User:UltraEgoMajinVegeta/John Wick (film)

https://www.complex.com/pop-culture/a/complex/best-action-movies https://www.denofgeek.com/movies/best-action-movies-of-the-last-15-years/ https://www.vice.com/en/article/yw8mv5/john-wick-3-trailer-parabellum-keanu-reeves-release-date-vgtrn

Keanu Reeves, John Wick, and the myths and tensions between star brands and franchise propertiesSarah ThomasDepartment of Communication and Media, University of Liverpool, Liverpool, UK CELEBRITY STUDIES 2022, VOL. 13, NO. 2, 244–258 https://doi.org/10.1080/19392397.2022.206340 https://www-tandfonline-com.wikipedialibrary.idm.oclc.org/doi/epdf/10.1080/19392397.2022.2063405?needAccess=true&role=button page 245 Whilst the identities of ‘John Wick’ and ‘Keanu Reeves’ are inherently connected as one, illustrating that ‘in the contemporary moment, the manage-ment of star image and intellectual property are necessarily intertwined’ (Johnson 2008, p. 229) this article will explore how, as the franchise has evolved, they are also in tension with each othe

page 246 he franchise’s first film, John Wick, consolidated the sense of ‘Keanu Reeves’ as an important standalone star brand more thoroughly than many of his previous screen incarnations, including The Matrix. Whilst that 1999 film certainly informed Reeves’ star-dom, becoming a career-defining role, its significance lies as transmedia innovator rather than singular star text. Although The Matrix contains isolated self-reflexive moments that amplify the exceptional status of its star’s performance (see McDonald 2012, pp. 66–67), it was not conceived as a Reeves star vehicle, with many A-list stars being offered and turning down the part of Neo before his eventual casting (Dawn 2020). It is only really from the 2010s (and working in collaboration with the ongoing digital celebrification of Reeves’ off-screen identity) that Reeves achieves a meaningfully coherent star brand – culturally and economically. John Wick’s merging of the economic and cultural around Reeves embodies ‘the symbolic commerce of stardom’ whereby the ‘star is a person-as- brand, a symbolic vehicle used to create a set of impressions deployed in selling a particular film experience’ (McDonald 2013, p. 41). By necessity, films conceived at the production stage as star vehicles are more likely to embed the meanings of one indivi-dually fixed star-brand within the formal and narrative fabric of the text, rather than (as with The Matrix) overlay important but isolated referents onto a film’s surface – easily removable or addable, depending on which star is ultimately cast

page 247 Prior to John Wick, Reeves’ image had provoked fascination, but was difficult to harness as a coherent and valuable star brand. Mutable and evolving, his star image was most often interpreted through a perceived sense of ‘lack’ that enabled his roles to explore shifts in contemporary struggles with identity and morality. This defined Reeves with a mythic and malleable persona that invited others (auteur-directors, audiences and so on) to use it as for their own ends, with his performative and cultural blankness taking on a tabula rasa-eque quality (see Rutsky 2002, Netzley 2006, Giarratana 2002; also Govil this issue). Jeanine Basinger argued that Reeves used this cultural position to challenge CELEBRITY STUDIES247

page 248 typecasting, suggesting that he had worked ‘steadily against persona to the point where no one has a clear idea of who Reeves is onscreen anymore’ (2007, pp. 542–3). What John Wick therefore (finally) achieved was the realisation of that economically unstable (but highly resonant) cultural image into a tangible branded identity, coming to represent ‘the perfect part’ for Reeves (Spiegel 2019

John Wick is a film of ellipses, and whilst critics identified this stripping back as a breath of fresh air, the authenticity of Reeves’ stardom – and its mythic qualities – is partly the transformative tool used to fill the film’s gaps. The sparse script holds Wick at a distance where ‘Stahelski’s technique remains outside of Wick’s mental state’ and ‘we enter the oneiric [state] with him, not through him’ [my emphasis] (Arnett 2020, p. 119).

Themes

Whitehall, G. (2003). The Problem of the “World and Beyond”. In: Weldes, J. (eds) To Seek Out New Worlds. Palgrave Macmillan, New York. https://doi-org.wikipedialibrary.idm.oclc.org/10.1057/9781403982087_8

174 For example, in the film Star�ship Troopers (1996), a slaughter of an alien species might re-inflect the dominant images of American foreign policy (i.e., the protectors of peace, justice, and democracy), making these images unfamiliar, contingent, and parochial. The beyond, in this minor use of language, is mobilized to cre�ate a critical distance from the dominant stories it seeks to problematize

182

Starship Troopers uses stark contrasts to reveal the

production of threats. Presenting humanity with a civilized, intelligent, attractive, caring, and fearful identity, the film uses bugs, horrible dis�gusting bugs, to solidify sovereignty’s ontological difference between friend and enemy (Schmitt, 1996)

183 The film also destabilizes the assumed understanding of what it means to be human under modernity. Simply put, the assumed distance between human and bug is collapsed. The Arachnid threat, once thought to be fearless and senseless, is revealed (in the castration, capture, femi�nization, and probing of the “Brain Bug”) to be afraid and intelligent, just like our heroic human citizens. Finding out that the “Brain Bug” is afraid does not mean that humanity is winning the war. On the contrary, it symbolizes a progressive realization that “they” are just like “us.” The problem is, although the human viewer has been cheering for humanity’s conquest over the bugs through violence and science, the modern dis�course of security secures for itself the inevitable destruction of both pro�tagonists. At one level, for the film to be successful the audience must accept that, if humanity is to be saved, some bugs must die. However, at another level, the movie makes clear that the reverse is also true. Human life is just as expendable as Arachnid life. Within a discourse of security the only possible response to a threat is the further securing of security. A security discourse is constructed as a mutually constituting system of fear for which the ultimate logical end is the total annihilation of being itself

Grist, L. (2018). A (Fascist) New World Order/A (Fascistically Contested) New World Order. In: Fascism and Millennial American Cinema. Palgrave Macmillan, London. https://doi-org.wikipedialibrary.idm.oclc.org/10.1057/978-1-137-59566-9_4

pagge 115 As much is inti�mated by the film’s opening scene, which comprises a recruitment advertisement that is represented as shown on the Federal Network, or FedNet, ‘a fusion of television and the internet’ (Hunter, 1999: 183–4), examples of whose programming intersperse the narrative. Preceded by a logo that incorporates the ruling Federation’s stylized, Nazi-reminiscent eagle symbol, the advertisement opens with a high-angle shot of geomet�rically massed ranks of soldiery that has been noted and Verhoeven has acknowledged as alluding to Triumph des Willens (Sammon, 1997: 138–9; Collis and Patterson, 1998: 32; Bond, 2004: 32), then proceeds to show young soldiers, female and male (Mylin Brooks, Armand Darrius and Ka

116 Lennox), each stating to the camera that they are doing ‘my part’, before the advertisement concludes with an even younger, blonde, exemplarily Aryan boy (Travis Lowen) ‘comedically’ stating the same. Triumph des Willens continues to be alluded to through the representation of similarly geometrical groupings throughout Starship Troopers. Moreover, the late scene that represents the funeral in space of Dizzy – who has been killed in action – not only continues the allusion, but sees members of the mobile infantry wearing a shirt-and-tie ensemble that recalls that of the SA, and Carl – who has risen quickly through the ranks of military intelligence – enter the scene wearing a black overcoat and high-crowned hat that reflect those that were worn by the SS

an early classroom scene in which teacher Jean Rasczak (Michael Ironside) refers, with far-Right disdain, to ‘the failure of democracy, how the social scientists brought our world to the brink of chaos’, and of how the veter�ans ‘took control and imposed the stability that has lasted for generations’. Augmenting the implication of fascism’s mutual exalting and exploitation of youth that is latent in the opening advertisement, the scene’s sugges�tion is in part that of education as ideological indoctrination. The similarly fascist redolence of the veteran’s imposition of stability is, moreover, com�plemented by the obtention of citizenship – which confers, among other things, the right to vote, the possibility of political involvement and paid�for university education – being predicated upon the individual’s self

Citizenship is, in turn, dependent upon undertaking federal service, the self-abnegation that is tacit in which is underscored by the shot that shows Carl, Carmen and Johnny amid a geometrical Triumph des Willens-derivative grouping as they stand with other young people beneath the Federation flag, their right hands raised as they speak an oath that commits them to ‘federal service for not less than two years, and as much longer as may be required by the needs of the Federation’

That citizenship as well makes it ‘easier to get a licence’ for procreation in addition raises the spectre of eugenics.

