Horror Report

Tag: movie review

  • Movie review: We have been successfully disclosed to at Disclosure Day

    Movie review: We have been successfully disclosed to at Disclosure Day

    Spoilers Ahead ..


    This review is going to contain spoilers for the movie Disclosure Day. Read at your own peril.
    If there was ever a film you should see with your most intelligent friends,  the ones who can debate whether disclosure of alien life would help or hurt the planet,  this is the film.


    Some of the ads give away a few notable scenes that appear in the movie, and they make Disclosure Day look a little more frightening than it actually is. But those scenes are still effectively used in the film itself. But if you’re going to this movie thinking you’re seeing some sort of a horror you’re not, you’re more seeing a thriller chase movie with deep questions..


    Steven Spielberg is back, giving us the famous camera angles, wide shots, close-ups, and dramatic moments he’s known for.  Emily Blunt gives the kind of strong performance we’ve come to expect from her.  Couple that with the rest of the cast, a strange and somewhat bizarre CGI alien at the end, and we have Disclosure Day.


    And it’s arriving at a weird time.


    Disclosure seems to be slowly happening in the real world, as UFO files continue to be released by the government. At the same time, people are actively debating whether the whole thing is just a big fake distraction from “the real agenda” .. and you can choose whichever real agenda you think it’s distracting us from.


    But in this movie, the world is not distracted by something insignificant. World War III has begun, and the mass media in Disclosure Day is covering it 24/7.


    That is, until a rogue group of contracted government workers decides to sneak evidence from the UFO files and reveal it to the entire planet.


    The race is on between the good guys and the bad guys.. and you can take your pick as to which is which .. until the climactic ending, when we as a civilization are forced to pause our wars and confront something much deeper and more profound.


    The positives here are the acting, the score, the writing, and the film itself.


    The negatives could also be the acting, the score, the writing, and the film itself.


    This movie is surprisingly divisive. In fact, the audience I saw it with seemed split right down the middle. A few people clapped. Others sighed. It perfectly fits the divided Rotten Tomatoes score currently online. Even the critics seem divided. It’s not getting the roaring praise that other Spielberg films have received, and it’s not dominating the box office the way it probably would have 25 years ago with Spielberg’s name attached.


    That alone shows how much things have changed.
    Generationally speaking, this year’s horror movies — Obsession and Backrooms — have shown younger directors becoming more popular with younger audiences than Spielberg himself. But the truth is, Disclosure Day is good. Maybe not great, but good. And more than that, it feels significant.
    It feels important.


    A lot of us conspiracy-minded folks have wondered for a long time whether Steven Spielberg knew something. And if he doesn’t, he’s very good at faking it.


    But the movie matters not just because of the acting, the filmmaking, or the spectacle.  It matters because of the questions it asks  and, more importantly, the questions it refuses to answer.


    Disclosure Day may not be Spielberg’s greatest film.  But it is one of his most interesting in years. And at this moment in history, that might be enough to spawn an important debate at America’s 250th..

  • A Masters of the Universe movie review

    A Masters of the Universe movie review

    The latest review score for Masters of the Universe sits at less than 70% from critics but more than 85% from audiences on Rotten Tomatoes. The question is, who exactly is watching it?

    It’s pretty clear the audience is made up largely of people over 35, and probably even more so people over 45. Many dads are bringing their kids, and a lot of viewers are showing up with a sense of nostalgia for a time that’s long gone. That nostalgia is mixed with laughs, memories, and a chance to revisit characters they grew up with.

    Here’s the thing: the movie is great. It’s perfectly fine entertainment, and in many ways it doesn’t deserve to be judged by the same standards people use for every other blockbuster because it creates its own path. The film is funny. It laughs at itself. It pokes fun at the excesses of the 1980s while simultaneously paying tribute to them. It even laughs at He-Man from time to time, but somehow still turns him into a genuine hero in a very unusual and surprisingly effective way.

