, women good” message, and I thought this was one of the most fascinating choices.

The man in question is Dennis Quaid, and I enjoyed his performance so much. He is hamming it up, dialling this awful character up to 20 and not once winks at the camera. You are disgusted by him and laugh at him, but there are a few scenes where you understand just how much power he has. All I will say is I wonder how Ray Liotta would have portrayed this role as he was originally scheduled to portray this character, but sadly, he passed away before the shooting began.

But as much as I liked Dennis’ performance, it has nothing on our titular duo, Demi Moore and Margaret Qualley. Let me start with the Hollywood legend herself as Demi bares it all (both literally and figuratively) and her slow descent into this… different characters throughout the movie felt raw, vulnerable and honest. There is a scene where her character is getting ready for a date. And without giving anything away, that was her standout performance in that one scene alone. It takes about five minutes; there is no dialogue. We simply watch Demi struggle with her image and constantly question herself. The Substance, for all its loudness and the “main” themes being shouted at you, also deals with many other things that are communicated/shown in a more subtle way. This was one of them as Demi’s character, this absolutely stunning woman, fails to see how stunning she is because she is comparing herself against this younger, beautiful woman. And each subsequent visit to the bathroom for “just a tiny bit more” make-up kills her and makes you understand and feel for her character.

That brings me to Margaret Qualley. I understand she’s been acting for a bit, and they were high-profile movies, but I hope this movie will be her “coming out” film because she was perfect. From all her little mannerisms to her showing us she’s willing to do whatever it takes, she rules in this movie. What I found fascinating, almost on a meta-level, is the fact that for her nude scenes, she had a breastplate. Let me quote IMDb:

Margaret Qualley has revealed in interviews that her breasts in the movie are not her own. They are a prosthetic designed by French makeup artist Pierre Olivier Persin. Qualley: “Unfortunately there is no magic boob potion, so we had to glue those on. Coralie (the movie’s director) found an incredible prosthetic team to endow me with the rack of a lifetime, just not my lifetime.”

Source: IMDb.com

The reason I am mentioning it is that it fits the theme of this movie so well. The idea that even someone as stunning as Margaret Qualley “had to” wear a breast prosthetic because she wasn’t “perfect enough” in the movie about self-love and how the pursuit of perfection can send you down a spiral you might not come back from… That is meta as fuck. Anyway, every time her character Sue is on the screen, you are glued to her. Margaret showcases her star quality, and I hope this will change the trajectory of her career, and she will get more challenging and intriguing roles.

One thing I expected (and got) was how we put pressure on women to look a certain way, no matter their age. What I didn’t expect was how the film openly talks about women hating other women, mainly at these high-profile jobs that are “based” on looks and how that goes back to societal pressure. It doesn’t take long for Elisabeth to despise Sue and vice versa, but as the movie keeps reminding us and them, they are one. It is the same person, except one is younger. That is where the theme of self-love, respecting your body and finding a healthy balance between living in the moment and not on the account of your future is very poignant.

I must touch briefly on the last 30 minutes because… the level of body horror this movie unleashes is next level. The best way to describe it would be “David Cronenberg‘s wet dream.” Again, without spoiling anything, the film goes insane, but in the best possible way, where it still has fun with all the craziness happening on the screen. I was so happy to watch this on the big screen because I guarantee you, this will be a future cult classic of this genre. Coralie Fargeat proved that she understood the assignment and delivered one hell of a movie that I will rewatch soon. We need people like her, especially in this day and age of “playing it safe” we need people like Coralie, who aren’t afraid to challenge us on our shit whilst having an absolute blast doing it. I can’t wait to see what she does next.

Overall, The Substance is a movie I fell in love with the more I thought about the smaller things about it. It’s a film that won’t leave you cold, and you will either love it or be absolutely disgusted by it. It is a movie that proves that Demi can still be a leading lady and Margaret should be in the conversation as far as “future of Hollywood” goes. Most importantly, The Substance made me learn and memorize one name – Coralie Fargeat. Someone, please give her all the money and let her shoot anything she wants. The movie world desperately needs more unique voices like hers.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

Another year, another remake of a recent foreign movie. I managed to see the Danish/Dutch original, also titled Speak No Evil (2022), one night before watching this movie. That movie is a masterclass in tension while it touches on many societal themes (emasculation, politeness, power dynamics). Long story short, I enjoyed my time with it, and it stayed with me until now. That was one of the reasons I was hopeful that this remake would add something on top of it. That is the ultimate issue with any remake; there should be some justification for it, whether you want to tell the same story with different elements or put your unique twist on it… Well, this remake definitely changed the ending, but unfortunately, not every change is for the better.

The first two-thirds of this movie are almost as excellent as the original film. There are some additional scenes and dialogues, but you can argue that it’s virtually a shot-for-shot remake. So, for the first two-thirds of this movie, I was with it because everything felt familiar as I had watched the original the night before. It’s the last third when this remake decides to go its way and do its thing, and… yeah. Before we delve into that, let’s talk about some positives first.