Shippey, T. (2000). Starship Troopers, Galactic Heroes, Mercenary Princes: the Military and its Discontents in Science Fiction. In: Sandison, A., Dingley, R. (eds) Histories of the Future. Palgrave Macmillan, London. https://doi-org.wikipedialibrary.idm.oclc.org/10.1007/978-1-4039-1929-8_12 page 2 It was dismissed as fascist, racist, immoral, chauvinistic, militaristic. Among a11 this flying mud I read one piece by Brian W. Aldiss that was not a review but an honest-to-God piece of intelligent critical writing

Strzelczyk, Florentine. "Our Future—Our Past: Fascism, Postmodernism, and Starship Troopers (1997)." Modernism/modernity 15, no. 1 (2008): 87-99. https://doi.org/10.1353/mod.2008.0012. 94 One of the most ambiguous scenes involves a journalist who interviews troops on the battle station Ticonderoga. He suggests that the aliens were provoked by humans and that a live-and-let-live policy might be the best solution. The journalist is inter�rupted by the aggressive young hero, Johnny Rico, who supports the war effort as a means of revenge for the death of his parents. In a subsequent scene later in the film, when the same journalist reports live on the ground during the invasion, he becomes a spectacle of blood and death himself as he is impaled by an attacking bug. While these two scenes provide, as Verhoeven argues, critical commentary on the actions of the protagonists who go to war without questioning their orders or the ideology around them, this critique is visually erased: the pasty and unfit-looking journalist visually loses out against the confident, beautiful young heroes, and his violent death invalidates his reconciliatory policy and critical opinion. O

97 . In Starship Troopers, the sexual energy of male and female infantry is contained in constricting armoured suits and redirected into an orgasmic spectacle of fluids, guts, and gore, as the fighting troopers scream equally with joy and disgust as they blast the abject bodily fluids of the bugs out of their crustaceous shells, flooding their own armours with green slime.

Crim, Brian E. ""A World That Works": Fascism and Media Globalization in Starship Troopers." Film & History: An Interdisciplinary Journal of Film and Television Studies 39, no. 2 (2009): 17-25. https://doi.org/10.1353/flm.0.0105. page 23 In Starship Troopers, the Federal Network is the ultimate source of social control and the agent of cinematic derealization, responsible not only for defining the enemy but for convincing Earth’s population that the war is going according to plan. The most impressive aspect of the Federal Network, a hybrid of television and the internet, is that it convinces individuals that they are autonomous subjects and that the network is simply a reservoir of information. After relating headlines, the network announcer asks viewers, “Do you want to know more?” and gives them the option of clicking on a story for additional coverage. However, as Philip Leonard notes, this false sense of interactivity disguises the reality that every element of the broadcast is narrowly constructed.35 Verhoeven faintly satirizes the power of the medium, as he did in Total Recall, by interjecting spectacular gore and the frequent dismemberment of Mobile Infantry soldiers, even during live broadcasts. But he lets the Network speak. The Federation must fill the ranks of the military and must frame the nature of the conflict with the Arachnids—even if the Mobile Infantry is ill-prepared for the “reality” of conflict with giant insects. What counts is perception. Verhoeven alternates between the slick productions offered by the Federal Network and the bloody chaos of authentic battle, but, of course, those battles are film battles, staged for the film. The viewer’s sense of the world is already derealized. Starship Troopers fascism lies not just in the Federation’s government structure or leadership, which can be satirized and reveled in simultaneously, but, as Telotte argues, in the “fascist spirit of control incubated in a derealized environment.”36—that is, in the fact that viewers may laugh at the Network’s manipulations but then believe sincerely in its cause, because the stakes— human existence—are so high, and the film never moves beyond the militaristic narrative promulgated by the Network.

Williams, Paul. "Starship Troopers, the War on Terror and the spectacle of censorship." Science Fiction Film and Television 2, no. 1 (2009): 25-44. muse.jhu.edu/article/269116. page 39 It is obvious that the Federation uses regular, ritualised exhibitions of corpo�ral and capital punishment as demonstrations of the state’s sovereignty over the Citizens and Civilians of Earth. This is as evident to audiences watching Star�ship Troopers as it is for the diegetic audiences watching the FedNet broadcasts: when a murderer is found guilty his sentence is ‘Death. Execution tonight at six, all net, all channels’. Johnny falls victim to this regime of violent spectacle when, during a training exercise, a fellow trainee is accidentally shot in the head after Johnny has removed his helmet to try to fix it. Overstepping the bounds of his command, Johnny is subjected to the ‘administrative punishment’ of ten lashes in front of the training camp. Starship Troopers contributes to the spectacle of the punishment by presenting it in a slow and dramatic manner, and Johnny contorts with every blow.

Hansen, L. (2001). Feminism in the Fascist Utopia: gender and world order in Starship Troopers. International Feminist Journal of Politics, 3(2), 275–283. https://doi-org.wikipedialibrary.idm.oclc.org/10.1080/14616740110053065 276 This essay wants nevertheless to challenge Verhoeven’s claim that Starship Troopers offers a feminist fascism, not only because his egalitarian society is one in which classical fascist masculinity is privileged as the standard to which females should ascribe, but also because the construction of men and women as equals is, in the end, undermined. M

278 But if Johnny is the centre, not only of the Žlm’s narrative, but of fascist masculinity, what roles do the other characters play in unfolding fascism? If we turn to Dizzy, Johnny’s female pairing at the level of the Mobile Infantry, is she constructed as ‘equal to Johnny’, as Verhoeven argues, or does her character perpetuate the classical fascist discourse on women as subordinate and mothers? Indeed, there is much which supports a reading of Dizzy as not only equal, but superior to ‘the guys’. She is a successful quarter back. She starts Žghting with Zim upon showing up at boot camp, she gets a tattoo with the guys, she conceives the plan that makes Rico squad leader, and she exposes a masculine sense of sexuality in her pursuit of Rico (although this seems to recede into the background as her identity as a soldier gains ground). And while

279 stressing her physical strength, she is simultaneously portrayed both as a woman and as attractive. Throughout the majority of the film, she appears to be as committed to the militaristic and patriotic virtues of the Federation as any of the guys. Yet, how are we to understand her last rattling words to Rico, that ‘It’s ok that I’m dying ‘cause I got to have you’, in a scene which is the closest the Žlm gets to adopting a compassionate – or, perhaps, sentimental – stance. One reading might be that Dizzy’s death indicates a sacriŽce, which locates her squarely within the realm of heroic fascist masculinity, and that this sacriŽce is honoured by the movie’s rendition of her death. Thus, Johnny’s speech at her funeral becomes a conŽrmation of her service to the larger collective. Yet this reading is not entirely convincing. It seems rather that Dizzy’s romantic rationale undermines her previous patriotic performance; underneath her (apparent) incorporation in the heroic and masculine lies a traditional female sense of individual love, which stands in contrast to the collective responsibility heralded by the Žlm’s fascist stance. Johnny’s funeral speech becomes, in this reading, both an apology for Dizzy’s slip out of the proper fascist discourse, a denial of the intimate character of their relationship and a vindication of his fascist masculinity. The other main female character, Johnny’s ex-girlfriend Carmen, inscribes both gender and the relation between the body and the cerebral: the Mobile Infantry emphasizes the body and physical strength, violence and discipline and collectivity; the Fleet represents skill, discussion and individuality. The training officers and commanders of the Mobile Infantry are all male; in the Fleet, Carmen Ibanez’s captain is a woman. Structurally, Carmen is paired with Zander, who, mysteriously (since he and Carmen joined the fleet at the same time) becomes her instructor. But Zander’s formal superiority is qualiŽed by Carmen’s excellent flying and mapping skills. As the masculine element of the Fleet, Zander does not, in fact, seem to do much, except sacriŽce himself when he and Carmen have been captured by the Brain Bug. Zander has had the foresight to bring a knife which he passes to Carmen before the (female) Brain Bug sucks out his brain. This destiny, while admirable in its self-sacriŽce, is also somewhat humiliating; perhaps this is a symbolic representation of what happens to men if they enter the feminine Fleet instead of the realm of the heroic masculine Mobile Infantry? If Carmen fares better than Zander, is she (rather than Dizzy) the one who reconstructs the fascist representation of gender into one built on equality? On the one hand, there are elements in the film that seem to construct her as superior to Johnny – she is more ambitious and gets better grades, thus earning a place in the higher-ranking Fleet; she rescues Johnny from Planet P; and she manages to wound the Brain Bug. Carmen is the modern career woman, who contradicts classical fascism’s donna-madre, and Starship Troopers does indeed go a long way in disturbing the idea that women should remain within the private realm as mothers and supporters of men, not least in the final propaganda clip that celebrates ‘Captain Ibanez’. Carmen’s choice to sacriŽce

280 her potential personal romantic happiness for a higher, collective cause would also be consistent with the Žlm’s larger ideological framework. Yet, this is not the full story. Carmen is not subjected to the same ‘drama of conversion’ as Johnny. She joined the military for selŽsh reasons (those of personal career ambitions), and she does not to the same degree as Johnny articulate patriotic defence of the Federation. And when she breaks up with Johnny, it is not only because of her professional ambitions but because she is moving into a relationship with Zander, thus choosing the men of the Fleet over the more masculine ones of the Mobile Infantry.