    The villains are buffoons and boobs, as Skeletor himself might say, but they’re also just scary enough to work. The army of evil feels more brutal than expected, and the movie itself has a surprisingly high body count. There are plenty of jokes for the adults in the audience too, including a few sexual innuendos that land well without becoming the type of over-the-top humor you’ll find in something like Scary Movie 6. The kids won’t catch most of them, and that’s probably for the best.

    This is also the type of movie that should be seen in a theater. It made $29 million opening weekend .. probably not too good for a movie that reportedly cost $177 million to make, but honestly that almost feels irrelevant when discussing the experience itself for fans..

    Yes it could have done better.. but it didn’t. Amazon seems okay with that, a new universe has been born..

    As a standalone action film, this is one of the better ones I’ve seen in quite a while. It reminds me of the artistic creativity and visual confidence that made the original Guardians of the Galaxy feel special. The movie embraces colorful imagery and larger-than-life fantasy in a way that modern films often seem afraid to do. It’s refreshing.

    It also gives of Four Non Blonds.. a young Adam naming heroes and villains (perfect way for characters to get their names) … and Skeletor in an office in a tie. Jared Leto surprised the detractors with his performance..

    And yes, I’ll spoil one thing for you. Just like in the cartoons, good wins and evil loses. But the bad guys will be back because evil never truly goes away. Goodness has to remain strong and vigilant because darkness is always waiting for another opportunity. It’s a simple moral lesson, but one that has always been at the heart of He-Man.

    What surprised me most was the battle itself. When I was a kid, the battles in the cartoon felt incredible. As I got older, they became a little laughable. This movie somehow managed to recreate that feeling of importance. The stakes actually felt real. You felt like the villains couldn’t win because if they did, the universe itself would somehow be thrown out of balance.

    That’s why He-Man’s journey works here. He repeatedly offers Skeletor opportunities to choose a different path, but Skeletor remains what he has always been: evil. Well, mostly evil. We all remember that Christmas special where he briefly discovered a holiday spirit and didn’t quite know what to do with it.

    If you’re planning to see the movie, stick around for all three post-credit scenes. They’re worth it and do a solid job setting up what could be a very fun sequel.

    The only question is whether the box office will allow that sequel to happen. Is this the beginning of a franchise revival, or will it end up being a one-time celebration for hardcore fans, Generation X, and Xennials who grew up with these characters?

    If I were giving it a rating, this would be five Power Swords out of five.

    It’s a throwback to childhood, a classic hero’s tale for a modern audience, and somehow manages to be goofy, fun, and heartfelt without ever becoming ridiculous.

    Or maybe I’m just a boob.

  • Our Backrooms review!!

    Our Backrooms review!!

    Maybe None of Us Know What We Just Saw. 😄🙃

    We just saw The Backrooms, and I’m left sort of speechless.

    As the credits rolled, I found myself paying less attention to the screen and more attention to the people around me. The entire theater just sat there. Nobody rushed for the exits. Nobody immediately grabbed their phones. People looked like they were trying to process what they had just experienced.

    Let me first say that I saw this at a relatively packed theater on a Sunday afternoon. Kids, adults, entire families. People who easily could have gone to see The Mandalorian instead chose The Backrooms, and that alone showcases why this movie is on track to make more than $80 million this weekend.

    Kane Parsons, you did a heck of a job.

    One debate we have seen all over social media and TikTok is whether you need to watch the original YouTube shorts or know all of the Backrooms lore before seeing this movie. I don’t think you do.

    If you’ve seen the shorts, you’ll probably catch some Easter eggs and appreciate certain moments a little more. But prior knowledge is not required to enjoy what was created here.

    At the same time, even if you know the lore, you still may not completely understand what you’ve just watched.

    Here’s my interpretation.

    We create the Backrooms.

    The movie seems to be about how we create the insanity inside our own minds. It’s about loops and about obsession. It’s about continually wandering into places we know we shouldn’t go.

    There were several scenes that genuinely left me anxious. Not jump scares, either. Those weren’t the moments that got me.