The cast was awesome. The clear standout is James McAvoy, who you believe every word he says. His presence, intensity, physique, everything about him just worked, and you will remember his character for some time. Mackenzie Davis was also great; her character was much more “involved” than the character in the original, but she always delivers. Who I have never heard of and who surprised me was Aisling Franciosi, who played Ciara. I thought she gave this character that extra something that made her stand out; she had that spark, and her chemistry with McAvoy’s character was off the charts. Unfortunately, her character is one of the victims of the third act, but it had nothing to do with her portrayal; I hope to see more of her.

I will try to avoid direct spoilers and give you certain aspects of the third act that didn’t work for me. Therefore, if you haven’t watched this movie yet, proceed at your own risk, as I don’t want to spoil anything per se, but I will talk about the ending in more depth.

The issue with this remake is that it adopts the same themes as the original but then changes the ending, and the outcome defeats the ultimate point of the story. That’s why you will experience a tonal whiplash when this tense movie with little to no action suddenly turns into all-out guns blazing. I am trying so hard to separate this from the original film because we should judge movies based on what they are. But even with that caveat, it doesn’t work because the themes didn’t change!

Let me give you this example, both movies talk very openly about lost masculinity, and it’s on our main protagonist to try and recapture it before it’s too late. In the remake, they deal with it by… having Mackenzie Davis to be the go-get-shit-done person. And she is awesome and can kick ass, no issue there. However, that wasn’t the point of this story. The movie almost dodged this and makes her husband help in the final mayhem a bit, but it is ultimately her who does the most “work”.

Another problem I had was with Ciara’s character and her sudden doubts. In the original, this couple was one unit. You were terrified of both of them as they did horrible things without a single twitch or doubt. Here, towards the end, all of a sudden, by the way, she hesitates. There are two scenes where she suddenly turns against her husband, and I think the first is a fake out. But then we have the scene on the roof where she hesitates to do something. And that doesn’t track with her character, at least with what we were shown prior.

Finally, this movie explains everything to you. There is no room for any nuance, any audience interpretation regarding what will happen next, why they are doing it… nothing. Where the original leaves you hanging a bit and ends on a brutal note, this movie has a totally different ending. And I will be honest, I struggled with the original’s ending too, at first. But the more I sit with that movie and think about it, the more I love it. How everything is implied but never told because of the blanks we can fill in using our imagination as far as their motive goes is much more unnerving than anything the movie can show us. And this movie doesn’t have that. Everything feels more “Hollywoody”.

Ultimately, that’s where this remake lost me. Unlike the original, I haven’t really thought about this movie that much because that last third just changed everything; it was hard for me to find anything positive about that change. I will give Speak No Evil this – at least they justified their existence, and this remake is different from the original. Change is often needed and good, but there are times when that’s not the case, and this is one of those cases.

Overall, Speak No Evil is a great movie for the first 2/3 of it, and then an okay-ish action fest for the last third. I think your enjoyment of this movie will be linked to whether or not you have seen the original. I was thinking how watching it the night before almost made it feel like I was rewatching this movie already. And that’s how I ultimately knew that I wouldn’t rewatch this any time soon, if ever. However, the original from 2022… that’s a different story.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

Unlike many, I didn’t grow up on the original Twister (1996), and I only watched it for the first time a couple of years ago and thought it was fine. So, I wasn’t particularly “hyped” for this sequel; however, after some initial reactions, I felt if I were to see this movie, I should do it properly – on the big screen. And as the title of this review hints, I seem to be on this island where I know people who love both the original and this sequel. I don’t hate either, but for me, both movies were just “fine”.

My biggest problem with Twisters was that the movie seemed to try so hard to be something different, more grounded, and be a blockbuster with a brain. Cool, I can get behind that. But what happens after that follows the same formula we’ve seen times and times again. We open with a scene that defines our protagonist (most of her friends die). Fast forward a couple of years later, where she leads a safe but unsatisfied life, yearning to chase tornadoes. And what would you know, when she thought she was out, they brought her back in. But it is 2024, so we must have a subplot about corporate greed. And she may or may not develop a substance that kills tornadoes. The end.

Am I simplifying this movie to make a funny (?) point? Yes. But Twisters is really that. The thing is, I went in hoping to see a big blockbuster that I would enjoy. And the movie has two awesome sequences (the rodeo tornado and the end) where you can feel the insane power of nature. But the rest was… neither here nor there. For a big blockbuster, I found myself bored a bit despite everything being just fine.

Take our protagonists. The titular trio are people I like to watch and believe are the future of Hollywood – Daisy Edgar-Jones, Glen Powell and Anthony Ramos. Each of them is perfectly fine in their role, but nobody stands out, and they all have had much better roles in movies where they played much smaller parts. Or take the subplot of corporate greed – yes, Anthony’s character works for the “bad guys” who exploit people right after the tornado hits them, but of course, he flips on the dime, facing no repercussions. What’s more, his turn makes it seem like everything is fine now, even though he helped this company scheme many people out of their homes. That was my biggest hang-up with Twisters; you can tell this film wants so badly to be a “better”, “more intelligent” blockbuster, focusing more on the people and their stories rather than the spectacle. But the story here is paper thin, and we have seen this exact formula done to death.