Mark Rosenthal, "The Violent Excess of the Image and the Negation of Law in Starship Troopers," Griffith Law Review 10, no. 2 (2001): 172-186 https://heinonline.org/HOL/P?h=hein.journals/griffith10&i=374

page 182 Verhoeven strategically wants you to experience the fascist urge. Once you have, the differential between intensity and its qualification is exposed. Neither one can be complete without the other. There

183 is no way to bypass fascism by bypassing affect. As Benjamin's epigram above makes clear, the only way out is through. Starship Troopers does not shy away from the dangers inherent in this process, but simultaneously makes the possibility of a progressive politics dependent up on it. The creation of a space from which law and reason could operate without any risk of sullying itself, the transcendental comfort zone of political modernism, was illusory, and would leave its criticism incomplete because it only deals in qualifications. Starship Troopers is undoubtedly a fascist film, but it is also a critique of fascism.

Issues

goes the same for reliable sources that becoime unreliable if the information is in a list format.

And whether it is intentional or not, such a substantial oppose after meeting 99% of the requests, puts other editors off commenting, it's a death knell for a nomination in my experience and, as demonstrated with John Wick, any number of supports from long time editors doesn't matter in the face of a substantial oppose, especially one so long that no coordinator can possibly follow it all without a substantial investment of their personal time. Therefore, this needs to be addressed as a point of whether it is fair or not to oppose over this issue since it creates an insurmountable boundary between nominator and reviewer such that the oppose will never be overturned.

Before

John Wick has been named by several publications and critics as one of the best action films ever made.

After

Some publications, such as Empire and Time Out, and critics including Stephanie Zacharek have listed John Wick among the best action films.

In this scenario I downplayed the achievement considerably and eventually qualified it by naming the publications and added even more references and this was still deemed an extreme claim that could not be evidenced, resulting in an opposition that could not be overturned. It will be stated there were other reasons for opposition but nothing so completely insurmountable as having to ignore a wide variety of references giving an educated opinion.

Before

In the years since its release, Seven has grown in esteem, receiving general critical praise, and being described by the British Film Institute (BFI) as a groundbreaking thriller. In a 2015 interview, Walker said that he remained proud of Seven despite criticisms from some audiences. In 2016, the BFI's retrospective on Seven identified it as a landmark serial killer film. In the 2020s, MovieWeb and Stuff called Seven one of the most memorable and "quintessential" crime thrillers of the 1990s, representing a high point of the genre and filmmaking for the decade. Assessments by NME and Collider wrote that Seven had an enduring appeal distinct from its contemporaries. This distinction is attributed to its bleak and seldom matched ending, as well as its stylized reality devoid of popular culture references or technological emphasis, ensuring it does not reflect any particular time or place. Richard Dyer featured Seven in the British Film Institute's Film Classics series in 1999. Seven was also highlighted by critic Roger Ebert in his series, The Great Movies, in 2011, and it is included in the film reference book 1001 Movies You Must See Before You Die.

A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven the eighty-fifth-best film of all time. In audience-voted polls, Seven has been listed at number 15, 30, and 37 on lists of the greatest films conducted by the publications Total Film and Empire. Empire's 2008 poll of readers, Hollywood actors, and key film critics ranked Seven at number 134 on its list of the 500 Greatest Movies of All Time, while Time Out's 2023 staff poll ranked it number 87. 

Review aggregator Rotten Tomatoes offers a RT data approval rating from the aggregated reviews of RT data critics, with an average score of RT data. The website's critical consensus says: "A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale". The film has a score of 65 out of 100 on Metacritic based on 22 critics' reviews, indicating "generally favorable reviews".

After

In the years since its release, Seven's initial critical acclaim has endured. Richard Dyer featured Seven in the British Film Institute's (BFI) Film Classics series in 1999.

In the 2010s both the BFI and Indiewire identified it as a landmark in the serial killer film genre. In 2011, as part of his The Great Movies series, Ebert upgraded his original score for the film from three-and-a-half stars stars to a full four stars, lauding it as one of the darkest and most ruthless Hollywood productions, anchored by the stellar performances of Freeman and Spacey. Ebert concluded that while Seven may not delve into profundity or depth, its rich mythology and symbolism elevate its impact. Discussing Seven in 2013, critics David Edelstein and Bilge Ebiri acknowledged the film's shortcomings in dialogue and plot predictability, yet praised its compelling portrayal of the city's grim atmosphere and Doe's macabre murders. Edelstein particularly highlighted the shootout scene between the detectives and Doe as one of the most chilling he had witnessed, attributing its impact to the vivid visual imagery and innovative camera angles. A 2014 poll of 2,120 entertainment industry professionals by The Hollywood Reporter ranked Seven the eighty-fifth-best film of all time. In 2015, writer Scott Beggs said Seven remained and would continue to be a powerful viewing experience that is further elevated by its unforgettable conclusion. According to Beggs, Seven's enduring appeal was because it is not solely reliant on its twist or revealing the killer's identity, but the detailed world in which it takes place. That same year, Walker expressed his enduring pride in Seven, despite facing criticism from certain audiences.

Reviewing Seven on its 25th anniversary in 2020, The Film Magazine wrote that it remained relevant and significant as a viewing experience, in part because of the core cast, horror elements, and its tasking of audiences to introspect on their sins. Another anniversary retrospective by The Independent said that Seven remains celebrated for its twist ending, which is among the most well-known twists in cinema, and remained both influential on filmmaking and popular with audiences due to its storytelling, cast, and innovative use of psychological manipulation. Writer Drew Dietsch described Seven as a landmark for film horror, citing its noir, decaying cityscape and philosophical contemplation on evil and justice. Dietsch wrote that Seven was as important to the genre and cinema of the 1990s as The Silence of the Lambs. He tempered his opinion, however, by noting that the sexual misconduct allegations made against Spacey in the intervening years had tainted the viewing experience and made some people hesitant to revisit Seven.

In the early 2020s, MovieWeb and Stuff called Seven one of the most memorable and "quintessential" crime thrillers of the 1990s, representing a high point of the genre and filmmaking for the decade. Assessments by NME and Collider wrote that Seven had an enduring appeal distinct from its contemporaries. This distinction is attributed to its bleak and seldom matched ending, as well as its stylized reality devoid of popular culture references or technological emphasis, ensuring it does not reflect any particular time or place. Retrospectives in years since have continued to discuss Seven as iconic and one of the bleakest and best detective films in modern history, acclaimed for its harrowing visuals, deft blend of thriller and horror genres, and its ending.

Filmmakers and critics have spoken of their appreciation for Seven including: Mark Burg, Babak Anvari, Rüdiger Suchsland, Richard Kelly,, Jorge Ignacio Castillo, Jacob Stolworthy, Lars Ole Kristiansen, and film curation organization, the T A P E Collective.

Review aggregator Rotten Tomatoes offers a RT data approval rating from the aggregated reviews of RT data critics, with an average score of RT data. The website's critical consensus says: "A brutal, relentlessly grimy shocker with taut performances, slick gore effects, and a haunting finale". The film has a score of 65 out of 100 on Metacritic based on 22 critics' reviews, indicating "generally favorable reviews". In audience-voted polls, Seven has been listed at number 15, 30, and 37 on lists of the greatest films conducted by the publications Total Film and Empire. Empire's 2008 poll of readers, Hollywood actors, and key film critics ranked Seven at number 134 on its list of the 500 Greatest Movies of All Time, while Time Out's 2023 staff poll ranked it number 87. Seven is also included in the film reference book 1001 Movies You Must See Before You Die based on contributions from more than 70 critics.

