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Sci-Fi/Fantasy

Cold Skin (2017)

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In 1914, just after of Franz Ferdinand’s assassination that eventually caused World War I, a steamship approaches a desolate island on the edge of the Antarctic Circle, where a young nameless man is poised to take the post of weather observer, to live in solitude at the ends of the earth for an entire year until the arrival of his replacement. For the next twelve months, his entire world will consist of a deserted cabin, the surrounding sea, and dangerous strange beings that he discovers are sharing the island.

Genre : SF
Country : Spain/France

Cast :
David Oakes : Friend
Ray Stevenson : Gruner
Aura Garrido : Aneris

Director :
Xavier Gens

My opinion on “Cold Skin”

“We are never very far from those we hate.
For this very reason, we shall never be truly close to those we love.”

This film is as vague as the reason why the nameless young man (David Oakes) seeks refuge on a rocky island in the Antarctic Ocean. Initially, he has to relieve another meteorologist. But the question of the captain what he’s running from, remains unanswered. Did he do anything wrong during WWI? Or is an unrequited love driving him to this isolated island? No idea. And in the end, this isn’t important anyway. The problem is that the man he needs to replace, is nowhere to be seen. The only living soul still present on the island is the primitive looking loner Gruner (Ray Stevenson) who’s hiding in a lighthouse.

Cold Skin

It’s rather unclear why those fishpeople attack at night.

Gruner isn’t very talkative. But soon the young man realizes that his safety isn’t guaranteed at night when water creatures start crawling out of the ocean. When the meteorologist sees his accommodation go up in flames after the first evening, he’s forced to stay with Gruner in the lighthouse. There he discovers that Gruner keeps such a female amphibious creation (Aura Garrido) as a kind of pet. She serves as a maid and as a sex object who’s being abused by Gruner. The reason why the creatures attack the lighthouse at night is rather unclear. Are these attacks a need of conquest? Or are these rescue missions?

Cold Skin

For me this wasn’t horror.

I wouldn’t call it a horror. Or should the used symbolism frighten the viewer? A symbolisme that shows how man behaves towards strangers and even towards those it knows. Is it a reflection of the brutality we know in our society? The suppression of other individuals and the abuse that comes with it. Eventually you are wondering who the monster is here. The ones who abuse a helpless being from the sea? Or the creatures who storm the lighthouse every night? Some admiration for the acting of Stevenson. He succeeds in showing that cruelty and madness in an excellent way.

Cold Skin

First “The shape of water” and now this. Something fishy going on?

I wasn’t really impressed by this film. The story isn’t really overwhelming and tends to be repetitive after a while. Despite the action-packed attacks and a few jump scares, this is ultimately just an average film. And the comparison with “The shape of water” is quite striking. The eradication of a fish-like being for self-profit and sexual interaction between this being and someone of the human race can be found in both films. The only difference is that in “Cold Skin” it’s a whole bunch of those ocean dwellers.

My rating 4/10
Links : IMDB

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Action

Infinite | A Michael Bay Imitation Film

Infinite Desperately Wants to Impress With its Style, But Has No Substance.

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Paramount wanted to get ahead in the streaming game with Paramount+ but made the novice mistake of selling most of their titles, due to the COVID-19 pandemic, to other streaming services such as Amazon Prime Video and Netflix instead of…I don’t know…growing their own. With barely any content left and keeping their big tentpole releases such as A Quiet Place: Part II and Top Gun: Maverick in cinemas, Paramount is finally saying “Ahhhhhh! I get it!” after every other major streaming service, especially Disney+ and HBO Max, used the pandemic as a pretext to grow their subscriber base. However, having sold most of its upcoming films to other streaming services, the studio only seems to have duds in the hopes of growing its subscriber base. Enter Antoine Fuqua’s latest film, Infinite, which strangely never feels like something the director of such visceral action pictures like Training Day, Bait, Tears of the Sun, Shooter, Brooklyn’s Finest, and The Equalizer, but Fuqua desperately wanting to emulate Michael Bay’s signature style.

There’s only one problem, however: even if you want to do Bayhem, and you intend to replicate it as accurately as you can, there’s a sole filmmaker that can do it right—and that’s Bay himself. But it doesn’t matter for Fuqua; he starts his overtly aestheticized action amazingly quickly, with an upbeat car chase staged to the rhythms of Campfire’s Legends Never Die, with Heinrich Treadway (Dylan O’Brien) being pursued by Bathurst (Rupert Friend), who looks for a thingamajig aptly named “The Egg” (because it’s shaped like an egg, of course!), which has the power of destroying…the entire world (how original!). Treadway dies without giving away The Egg’s location. Suddenly, a man named Evan McCauley (Mark Wahlberg) wakes up from his Treadway nightmare. We progressively learn that McCauley has schizophrenia who constantly remembers things from past lives he seemed to have never experienced before. He is what the “Believers” call “Infinites,” whose souls constantly get reincarnated inside a different body. He is quickly apprehended by Bathurst (now played by Chiwetel Ejiofor) after using a hand-crafted sword in a drug deal gone bad. His “life” changes drastically once Evan learns that he possesses Treadway’s soul and must reawaken his memory to quickly find The Egg before Bathurst does and destroys the entire world.