    One scene involving the giant pirate-like flesh eater with its impossibly long arms reaching toward Dr Mary Kline felt claustrophobic and unsettling. Other scenes used distorted faces, fuzzy imagery, and shaky camera work that made you question whether your own eyes were playing tricks on you.

    The movie was effective in a very unusual way.

    It made me despise the Backrooms while simultaneously wanting to stay there.

    I can’t really explain it any better than that.

    Just like the characters who repeatedly venture deeper into the Backrooms because they need to discover what’s around the next corner, I think that’s exactly how many people in the audience felt. The place is terrifying, but it’s also impossible to stop exploring.

    The found footage elements and flashbacks were probably the most effective use of found footage since The Blair Witch Project. The acting was so convincing that you almost leave the theater wondering if the Backrooms could somehow be real.

    On my way to the bathroom after the movie, part of me felt like I might accidentally slip through a wall.

    What fascinated me most, though, was the audience.

    This was a packed house. The kind of crowd that twenty years ago would have definitely filled a theater for a major Star Wars release.

    The times have changed.

    Parents who brought younger children looked somewhat bewildered, as if they had just spent two hours watching something they didn’t fully understand. The younger kids seemed entertained but weren’t entirely sure what they had seen either ..

    There were a lot of teenagers in the audience. I expected talking and cell phones lighting up.

    There was none of that.

    During several scenes, you could hear a pin drop.

    There were also moments where the audience laughed. Not because the movie became a comedy, but because some situations were so strange and uncomfortable that people almost laughed in spite of themselves. The humor never undercut the horror. The movie maintained its credibility as a genuinely unsettling experience from beginning to end.

    I’ve seen comparisons to Alfred Hitchcock, and honestly, that’s fair.

    For people who don’t understand the movie, don’t want to understand the movie, or simply aren’t interested in trying to interpret it, that’s fine. They probably won’t watch it again.

    Others may find themselves returning to the theater more than once.

    There’s something about that buzzing yellow aura,  those endless hallways, and the stained carpets that almost makes you feel like you can smell them.

    The long-term success of this movie will depend on word of mouth. The initial excitement was clearly there this weekend. Fans, parents, teenagers, and entire families came out in force.

    I’ve seen some people absolutely hate it.

    I’ve seen others love it.

    Put me firmly in the camp that loved it.

    I honestly think it’s one of the greatest horror films I’ve ever seen.

    Not because it was the scariest or had the best monsters with a big budget, but because it was more than a movie.

    It was an experience.

    For two hours, you felt like you were there.

    Kane Parsons did an amazing job.

    And perhaps the best review I heard wasn’t inside the theater at all.

    It happened afterward in the parking lot.

    On a bright, sunny early summer afternoon, families were heading back to their cars. Younger movie goers were talking about their favorite scenes. Parents were looking at each other with confused expressions.

    Then one grandmother, walking away from the theater with her family, finally broke the silence.

    “I’ll call you later. I need to take a break because I don’t know what the f*** that just was.”

    Maybe none of us do.

    But it’s the Backrooms.

    It’s meant to be explored no matter what the f*** it is ..

  • Obsession leaves the theater with you

    Obsession leaves the theater with you

    Obsession Proves Horror Still Thrives Where Other Genres Struggle..


    Horror always succeeds where other genres fail. Even a movie with a low budget can make a profit without having to become some gigantic cultural phenomenon.

    OBSESSION didn’t make the top movie of its opening weekend, but it really didn’t have to. The film opened to around $16 million domestically despite reportedly being made for only around $750,000. In today’s entertainment landscape, those kinds of numbers are exactly why horror studios continue to thrive while other genres keep struggling to justify bloated budgets.


    From a talented young newcomer Curry Barker, Obsession stars Inde Navarrette  in the lead role alongside Michael B. Jordan and Olivia Colman.

    The film follows Bear, a music store employee who buys a supernatural toy that grants him his wish for his childhood friend Nikki to fall in love with him, resulting in horrifying consequences.