I argue that these claims were extensively sourced and cannot be described as contentious, and it needs establishing what the guidelines are here if one person can refuse to support or even just defer because they don't like the sources used despite them being reliable sources. This has now killed 3 nominations, John Wick twice, the second because everyone was waiting for Tompa to comment following their previous opposition, and Seven, and it's honestly killed any further interest I have in this area. I haven't touched a new article in 3 months when I was working on them consistently so a standard needs establishing one way or another and this needs to be the time and place.

Plot

act 1

The warrior Senua allows herself to be captured by Northmen slavers and taken from her homeland, Orkney, to Iceland, hoping to trace the source of the slavers and end them, freeing her people. A storm destroys many of the boats and throws Senua overboard; the tide takes her to the shore. As she navigates along the coast, Senua is haunted by voices only she can hear that alternately encourage her or stoke her fears, particularly the Shadow, the memory of her abusive father, and sees things that are not truly present. Senua defeats several surviving Northmen before severely wounding the slave master, Thorgestr. She takes him prisoner so he can lead her to his father, the goði of Borgarviki.

Along the way, they come across a raided settlement, which Thorgestr fearfully blames on the Draugar, a legion of feral, cannibalistic, and barbaric warriors. Senua investigates the village, reliving memories of Northmen attacks on her home, and follows a path to a Draugar encampment where she finds them butchering their captives. She sees one man, Fargrimi, tied up as a sacrifice and frees him. The Draugar are alerted and attack her as their captives begin fighting back. A Draugar summons Illtauga, a giant, who causes a rockslide that buries the camp, although Senua and Fargrimi escape and return to Thorgestr. Senua decides to free Thorgestr, sensing good in him, and the three travel to Fargrimi's settlement. He reveals he was captured by the Draugar while seeking help for his people as they are being stalked by Illtauga and are close to ruin. Illtauga causes earthquakes and confronts Senua, but the trio escape into a cave. Fargrimr explains that many years earlier, when the Askja volcano erupted, the walls between Midgard and Jotunheim were broken, allowing the giants into their world, and Thorgestr's people capture slaves to appease the giants as sacrifices. Fargrimr believes Senua is a seer because she can hear voices and instructs her to seek out the Hidden Folk, god-like beings who hide beneath the ground, who subject her to several tests to prove her worth. They tell Senua that when Askja blackened the sky and blighted the land, famine and conflict overtook the people. One woman, Ingunn, desperate to protect her infant sought out the Hidden Folk for help but it died and she sought power to survive from Askja, which turned her into a giant, Illtauga. Senua recovers the bones of Ingunn's infant and confronts Illtauga with her true name, freeing the giant who turns to stone cradling the infant. Seeing her victory, Thorgestr resolves to fight the giants and prevent any more sacrifices.

Senua, Fargrimr, and Thorgestr travel to Baroarvik for resources. Their leader, Astrior, agrees to help if they prove they can kill giants by killing Sjavarrisi, the giant who devastates their shores. The Hidden Folk tell Senua that, as a human, Sjavarrisi, was a good man, but the Askja calamity, the Draugar, and the slavers eventually overcame him with fear, leading him to betray Astarion's father and lead him into a fatal trap. When the settlers learns the truth they cast him out and he was swallowed by the sea, which turned his blood to brine and returned him to the shore as a giant. Senua uses this knowledge to learn his true name from Astrior: Saegeirr. Draugar attack the settlement and although they are defeated, Senua blames herself for their arrival and assumes responsibility for the settlers' deaths until Astrior reassures her. Senua, her allies, and Astrior's people lure Sjavarrisi from his cave where Senua confronts and absolves him, causing him to turn to stone.

Together, Senua, Fargrimr, Thorgestr, and Astrion head to the slavers' settlement, Borgarviki. Although they are relucant to travel to Jarnvior forest, in which they believe a malevolent force resides, Senua urges them forward. In Jarnvior, the group are separated and begin to succumb to fear and doubt, but Senua supports Fargrimr and Astrion and leads them out of the forest. They find a haunted Thorgestr waiting for them, who was shown a dark, unspeakable future. The group continues to Borgarviki, where Senua and Thorgestr go inside while Astrior and Fargrimr free the restrained slaves left outside as sacrifices. The goði refuses to listen to Thorgestr, and Senua deduces that his father does not want to kill the giants as their threat allows him to maintain control over his people. As the giant Tyrant approaches, and learning the slaves were freed, the goði captures Senua and attempts to sacrifice her, but Thorgestr confronts him.

The Hidden Folk reveal the Tyrant's story: following the eruption, one man remained calm and true, drawing followers to him and genuinely wishing to keep him safe. However, he saw their fear of the calamity made people trust and obey him, giving him power. Once the land healed, and his people became less dependant on him, the Tyrant, wanting to retain his power, created the giants, blaming them for earthquakes, violent seas, and blizzards, giving his people something new to fear. Returned to reality, Senua sees the goði kill Thorgestr and offer him as sacrifice. Senua swears to kill him, but Thorgestr reminds her of her words to him, that she has a choice, and killing him will simply let him be replaced. With his last breaths, Thorgestr reveals his father's name: Aleifr. Senua defeats Aleifr in front of his people, revealing his weakness and lies, turning his people against him. Senua prepares to kill Aleifr, tempted by the Shadow's offer of Aleifr's and her people turning to her for protection and in turn her being honoured, loved, and feared, but she rejects becoming like her father. She accepts the support of those she has saved and that she is not beholden to destiny.

Reception

Critical response

Mission: Impossible – Fallout received critical praise, and was among the most critically acclaimed films of 2018, with 53 critics placing it among the year's top 10 films. On the website Rotten Tomatoes, the film has a 97% approval rating from the aggregated reviews of 444 critics, with an average rating of 8.4/10, making it the highest rated Mission: Impossible film. The website's consensus reads "Fast, sleek, and fun, Mission: Impossible – Fallout lives up to the 'impossible' part of its name by setting yet another high mark for insane set pieces in a franchise full of them." On Metacritic, the film has a weighted average score of 87 out of 100, based on 60 critics, indicating "universal acclaim". It also fared well with audiences. Those polled by PostTrak gave Fallout an 84% overall positive score with 65% recommending it, while CinemaScore reported filmgoers gave it an average grade of "A" on an A+ to F scale, the highest response in the franchise.

Richard Roeper and Stephanie Zacharek, among others, praised Fallout as one of, if not the best films in the franchise. RogerEbert.com's Brian Tallerico and IndieWire's David Ehrlich described it as one of the best action films ever made, comparing it favorably to Die Hard (1988) and Mad Max: Fury Road (2015). The action sequences were praised by critics such as Leonard Maltin and Peter Travers, particularly for the realism provided by Cruise performing his own stunts. Writing for PopMatters, J.R. Kinnard said the closing action sequence in Kashmir set the new standard for extravagant action sequences, although Michael Phillips considered the violence in the sequence to be excessive.

Writing for Salon.com, Matthew Rozsa found the narrative predictable but enjoyable. Empire's Helen O'Hara and Screen Daily's Tim Grierson praised the introspection of the "captivating" moral dilemma concerning Hunt's dedication to preserving life and the greater good despite the personal costs to himself. Writing for Time Out, Dan Jolin wrote that McQuarrie returning as director gave Fallout an evolved narrative continuity lacking in previous installments, although Slate's Sam Adams criticized the seemingly improvisational nature of some scenes that left some narrative threads abandoned. In particular, Adams lamented "provocative" ideas that are posited and ignored, such as the villains' plans to bomb holy cities. Critics such as James Berardinelli and Peter Bradshaw favorably compared the film and the Mission: Impossible series to the James Bond film series. USA Today's Brian Truitt and Entertainment Weekly's Chris Nashawaty said Fallout's combination of exotic locations, espionage, and action had successfully established the series as the standard for international action-adventure films, and Cruise as the modern James Bond.

Cruise was generally praised by critics such as Maltin and primarily for his commitment to undertaking stunts, making Fallout one of his finest mainstream works. Despite his age, these reviews suggested that Cruise's stunt work was a significant aspect of the series' appeal. Others, wrote that Cruise successfully embodied Ethan's world-weary cynicism yet unwavering determination to combat those who would harm innocents.

Cavill's performance was described as "wooden" and uninteresting by some, such as Roeper and Tallerico, although others,

including Roeper, wrote that this fit Walker's persona as someone lacking humanity,

and his physical presence made him a suitable foil for Ethan.