Even the themes of getting over someone’s death, not blaming yourself, and living with that guilt this movie wanted to explore with Daisy’s character fell flat because the film never digs too deep there. We see everything explored, don’t get me wrong, but it all feels shallow because we have more data to collect so we can stop them tornadoes. What I am trying to say, probably not as well, is everything in this movie felt like it wanted to be much more, but it’s ultimately very shallow.

To make something clear – I don’t understand tornado chasers and never will. However, I don’t understand many things and why people would choose to do those things, and they still make excellent movies about them. So I don’t think it’s a “me issue”, at least not from this angle. I understand that the original Twister was a phenomenal success, and many people worship that film. And I have seen many others support this one, calling it one of the best films of 2024. I am genuinely happy for them and won’t try to tell anyone they are wrong. It seems like this franchise (?) is simply something that’s not meant for me.

Overall, Twisters is one of the most “fine” movies I have ever seen. The story, performances, action, CGI, everything was just… fine. For slightly over two hours, it occupied my time, and I didn’t hate anything about it, but the same night, I couldn’t recall much about this film. Besides those two big set pieces, everything feels like a “by the numbers” blockbuster. I think your enjoyment is directly related to whether you are into chasing tornadoes and watching those YouTube videos or you enjoyed the original film. If the answer is “yes” to either of those two prompts above, you will have a blast with Twisters. If not, you may struggle to latch onto anything here, just like me.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke

I didn’t even know there was a new M. Night Shyamalan coming out this year until about two months ago when I watched the trailer in front of a different movie. But that trailer did everything right; it showed me just enough to interest me. Seeing M. Night’s name on the screen also added to my excitement, given he has redeemed himself from his… questionable period (2008 – 2013, you know what I am talking about). And even if not all of his recent films blew me away, I still appreciate them, as he is one of those few directors who always try for something new. Trap was just that, and that is what makes it my favourite movie of his since Split (2016).

What I loved the most was that simple premise. Dad and daughter go to a concert together; how wholesome is that? Except for the fact that he is a serial killer, and this entire concert is one big, deliberate trap for him, as the FBI knows he will be there. ‘How do they know?’ you might ask, and I won’t tell you because the movie answers that. And it is with this simple premise that M. Night puts us on the rollercoaster of emotions, hide and seek and the game of cat and ninja. Why not “cat and mouse”, you ask? I will get to that shortly.

I never thought I would write this, but I am so glad Josh Hartnett is back to starring in major movies and seems better than ever in this acting thing. It was so smart to make him our protagonist despite the fact he is, in fact, an antagonist. But just like in many films and TV shows of late, it is because we see everything through his eyes that we almost root for him. It’s more like I was intrigued about how he would get around this obstacle and how he escaped from this situation… and Josh plays his character so well. You believe he is a caring dad and husband, but you also see that animal inside him, ready to snap and chop you out. The fact he hovers over most (if not) all the people in this movie because of him being 191 cm (or 6′ 3″ for my US readers) also helped. He is as menacing as he appears and genuinely cares about his family.

I also liked Ariel Donoghue, who played his daughter, as she portrayed the teenager of today very well. That might be because she was only born in 2010, the fact I didn’t know while watching this movie, and now, I feel super old. Anyway, I thought she was great and never became annoying, which is super impressive, given all the yelling/fangirling her character does. I enjoyed Saleka Shyamalan, too, although you could argue this entire movie is just a big promo for her singing career, which is fine with me. You know what they say – nepotism starts at home. But I thought she was not just a good singer, but a decent enough actress, so I wouldn’t mind seeing her in other roles.

As I mentioned above, this movie is one giant thrill ride where you can sum it up by “bad guy sees a problem, he figures out a solution, moves on, just to stumble upon another problem”. My only major problem with it was that, especially in the last third, Cooper (Josh’s character) was in some situations he shouldn’t have escaped from. Or, let me phrase it differently – the only way he escapes is due to the power of editing. I don’t want to go into spoilers, but because of this, I started to refer to him as “bad ninja dad”. Because for you to enjoy Trap, you need to suspend your disbelief. And it’s gradual most things he does in the first two-thirds of this film; I could see how some could work, but once something happens, I don’t care how smart/nifty he is; he should have been caught a few times.

But besides this, I enjoyed Trap. I liked the push-and-pull aspect of this “chase”; I liked this film’s dark sense of humour at times, and I enjoyed the mid-credit scene… There’s a lot to like about this movie, and Josh Hartnett is, by far, the best thing. His performance is excellent, and I want to see him in more meatier roles like this.

Overall, Trap is an enjoyable thrill ride that will entertain you as long as you can suspend your disbelief in the last third. It’s a good old-fashioned “simple” movie with some M. Night elements sprinkled here and there, and he continues to prove that he is a fascinating director who had a period of bad movies in a row, but he’s long past it. I can’t wait to see what he does next because I am here for this kind of Shyamalan.

That’s all for this one! Did you see it? What did you think about it? Let me know!

Until next time,

Luke