Infinite,' starring Mark Wahlberg & Chiwetel Ejiofor, debuts on Paramount+

Let’s be honest: movies that center on thingamajigs (or MacGuffins as academics would call them) are amazingly tiresome and can only go so far before it veers off in predictable territory. Thankfully, Fuqua’s emulation of Bayhem makes many of its central action setpieces move at a somewhat entertaining pace. The car chase at the beginning involving Dylan O’Brien’s Treadway is filled with Bay’s rapid editing and an over-reliance on a moving camera that always, and I mean, always acts like a paintbrush to produce a copious, almost gratuitous amount of flashy style. And by flashy style, I mean excessive use of slow-motion, flares, and explosions or low-angles during 1-on-1 fight sequences. The explosions in this film are particularly reminiscent of Bay’s pictures, though not as big in scale, but produce the same cathartic effect. One scene in which Evan and Nora (Sophie Cookson) try to run away from Bathurst’s robotic henchmen inside a buggy has a precise explosion that, in its staging of using slow-motion at a pinpoint moment, feels as if it’s been directed by Bay. I mean, heck, if the end credits said “Directed by Michael Bay” instead of Antoine Fuqua, I’d believe it.

INFINITE (2021) Movie Trailer: Mark Wahlberg's Past Lives are Unlocked by a  Secret Society in Antoine Fuqua's Scifi Film | FilmBook

By doing this, Fuqua prevents the film from being a total dud than it is, since the script is filled with so many ineptitudes on:

  1. The world of the Infinites. The difference between the “believers” and “nihilists” is barely explained in two throwaway lines that almost feel unimportant. I can only explain the nihilists, who want all life to cease existing so they can stop reincarnating themselves, which adds a weird ineptitude on:
  2. Bathurst’s motivations. He wants to stop reincarnating himself and has developed a bullet that prevents believers from doing so. Ok, so if you’ve developed a bullet that grants your sole motivation…why not shoot yourself with it instead of bringing the entire world down with you? I’m sorry, but we never know the why behind Bathurst’s plan to destroy the world, aside from the overly used “humans are stupid, so I guess I need to bring them down with me” line, after torturing Toby Jones’ character by shoving…*checks notes*…honey down his mouth…interesting.

These two main problems falter its extremely stylized action for a sci-fi picture that’s as smart as Mark Wahlberg’s previous tenure in that genre…with Michael Bay in Transformers: Age of Extinction and The Last Knight. Hell, here’s another thing: if you would’ve told me that this is set in the world of Transformers that Wahlberg reprised his role as Cade Yeager through a new alter-ego, who now has the memories of somebody else (through unbeknownst reasons), then guess what? I would’ve believed it too. Wahlberg’s performance is no different than his exploration of the Transformers universe: half-charm, half-cluelessness, which equates to accepting every preposterous explanation on “Infinites” as “fact” and tagging along with people he’s never seen before and pretend everything’ll be fine, even if he is now tasked to save the entire world, in the same sense he had to do it (twice!) with the Autobots.

Infinite review: Mark Wahlberg relives past action movies in this soulless  flick - CNET

His character progression starts by being the only character that asks questions to the Infinites, who will then explain the film’s facile and underdeveloped plot in hackneyed detail, until he becomes the hero we deserve, but didn’t know we needed, as he uses a sword à la Morpheus from The Matrix Reloaded to bring down an entire plane and fight with Bathurst in the air, without any parachute, in the craziest, most bewildering action scene I’ve seen that defies all sense of logic and paints their characters as God-like mythic figures since The Fast and the Furious franchise said “no more logic” when Dom Toretto destroyed a parking lot with his feet.

Speaking of Bathurst, Chiwetel Ejiofor, a usual powerhouse, is completely miscast here and delivers his worst performance to date with an indescribable accent that makes everything about his antagonistic presence feel terribly cartoonish and over-the-top. He’ll refine his antagonist chops, most likely in Doctor Strange in the Multiverse of Madness. I truly hope he’ll return to a more natural state of acting as he did as Mordo in Scott Derrickson’s 2016 film (or even when he compellingly portrayed Scar in the 2019 remake of The Lion King), instead of doing whatever the hell he’s doing here. I can barely explain, or comprehend, if you will, what Ejiofor even attempted to do in Infinite to render his antagonist menacing…but it clearly didn’t work and made every scene he’s in feel unintentionally hilarious. Look at the scene in which he tortures Toby Jones with honey and how he tries to make his awfully written lines serious and menacing and yet does the exact opposite. It’s quite a feat to see, but it needs to be forgotten sooner rather than later.

Infinite (2021) - IMDb

This is probably why Paramount dropped Infinite on a streaming service no one is subscribed to, so it can be easily forgotten and buried inside an ever-growing algorithm that “curates” films on content rather than quality. While Infinite contains a hefty number of fun action sequences that imitate Michael Bay’s unmatched style, it, unfortunately, does not overshadow its terribly facile and underdeveloped plot and caricatural lead performances from Mark Wahlberg and Chiwetel Ejiofor. If you’re a fan of Antoine Fuqua, you won’t watch this and go through his previous films instead, which would be for the better. Let’s hope his remake of The Guilty, set to release later this year on Netflix, will be better than Infinite (spoiler: it likely will).

Infinite is now available to stream on Paramount+.

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Adventure

Netflix | Stranger Things: Season 4 – Teases Eleven’s Back Story

The upcoming fourth season of the American science fiction horror television series Stranger Things, titled Stranger Things 4, was announced by Netflix in September 2019. The fourth season has continued to be produced by the show’s creators the Duffer Brothers, along with Shawn Levy, Dan Cohen, and Iain Paterson.

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The upcoming fourth season of the American science fiction horror television series Stranger Things, titled Stranger Things 4, was announced by Netflix in September 2019. The fourth season has continued to be produced by the show’s creators the Duffer Brothers, along with Shawn Levy, Dan Cohen, and Iain Paterson.

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Marvel

The Falcon And The Winter Soldier Episode 4 | SPOILER Review/Discussion

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