Phillips and O'Hara, among others, praised the returning cast of Rhames, Pegg, Baldwin, and Harris, while lamenting the film's focus on Ethan left little room to develop their characters. Kinnard and Richard Lawson singled out Pegg and Rhames for making Cruise more relatable by association, but wrote that Pegg's humor and Harris's "delightfully wicked" portrayal were underutilized.

Ferguson was praised by reviewers such as Grierson and Berardinelli for her smart, formidable, and captivating performance and "palpable" romantic chemistry with Cruise, despite her screen time being lower than in Rogue Nation.

David Edelstein said that she upstaged the other cast as the franchise's standout character. Kirby was also well received by critics such as Kenneth Turan for her captivating and engaging portrayal that provided some of the film's more interesting moments.

Plot

In New York City, young ballet dancer Abigail is abducted by six masked criminals and recovered to a secluded upstate mansion. Before leaving, their leader Lambert orders them to guard Abigail for the next 24 hours, at which point they will receive an equal share of a $50 million ransom paid by her father. Instructed not to share identifying information with each other, and using aliases, the group consists of: Joey, a former Army medic and recovering drug addict; Frank, a former NYPD detective; Sammy, a thrill-seeking wealthy hacker; Dean, their sociopathic driver; Rickles, a former Marine sniper; and Peter, a dimwitted brute and mob enforcer.

Though reluctant to continue with the plan as she was unaware the target was a child, Joey is tasked with managing Abigail. Joey is sympathetic to Abigail, sharing she has a child of her own and, in turn, Abigail admits her father does not care about her and will not pay the ransom. Abigail apologizes for what will transpire during the night. Frank confronts Abigail at gunpoint for information, learning that her father is Kristof Lazar, a powerful, almost mythical crimelord.

After unsuccessfully flirting with Sammy, Dean enters the basement where he is attacked by an unseen assailant. Investigating his screams, Sammy finds Dean's decapitated corpse. The group realize that Lazar's legendarily violent enforcer Valdez must be inside the house and Rickles tries to leave, but the home's security system seals the property, preventing escape. While separately looking for a way out, Rickles is mutilated and killed. Frank orders Peter to beat Abigail for information but she transforms into a vampire, revealing she is Valdez. Frank shoots Abigail but her injuries instantly heal and the group flees in terror.

The group discusses how to kill Abigail using tropes of vampiric lore such as garlic, crucifixes, and wooden stakes. They find Abigail dancing with Dean's body and attack her her ballet skills, strength, and speed, allow her to easily overwhelm them. Joey suggests using a tranquilizer whick worked during the initial abduction and they successfully capture and subdue Abigail, though not before she bites Sammy on the arm.

Upon awakening, the centuries-old Abigail reveals that she arranged her own abduction through Lambert to bring the group together so she can kill them, as she knows their true identities and each has wronged her father. Joey deduces that Abigail has killed dozens of her father's enemies in aa failed effort to win his love. Abigail effortlessly escapes her confines and attacks Frank, but Joey rips wooden planks off a window to expose Abigail to sunlight, which severely wounds Abigail. With only hours before sunset, the group splits up to find an escape route. However, Sammy is transformed into a vampire thrall under Abigail's control and kills Peter. Abigail has Sammy attack Frank and Joey, forcing Joey to destroy Sammy with reflected sunlight.

Lambert lures Frank and Joey to the hidden security room, where he reveals Abigail turned him into a vampire years earlier for helping Frank avoid Lazar's wrath. Frank allows Lambert to turn him into a vampire so they can kill Abigail and Lazar together, but immediately betrays and kills him after. Abigail attacks Frank but he overpowers her and drains her blood, leaving her weakened. Trapped, Joey leaves a phone message for her son, apologizing for having been an absent mother for many years. Frank finds and bites Joey, intending to turn her into his thrall and have her kill Abigail and eventually her own son. However, Joey's transformation fails due to Frank's inexperience with his new abilities. Abigail and Joey team up to kill Frank, preventing Joey from becoming a vampire.

Abigail encourages Joey to leave and be present in her son's life, but Lazar arrives and threatens Joey. Abigail stands up to her father, saying Joey was there when she needed her and he was not. Although Lazar angrily rebuts her, he relents and allows the bloodied and battered Joey to leave.

Plot

cops for 16 years wife getting remarired cares but dislikes his childishness aunt dies and leaves him 40K

detective from the south side drowned and thrown off a building - killed by nskae

snake carrying 50k only give him 5 back

snake lures them into a trap

Ray Hughes and Danny Costanzo are two police officers working on Chicago's North Side, known for their wisecracking demeanors and unorthodox police methods, which get results in their various cases. One such case involves trying to bust up-and-coming drug dealer Julio Gonzales. After arresting Snake, one of Gonzales's associates, they convince him to wear a wire in order to get the necessary evidence to put Gonzales away.

When they approach the meeting place (a cargo ship) they find that Gonzales has acquired a large store of Israeli Uzi submachine guns. Snake is setting the detectives up, however, prompting the detectives to rush in by acting as though Gonzales was preparing to kill him. Gonzales reveals his ambition to be the Spanish "Godfather" of Chicago, but chastises Snake for letting the detectives get close, and Snake is shot dead by a subordinate. The pair look as though they will be killed, but two undercover DEA detectives in Gonzales's gang step in to make the arrest. In the ensuing gun battle, most of the gang escape, but Ray and Danny capture Gonzales.

realize they messed up

initially dislike it but come to Enjoy their time with women, fishing, weather

Back at the station Ray and Danny expect to be praised, but instead their captain chastises them for their sloppy work (as revealed by Snake's wire) and orders them to take a vacation. ..On vacation in Key West, Florida, the pair begin to question their career choice after the experience and decide to retire and open a bar. danny convinces Ray to use aunts money start wearing bulletproof vests

find julios car, get it towed, follow a kid to him but danny worried about the confrontation, wants yo be resoinsible though ray more impulsie

When they return to Chicago and inform the captain of their intentions, they find out that Gonzales has been released and is free on bail. Incensed, they vow to capture Gonzales before retiring, but by being a little more careful in the process. To add insult to injury, Captain Logan assigns them the additional task of training their replacements before they go. They must train detectives Anthony Montoya and Frank Sigliano, none other than the two undercover officers who saved them from being killed in the Gonzales bust.

they have some insight on julios operation. danny gets shot durinh a raid frtom friendly fitrr

get ihfo from one of them air shipmenyt (but this is a decoy)

chief prefers to use the haul for media than find julio upsetting the m both and givbes the credut ti the other guys a distraction from the main haul on another flighyt#

chase from the airport through trainyard and above ground train tracks smuggling cocaine disguised as trinkets

return to the informant and get hte rest

julio catches them during a stakeout and offers to clear the loan on the bar if they get the cocaine back for him but they refuse and dump car in a garbage truck

take julios impounded car and drive around local neighbourhoods so he will find them

although danny agrees to make the exchange in public, julio has captured all the guards and replaced them with his men in diguise. agrees to come alone Ray uses the window washesr rig to climb the side of the building and reach the roof without being seen.

luckiyl the other cops arrive havin followed them

ray and danny saves them by killin julio the 4 bond During one of the attempts to capture Gonzales, Ray and Danny confiscate a large shipment of cocaine coming from Colombia. In order to get it back, Gonzales kidnaps Danny's ex-wife Anna, whom he still loves and has been trying to reconcile with, and says he will trade her for his drugs; otherwise, he will kill her. Danny agrees, leading to the final confrontation inside the high-rise atrium of the State of Illinois Center. During the ensuing fight, Danny and Ray rescue their would-be protégés in a way similar to their own rescuing, and Gonzales is killed. Anna and Danny reconcile and he and Ray decide not to retire after all.

Plot

On May 28, 1976, the last day of school at Lee High School in Austin, Texas, the next year's group of seniors prepare for the annual hazing of incoming freshmen. The school's popular football quarterback, Randall "Pink" Floyd, refuses to sign a pledge dedicating himself to the team's success while avoiding drink, drugs, sex, and any other undesirable activities. When classes end, the incoming freshman boys are hunted down by the seniors and paddled. Fred O'Bannion delights in the hazing, chasing down freshman Mitch Kramer and his friends Carl Burnett, Tommy Houston, and Hirshfelder, although they escape when Carl's mother threatens O'Bannion with a shotgun. The freshman girls are rounded up in the school parking lot by senior girls, covered in various foods, soaked with water, and forced to propose to senior boys.