    The film had already been generating buzz online well before its release, especially among younger horror audiences who seem to crave unsettling stories that blend realism with psychological discomfort rather than relying entirely on jump scares and CGI spectacle. This one had a whole bunch of those awkward social moments..


    What makes Obsession interesting is that it starts off almost deceptively normal at times. There are moments where the audience can laugh or settle into the characters, but then the movie shifts. And once it shifts, it becomes deeply uncomfortable in a way that lingers afterward.

    This movie blended overall lessons of the occult.. sexual abuse.. a lack of moral fortitude among our characters.. and an unsettling thought that we are presented with a villainous woman who really was not the villain at all, and we realize that near the end when we root for who would have been the ‘evil’ person..

    The characters had hedonistic qualities and their likability diminished quickly. The most amazing of people in the movie succumbed to cruel and dreadful fate just for being wholesome .. the curse did injustice to the moral..

    One particular scene completely changed the atmosphere of the theater and took the movie from entertaining to genuinely disturbing. It became shockingly violent..

    And yet no one called 911!?

    That’s where the film worked best.

    It stopped trying to simply entertain and instead made the audience feel trapped inside the situation unfolding onscreen.

    We also loved the honorary mention of the Mandela Effect in the film!


    That’s something horror continues to do better than almost any other genre right now.

    Horror does not need a billion-dollar budget, endless CGI armies, or giant established franchises to succeed.

    It only needs atmosphere, tension, creativity, and a filmmaker who understands how to get under the skin of the audience.

    Younger directors especially seem to understand this shift in audience taste. Instead of trying to recreate the past exactly, they’re building horror around modern anxieties, awkwardness, dread, and realism.


    In the end, Obsession may not become the biggest film of the year, but it really doesn’t need to.

    Financially it already appears to be a success, and creatively it shows once again why horror remains one of the safest bets in entertainment.

    While other genres continue chasing massive budgets and struggling to break even, horror keeps quietly walking into theaters, unsettling audiences, and walking away with profit.

    We saw Obsession so you don’t have to.. but you really will want to.

  • We finally watched Undertone so you don’t have to. Although you might very well want to

    We finally watched Undertone so you don’t have to. Although you might very well want to

    It was good!


    There may be some spoilers here. Maybe not. That’s kind of the nature of this one.


    First off, there are people far smarter than us—or at least people who say they are—who have already broken this film down and latched onto the meaning behind the title. Undertone isn’t just a name. It’s the entire point.


    Our main protagonist, Evie, is the host of the Undertone podcast alongside Justin. The premise is simple enough: they’re playing ten anonymous audio files sent in by someone who refuses to explain who they are or why they sent them. Evie plays the skeptic, Justin leans into belief, and together they perform that balance for the show.


    But as the movie unfolds, it becomes clear Evie isn’t really a skeptic. She’s hiding.


    She’s masking fear, depression, and something deeper that she doesn’t want to confront. When she finds out she’s pregnant, the film quietly reveals another layer… this is not a joyful moment for her. It’s unwanted. And just like the recordings being forced into her life, it’s something she didn’t ask for but now has to face.
    From there, the movie settles into a slow, uncomfortable rhythm. We’re introduced to distorted audio, demonic undertones buried in nursery rhymes, and recordings that feel wrong in ways that are hard to explain. It’s not about what you hear. It’s about what you don’t hear. The silence. The gaps. The suggestion that something is just beneath the surface.


    At the same time, Evie’s mother is dying.


    And this is where the movie starts to hit differently.


    While her mother fades in the next room, Evie retreats into headphones, noise cancellation, and the world of the podcast. She’s drowning out reality while simultaneously immersing herself in something just as disturbing. It’s not just avoidance… it’s a form of coping. Or maybe it’s a form of surrender.
    A lot of people have analyzed this film and pulled meaning from it. There are layers here, and most of them are subtle. But the last ten minutes? Subtle is gone.