As day fades to night, O'Bannion catches Mitch outside his baseball game and violently paddles him. Pink takes pity on Mitch, recalling his own hazing as a freshman, and drives Mitch home, inviting him to come cruising with Pink's friends later that night. Plans for the evening are ruined when Kevin Pickford's parents discover his plans to host a large-scale keg party at their home, and cancel their holiday to prevent it.

As the night progresses, the various teenagers loiter around the Emporium pool hall, listen to rock music, cruise the neighborhood, and frequent a local drive-through restaurant. Pink and his friend David Wooderson, a man in his mid-20s who still socializes with high school students, pick up Mitch and head for the Emporium. Mitch is introduced to sophomore Julie Simms, with whom he shares a mutual attraction. While cruising again with Pink, Pickford, and Don Dawson, Mitch drinks beer and smokes marijuana for the first time. They drive through a neighborhood destroying mailboxes but are confronted by an irate resident brandishing a gun. The group barely escape after the resident fires at their car and return to the Emporium.

Carl, Tommy, and Hirshfelder leave their last junior high dance and are pursued by O'Bannion, and Hirshfelder is caught and paddled. Mitch runs into his friends and they plot their revenge on O'Bannion. Julie lures O'Bannion outside of the Emporium to paddle Carl but before he can, the boys dump paint on him and flee, causing a humiliated and enranged O'Bannion to leave.

Wooderson suggests an impromptu keg party in a field under a moonlight tower and word quickly spreads among the teenagers. The intellectual trio of Cynthia Dunn, Tony Olson, and Mike Newhouse decide to attend and embrace the experience of the last day of school. Mike makes a remark about tough guy Clint Bruno smoking marijuana and is almost attacked before Pink intervenes. Afraid the humiliation of cowing to Clint will remain with him forever, Mike returns and punches Clint and is beaten up until Pink and Wooderson calm Clint down. Fellow football player Benny O'Donnell confronts Pink about not signing the pledge, but Pink refuses to compromise himself by agreeing to their Coach's demands. Benny accuses Pink of being scared and reminds him the team is reliant on Pink as their star quarterback. Pink later shares a kiss with Mitch's sister Jodi, until she reminds him he already has a girlfriend. The party draws to a close as the beer runs out: Tony and Sabrina, a freshman he met during the hazing, leave together, Cynthia gives Wooderson her telephone number, and Mitch and Julie relax on a hill and kiss as the sun rises.

Pink, Wooderson, Don, and several other friends decide to smoke marijuana on the school football field. Wooderson advises Pink to live how he wants without concern for what is expected of him. Pink says he will reluctantly sign the pledge but hopes that he will not look back at these years as the best of his life. The police arrive and, upon recognizing Pink and Dawson, call their coach, who lectures Pink about his undesirable friends and insists that he sign the pledge. Pink says that he might play football next year, but he will never sign the pledge.

Mitch arrives home to find his mother waiting for him. She decides against punishment, but warns him about coming home late again. He retires to his bedroom, puts on headphones, and listens to "Slow Ride" by Foghat, as Pink, Wooderson, and their friends drive down a highway to Houston to buy tickets to an Aerosmith concert.

Plot

In New York City, neurotic and multiphobic Bob Wiley struggles spends his life in an almost constant state of panic. Exasperated by Bob's high-maintenance needs and invasion of personal boundaries, his current therapist quits his practice and refers Bob to the egotistical and controlling Dr. Leo Marvin, who believes his new therapy book, Baby Steps will make him a household name. Bob meets with Leo who gifts him a copy of Baby Steps and dismisses him in a rush as he is leaving for a month-long family vacation and will not return until after Labor day. Unable to cope without therapy, Bob contacts Leo's telephone exchange to find out where he is, but Leo dismisses him. Unable to cope without regular reassurance, Bob makes multiple calls to Leo's telephone exchange in failed attempts to deduce where he is staying, even pretending to be Leo's sister Lily, but Leo dismisses him. Bob eventually visits the exchange in person posing as a homicide detective investigating Bob's suicide and learns that Leo and his family are at Lake Winnipesaukee, New Hampshire.

Bob travels to Lake Winnipesaukee by bus, irritating the other passengers with his habits. After arriving he runs into Leo who agrees to call Bob at a local coffee shop if he buys a bus ticket home. The shop owners, the Guttmans, despise Leo because he outbid them for their dream lakeside home, and take Bob to Leo's property instead. Bob is introduced to Leo's family—his wife Fay, and children Anna and Siggy—who are charmed by his eccentric and fun personality, much to the uptight Leo's chagrin. Eager to get rid of Bob, Leo tells him to return to the city and take a vacation from his problems. Having never been on vacation, Bob takes the advice literally, remaining in Lake Winnipesaukee at the Guttmans'.

Bob unintentionally bonds with Leo's family, going sailing with Anna (after being tied to the mast to overcome his fears), and inadvertently giving Siggy the confidence to dive into the lake, which Leo had failed to instill for years. After Leo aggressively pushes Bob into the lake, Fay forces him to apologize and invites Bob to dinner. Bob accepts, oblivious to Leo's hostility and believing the experiences are part of his therapy and eventually throws away the tissues he uses to touch things as he overcomes his germophobia. A thunderstorm after dinner forces Bob to spend the night. Leo demands that Bob leave early the following morning before Good Morning America arrives to interview him about Baby Steps. The TV crew arrive early and, oblivious to Leo's reluctance, suggest having Bob on the show as an example of his book's successful influence. Leo humilitates himself during the interview by giving stilted and nervous responses whule Bob speaks highly of Leo, the family, and the book, inadvertently stealing the spotlight.

Infuriated, Leo attempts to have Bob institutionalized, but he is soon released after befriending the hospital staff. Forced to retrieve Bob, Leo abandons him in the middle of nowhere, but he quickly gets a ride back to Leo's while various mishaps delay Leo. A dishevelled and irate Leo returns after nightfall, but is happily surprised by the large birthday party awaiting him and the arrival of Lily. When Bob appears and puts his arm around Lily, Leo snaps and attacks him. While Leo is seemingly sedated, his family reluctantly ask Bob to leave due to Leo's irrational anger towards him.

A manic Leo sneaks out, breaks into the general store, and steals a large amount of explosives. He confronts Bob and takes him deep into the woods where he ties him up with the explosives, calling it "death therapy". Believing the explosives are a metaphor for his problems, Bob frees himself of his restraints and remaining fears. Bob reunites with the Marvins and praises Leo for curing him. Leo asks where the explosives are, as Bob says they are in the house, which promptly explodes into flames, to the Guttmans' delight. Leo is rendered catatonic and institutionalized.

Some time later, Bob marries Lily and, upon their pronouncement as husband and wife, Leo snaps out of his catatonic state and screams, "No!", but the sentiment is lost in the family's excitement at his recovery. A closing text reveals that Bob went back to school and became a psychologist, then wrote a best-selling book titled Death Therapy, for which Leo is suing him for the rights.

Plot

Attorney Walter Fielding and his classical musician girlfriend, Anna Crowley, learn that Walter's father, Walter Sr., has married a woman named Florinda and fled the country after embezzling millions of dollars from their musician clients. The next morning, they are told they need to vacate the apartment they are subletting from Anna's ex-husband, Max Beissart, a self-absorbed conductor who has returned early from Europe.

reluctant to get marred because of her past experience max wants to get back together

gets money from Benny popular star - child obnoxious, threatens to not like him anymore in exchange for the 200k

Through an unscrupulous realtor friend, Walter learns about a million-dollar distress sale mansion on the market for just $200,000. He and Anna meet the owner, Estelle, who claims that she must sell it quickly because her husband, Carlos, has been arrested. Her sob story and insistence at keeping the place in candlelight in order to save money "for the bloodsucking lawyers" distracts Walter and enchants Anna, who finds it romantic. They decide to buy it.

dust, electrical faults, crumbling ceiling, door falls out, bed broke, steps break, plumbing broken and puts out brown sludge invaded by racoons, leaking roof, mosquitos, trees fall over. bathfalls through the ceiling walter immediately gives up though anna remains optimistic

lecherous ARt carpenter brother plumber estimated the job at 2 weeks

vastly cheaper contractors

the shirks send their contrators, exccentiric, bikers, muscle men, and punks, mand midgets, demolish the house exterior

offers the sell the paintings she received in the divorce back to max for a cut down price

walter returns, everthing ripped out missed the permit man wants bribe walter becomes trapped in the floor and misses the permit guy anna has to get a truck back because he cant pick her up jealous of nmax chimney fals through the fire

four monhs later house in a better state, tensions are frayed, arguing more often stairs finally restored finally fix the water

cavalcade of mishaps ends up destroying the scaffolding

max continues to try and seduce her

When Walter visits Philadelphia anna finds herself unable to return to the house alone and goes out with Max.

As soon as Walter and Anna take possession of the house, it begins to fall apart. The entire front door frame rips out of the wall, the main staircase collapses, and the electrical system catches fire. Contractors Art and Brad Shirk summarily tear the house to pieces using Walter's $5,000 down payment, leaving him and Anna embroiled in bureaucracy to secure the necessary building permits to complete the work. Walter's continuing frustration at the escalating costs of restoring the house leads him to brand it a "money pit", while the Shirks continue to assure him that their work will take "two weeks".

The repair work continues for four months, and Walter and Anna realize they need more money to complete the renovations. She attempts to secure additional funds from Max by selling him some artwork she received in their divorce. Although he does not care for it, he agrees to its purchase.

He wines and dines her, and the next morning, when she wakes up in his bed, he allows her to believe that she has cheated on Walter; in reality, Max slept on the couch. Walter later asks her point-blank if she slept with Max, but she hastily denies it. His suspicions push her to admit that she did so.

walter knows she wasnt there because he called nad received no answer confesses to a barely awake walter who takes a moment to recognize and loses his mind

end up having an argument in front of the attentive workers after the fight dies down they both feel bad about it

max visits anna at the house

anna plans to leave the symphony to get away from walter and max, max admits they didnt sleep with each other, wanted her back but instructs her to tell him the truth, max also confronts walter and tells him he is throwing away a great women and will regret it for ever

finally the house is restored to its glory.

curly tells them that it wasnt an easy job but hte foundation was good and as long as it is, things can be fixed. the pair prepare to split but walter finally admits that while she slept with max he cannot be without her and she happily tells him she didnt and they kiss.

max conducts the orhcestra at their wedding attended by Walter's clients and the contractors

Due to Walter and Anna's stubbornness, their relationship breaks down. They vow to sell the house once it is restored and split the proceeds. This nearly happens, but he misses her and says he loves her even if she did sleep with Max. She happily tells him that in fact she did not, and they reconcile. In the end, they are married in front of the newly repaired house.

Meanwhile, Estelle and her husband/partner-in-crime, Carlos - now revealed to be con artists - resurface in Brazil, where they meet with Walter's father and new bride to sell them an old house they claim to have lived in for several years.

Plot

In Louisville, Kentucky, cab driver John Winger loses his job, apartment, and car in a single day through his own actions. Tired of his immaturity, his girlfriend also leaves. Realizing his limited prospects, he decides on a whim to join the Army and persuades his friend, language teacher Russell Ziskey, to join him. The pair visit a recruiting office and are swiftly sent to basic training.

Arriving at their base camp, they meet their fellow recruits including Dewey "Ox" Oxberger and their drill instructor Sergeant Hulka who takes a dislike to Winger's sardonic slacker attitude, often punishing the other recruits for his actions and turning the recruits against Winger.

The gruelling training leads Ziskey to demand that Winger get them out of the army.

After Hulka discovers that John and Russell have briefly gone AWOL, Russell confesses his mistake, but John keeps silent. Hulka orders Russell to scrub garbage cans for 24 hours and gives the rest of the platoon two weeks of KP duty. In the latrine, Hulka privately tells John that he will never make a good soldier and invites John to attack him. When John throws a punch, Hulka dodges and hits him in the stomach, then suggests that John think about the encounter.

That night, Russell catches John attempting to flee the base and stops him, angrily reminding John that it was his idea that they both enlist. Louise and Stella find them fighting and drive them back to their barracks without reporting them. John honors Russell's request for both of them to continue basic training.

As graduation approaches, Hulka is injured when the haughty and dull-witted self-serving Captain Stillman, the recruit company's commanding officer, orders a mortar crew to fire without first setting target coordinates. Later, members of Hulka's platoon sneak off base and visit a mud wrestling bar, where John persuades Ox to compete with a group of women. When MPs and police raid the club, Stella and Louise help John and Russell escape. The rest of the platoon are returned to base, where Stillman reprimands them for being arrested and threatens to report them to the base commander, General Barnicke, and make them repeat basic training.

, and he and Russell become romantically involved with MPs Louise Cooper and Stella Hansen

John and Russell have sex with Stella and Louise, then return to base. John motivates the disheartened platoon with a speech and begins preparing them for graduation. After a night of practice, they oversleep and wake up an hour late for the ceremony. They rush to the parade ground, where John leads them in an unorthodox but highly coordinated drill display. Impressed upon learning that they completed their training without a drill sergeant, Barnicke assigns them to a secret project he is overseeing in Italy.

bravo company Upon arrival in Italy, the platoon is reunited with a recovered Hulka and tasked with guarding the EM-50 Urban Assault Vehicle, an armored personnel carrier disguised as a recreational vehicle. Hulka assigns Johna nd Russellto guard it for the weekend due to his dislike of John, but the pair steal it to visit Stella and Louise, who are stationed in West Germany. When Stillman finds the vehicle missing, he launches an unauthorized mission to retrieve it, against Hulka's objections. Stillman brings a date to see it and finds out early.

Stillman inadvertently leads the platoon across the border into Czechoslovakia. Hulka jumps from their truck before the Soviet Army captures it, and sends out a radio distress call that John and Russell hear. Realizing that their platoon is in danger, John, Russell, Stella, and Louise take the EM-50 and infiltrate the Soviet base where the platoon is being held, and rescue them with aid from Hulka.

Upon returning to the US, John, Russell, Louise, Stella, and Hulka are hailed as heroes, and are each awarded the Distinguished Service Cross. Hulka retires and opens a restaurant franchise; John, Russell, Ox, Louise, and Stella are featured in various magazines; and Stillman is reassigned to a weather station near Nome, Alaska.

Plot

Advertising executive Neal Page is on a business trip in New York City two days before Thanksgiving, eager to return to his family in Chicago. An indecisive client causes Neal's meeting to overrun and he struggles to hail a cab to the airport during rush hour. Neal bribes a man to give up his cab but while he is disracted another man takes it. Neal eventually reaches LaGuardia Airport to learn his flight is delayed, While waiting, he meets the man who unwittingly stole his cab, talkative shower curtain ring salesman Del Griffith. To his dismay, Neal is seated next to Del on the crowded flight to O'Hate International Airport.

A blizzard in Chicago forces the plane to divert to Wichita, Kansas with no alternative travel until the following day. Neal phones his wife Susan to inform her of events, but is unable to book a hotel room. An experienced traveler, Del has arranged one for himself and offers to secure one for Neal in exchange for him paying for the taxi there. During check-in, Neal and Del inadvertently switch credit cards and learn they have to share the last remaining room. Neal quickly becomes irritated by Del's messiness, eventually berating him. Del is emotionally hurt, saying that others, including his wife Marie, like him as he is. The pair reconcile and awkwardly share the bed. While they sleep, a burglar steals their cash.

The next day, with air travel still delayed, Neal buys them both train tickets to Chicago, with seats in separate cars. However, the locomotive breaks down near Jefferson City, Missouri, stranding its passengers in a field. Neal takes pity on Del struggling with his trunk, and they reunite, traveling on a crowded bus to St. Louis station, where Del earns cash by selling curtain rings as earrings to pedestrians. However, Neal accidentally offends Del over lunch by suggesting traveling they will travel faster alone, and the men part ways again.

At the St. Louis Airport, Neal rents a car, but it is missing when he gets to the lot. After a long and perilous walk back to the terminal, he vents his anger in a profane tirade at the rental agent to no avail. He attempts to hire a taxi but impatiently insults the dispatcher, who then punches him in the face. By chance, Del arrives at the scene in his own rental car and takes the dazed Neal with him. As they drive, they argue again, and Del nearly gets them killed overnight when he accidentally drives in the wrong direction on a freeway. As they compose themselves by the side of the road, Del's carelessly discarded cigarette sets the car on fire. Neal initially gloats, thinking that Del is liable for the damage, until Del reveals that he used it to rent the car after finding it in his wallet, causing Neal to punch Del.