    The final stretch is chaotic. Loud. Disjointed. Almost overwhelming.


    The movie has been quiet for so long, relying on tension and sound design instead of cheap jump scares. Then suddenly, everything breaks. It mirrors Evie’s emotional collapse as her mother’s death rattle fills the room. It’s uncomfortable, messy, and confusing… just like grief.



    Everyone is going to walk away from Undertone with a different interpretation. But if you’ve ever cared for someone who was dying, this movie is going to land in a way that’s hard to shake. You hide from it. You distract yourself. You consume media that somehow reflects what you’re going through, hoping to find meaning in the pain.


    That’s the undertone of this film… PAIN.


    Evie isn’t a skeptic because she doesn’t believe. She’s a skeptic because she needs to be. Because believing means confronting everything she’s trying to avoid.


    And in the end, loss doesn’t come cleanly. It comes with agony, confusion, fear, and despair.
    This movie has all of it.


    Like we said… we watched Undertone so you don’t have to. But honestly, you probably should.


    It may not be the “scariest movie of the year” like every trailer claims these days, but it might be one of the most effective. And depending on where you are in life—whether you’ve experienced loss or you’re in the middle of it—the undertone of this film might hit you harder than anything else you’ll see this year.

  • We watched Hive on Tubi so you don’t have to

    We watched Hive on Tubi so you don’t have to

    We watched Hive so you don’t have to.
    It’s a Hive original… and boy, is it original.


    Here’s a couple of spoilers, so be careful if you actually want to check out this seemingly low-budget horror oddity.

    Hive a brand new horror-thriller starring Xochitl Gomez as Sasha, a teen babysitter who loses her charge at an idyllic playground. She must navigate a sinister, deceptive world as she confronts an insectoid entity controlling the children and snatching parents, forcing her to fight to escape a soul-crushing hivemind.

    Hive became available to stream on Tubi April 17, 2026. Xochitl Gomez, Aaron Dominguez, and Tanya van Graan star in this horror filled film that is Directed/Written Felipe Vargas.


    At its core, there’s a hive mind made up of rich, affluent kids living in a rich, affluent neighborhood. There’s definitely a cultural message here about how the wealthy may inflict pain on the working class or minorities. Mix that in with squishy, unsettling blood-and-guts moments and a few strange, graphic scenes of people meeting their demise—yes, including playground equipment—and you’ll start to get the picture.


    Listen… we’re not recommending this one, but we’re also not telling you not to watch it.


    Just don’t watch it alone expecting a good time. This is more of a group movie, where half the room is saying, “That was actually kind of a good idea,” and the other half is begging, “Please turn off this nonsense.”

    Seriously, the trailer was good. The bad is the trailer is showing you some of the best material in the movie!


    It’s a low-budget film for a low-budget night.
    But you know what? The acting wasn’t horrible. The plotline wasn’t terrible either—more like a goofy version of the hive mind from Stranger Things. The commitment was there. The cast seemed genuinely inspired to lean into their roles, and that counts for something.


    Still, despite that effort, we’re left with a “hive mind” concept that ends up being more boring than scary.
    2.9 out of 5.


    A bit weak on the dialogue… but kudos for the acting and the creative thought.

  • Crying with Chuck on a Friday the 13th

    Crying with Chuck on a Friday the 13th

    Friday the 13th.. a secluded theater.. I saw The Life of Chuck, and I’ll be honest — I felt like it was a movie I needed to see as soon as possible. And I felt it was a movie I needed to see alone.

    I had heard some early reviews. People called it a “tearjerker,” and they weren’t wrong. But more than that, it felt personal. Intimate. Not something I wanted to experience in a crowded theater with familiar faces nearby. So I went to an early showing, sparsely populated, quiet. It was just me — and, interestingly, a few other men, also sitting alone, also spread out like emotional islands in the dark.