With his credit cards destroyed in the fire, Neal barters his expensive watch for a motel room. Having nothing of value, Del waits outside in the charred, roofless car in frigid temperatures. Neal takes pity on Del and invites him to share the room. The pair share miniature liquors and laugh about the events of the past two days. The next day, the pair resume their trip in the burnt car, but the Illinois State Police impounds it for being unroadworthy. Del persuades a trucker to take them to Chicago, and they ride in the truck's refrigerated trailer.

At a Chicago "L" station, Neal sincerely thanks Del for getting him home, and they part ways with affection. As Neal rides a commuter train to his neighborhood, he recalls some of Del's odd comments and silences during the journey. It occurs to him that Del has not actually been trying to get home himself. Neal returns to the station, where he finds Del still sitting. Del explains that Marie died eight years earlier and has been living a transient lifestyle since. Neal decides to bring Del home for Thanksgiving dinner, and introduces his family to his new friend.

Plot

In 1953 Los Angeles, the LAPD is trying to positively redefine its public image following decades of corruption. Intelligent and career-focused sergeant Edmund Exley lives in the shadow of his legendary detective father whose murderer was never identified; Exley names the murderer "Rollo Tomasi", representing any criminal who escapes justice. Vain narcotics sergeant Jack Vincennes collaborates with tabloid journalist Sid Hudgens to perform high-profile celebrity arrests, while volatile officer Wendell White uses violence to interrogate and intimidate suspects.

White encounters Lynn Bracken, a prostitute resembling actress Veronica Lake, and former officer Leland Meeks, who work for millionaire businessman Pierce Patchett. Patchett operates Fleur-de-Lis, a clandestine prostitution ring featuring escorts surgically altered to resemble film stars; White begins a relationship with Lynn. After drunken officers beat inmates to avenge their injured fellow officers, Exley convinces the police chief, district attorney Ellis Loew, and police captain Dudley Smith to prosecute securely-pensioned officers to save the departments reputation and earn himself a promotion to detective lieutenant. He helps coerce Vincennes to testify, while White refuses to incriminate his colleagues and is suspended. White's partner Dick Stensland is fired for his involvement, turning White and other officers against Exley. Following the imprisonment of powerful gangster Mickey Cohen, Smith recruits White to frighten off criminals attempting to take Cohen's place. A spate of murders targeting Cohen's underlings leads to the disappearance of 25 lb (11 kg) of his heroin.

Exley investigates a massacre at the Nite Owl café, with Stensland and Fleur-de-Lis prostitute Susan Lefferts among the victims. The evidence leads Exley and Vincennes to arrest three African-American felons. Interrogation by Exley and White reveals the men have been raping a captive woman. White rushes to free the woman and executes her captor, planting evidence to imply the act was self-defence. The African-Americans escape the station and are killed by Exley in the ensuing shootout, closing the case and earning him a medal for bravery. However, unable to ignore inconsistencies in the case, Exley and White continue the investigation independently. White meets Lefferts' mother and discovers Meeks' body beneath the house. He interrogates Cohen's ex-bodyguard Johnny Stompanato who reveals Meeks was trying to sell the stolen heroin.

Hudgens and Vincennes orchestrates a homosexual tryst between struggling actor Matt Reynolds and Loew to create a scandal, but after Reynolds is found murdered, a guilt-ridden Vincennes joins Exley's investigation. Vincennes learns that Meeks and Stensland formerly worked together under Smith's command and had dropped an investigation into Patchett and Hudgens blackmailing prominent businessmen with photos of them with prostitutes. He confronts Smith who shoots Vincennes; his final words are "Rollo Tomasi".

The following day, Exley becomes suspicious of Smith after he enquires about "Rollo Tomasi", a name Exley disclosed only to Vincennes. Smith has White beat Hudgens, ostensibly to identify Vincennes' killer, and arranges for White to find photos of Lynn having sex with Exley, taken by Hudgens. Enranged, White leaves to confront Exley; the pair fight until they realize that their evidence implicates Smith. They deduce that Stensland killed Meeks for the heroin, and Smith planned the Nite Owl massacre to kill Stensland, before planting evidence to implicate the African-Americans. Exley and White interrogate Loew, learning Smith and Patchett are taking over Cohen's empire and coerced Loew's cooperation using photos of his tryst with Reynolds. Exley and White later find Hudgens and Patchett murdered.

Smith lures Exley and White into a remote ambush. Though badly wounded, the pair kill Smith's men and Exley holds Smith at gunpoint. Smith offers to mislead the approaching police and give Exley a further promotion, but Exley executs Smith to prevent him potentially avoiding punishment. At the station, Exley explains the evidence of Smith's corruption. However, the LAPD decides to protect their image by claiming Smith died a hero fighting gangsters, and award Exley a second medal for bravery. Outside city hall, Exley says goodbye to Lynn and White before they leave for Arizona.

Others

The ceilings of the sex club in which the lust victim is murdered were lowered to make the space more claustrophobic, and wax was sprayed on the walls to give texture and to imply they are covered in bodily fluids. A former bank was used as the library and 5,000 books, which were supplemented with fiberglass replicas, were rented to fill the space. The shaking in Mills apartment, which is caused by a passing train, was created using gas-powered engines attached to the set. Walker's script extensively described Doe's home, whose windows are painted black for privacy and a drawer is filled with empty painkiller bottles to help Doe cope with frequent headaches.

A scuba-like device was used to let Mack breathe while face-down in spaghetti.

A fiberglass replica of Mack was used for the character's autopsy, featuring a deliberately enlarged penis; Fincher said after Mack spent so long in makeup for 30 seconds of screen time, he could "at least give him a huge cock".

Leland Orser, who portrays the man who is forced to kill the lust victim, deprived himself of sleep to achieve a "deranged mindset"; his scene was postponed so he stayed awake another night.

Pitt said he regretted not disrobing for a separate scene of Mills and Somerset shaving their chests to wear concealed listening devices. He disliked the public attention given to his body but later came to believe taking off his shirt off would have conveyed the growing partnership between Mills and Somerset.

The set was wrapped in plastic to contain the insects.

https://www.complex.com/pop-culture/a/matt-barone/best-villains-movie-history https://www.denofgeek.com/movies/20-movie-villains-and-the-menacing-stories-they-tell/ https://movieweb.com/best-villain-evil-plans-movies/ https://www.empireonline.com/movies/features/best-murder-mystery-movies/ https://ew.com/gallery/50-most-vile-movie-villains/ https://ew.com/gallery/25-best-villains/ https://www.gamespot.com/gallery/the-greatest-movie-villains-of-the-1990s-ranked/2900-2131/ https://movieweb.com/seven-movie-worth-watching-thriller/ (grown to be considered one of hte best" . enduring

thrillers

• https://www.cbr.com/best-thriller-movies-ever/#se7en #21
• https://collider.com/best-rewatchable-gripping-suspenseful-thriller-movies/#39-no-country-for-old-men-39-2007 #3
• https://movieweb.com/best-thriller-movies/#seven-1995 #22
• https://parade.com/1286288/samuelmurrian/best-thriller-movies/ #29
• https://www.marieclaire.com/culture/g35566605/best-psychological-thrillers/ no rank
• https://www.marieclaire.com/culture/g28513718/best-murder-mystery-movies/ no rank
• https://www.slashfilm.com/891056/best-thrillers-ever-made/ no rank

close

• https://movieweb.com/se7en-look-back-quintessential-90s-crime-thriller/ a crime thriller that would rise above the rest as a truly consummate masterwork of the style. / launched finchers career / brad pitt leadingman

mystery

• https://www.glamour.com/gallery/best-mystery-movies no rank
• https://www.gamesradar.com/best-mystery-movies/ #1
• https://www.empireonline.com/movies/features/best-murder-mystery-movies/ #2
• https://www.giantfreakinrobot.com/ent/the-best-mystery-movies.html
• https://www.themarysue.com/best-mystery-movies/

best crime

• https://ew.com/movies/best-crime-movies-of-all-time/ #8

reader votd

• https://www.empireonline.com/movies/features/best-movies-2/ #37 all time

finchers first great film

• https://collider.com/best-movies-like-se7en/ finchers first great film / influential
• influential https://www.joe.ie/movies-tv/se7en-is-19-years-old-today-so-here-are-seven-things-that-we-love-about-the-classic-thriller-466240

might be useful

• i<ref name="TheRingerTruth"> ndeed, time has conferred a mostly rapturous critical consensus on Se7en highlighted by Richard Dyer’s 2008 BFI Classics monograph, / Most of the initial dissent against Se7en—Maslin’s review included—was rooted in the old shibboleth of style over substance.

1. redirectJohn Wick (film)