    From time to time, I noticed a glance — from one of them to me, or from me to someone else. Like we were silently wondering: Are you feeling this too? And I think we were. When the movie ended, none of us rushed out. We all sat there — through the credits — as the Newton Brothers played the final song. Not moving. Not speaking. Just absorbing.

    I’m not saying I found the meaning of life in that moment… but maybe I did. Or maybe I will, when I think more about it.

    What I can tell you is this: The Life of Chuck isn’t a movie you walk out of quickly, or fully understand in one sitting. There are no spoilers to avoid, no mystery to solve. In fact, the third act plays first, and the first act plays last. But somehow, the story still feels cohesive — circular, poetic, and profoundly human.

    Mike Flanagan, adapting Stephen King’s short story, doesn’t just direct this — he masters it. He crafts something important. Something timeless. And I’m not sure we’ll recognize just how important it is until we’re further away from it, looking back.

    I saw the movie on Friday the 13th, a day that felt, in the world, like a pressure cooker: talk of violent protests, military parades, and escalating conflict in the Middle East. It was all there — anxiety, dread, the sense of impending collapse. And yet this film gave me a brief but powerful timeout from all of that. Not a careless distraction, but a moment of reflection. I was actually scanning the news on my phone before the previews started, like many of us do, caught in the loop of doomscrolling.

    But when the movie began, something shifted.

    I was gripped. Not by suspense or horror, but by truth. By something deeper. I was drawn into Chuck’s world, his memories, his story. And at some point, I wasn’t just watching the movie — I was feeling it. I became Chuck, in some strange way. Maybe we all did. And when it ended, I felt dread and hope simultaneously — a rare pairing that only certain stories manage to unlock.

    As the movie puts it: the waiting is the worst part.

    I don’t think this film will fade with time. I think it will grow — in meaning, in relevance, in emotional weight. And I think I’ll always be glad I saw it alone. I needed those several minutes of credits to let my eyes stop watering. I needed my brain to find the bravery to stand up and leave. I think the other men in the theater did too — we all exited quietly, respectfully, giving each other the space to feel without judgment.

    And here’s how I know The Life of Chuck worked:

    The first thing I wanted to do after leaving the theater… was dance ..

  • I just saw a PRECENSE, so you don’t have to– but actually you should too

    I just saw a PRECENSE, so you don’t have to– but actually you should too

    It’s been quite a while since I did a movie review, so here goes nothing!

    I just finished watching Presence, the David Soderbergh film starring Lucy Liu.

    Before heading into the theater, I, like many others, had a general idea of what to expect—a ghost story, but not your typical one. Instead, it’s a story told through the eyes of the ghost, offering a fresh and unique perspective.

    For a modern ghost story, it’s surprisingly creative. The last time something remotely similar was done was probably in the early 2000s with Nicole Kidman’s The Others. However, this film is vastly different. It stands apart with its stark tone and emotional depth. In fact, I believe many of the reviews I’ve read don’t do justice to what this movie offers.

    x x x

    Without giving away spoilers, I’ll just share this: the experience of watching the film in an empty theater added to the creepiness for me. I went alone, expecting a few other moviegoers, but since it was an afternoon showing, the theater was dark and empty. The occasional theater staff peeking in added to the eerie vibe, as if even they were surprised to find someone watching.

    Now, about the film itself: Soderbergh invites us to see life—or rather, death—through the ghost’s perspective. We witness a troubled family with clear signs of sibling rivalry, teenagers dealing with the pressures of peer influence and drugs, and, overarching it all, the theme of death. The antagonist is genuinely dreadful; you despise him. And by the end, in a dramatic twist, he gets his just deserts—though not without deep, dark, unintended consequences for the family.

    What struck me the most was the emotional impact of the film. None of the reviews I read beforehand prepared me for the depth of feeling it evoked. The last 10 minutes were utterly draining, and in the final moments, I sat alone in that dark theater, almost weeping. The intensity of the family’s struggles, the chilling implications of the story, and even the haunting nature of the 100-year-old mirrors left me shaken.

    This movie isn’t boring, contrary to what some critics have said. It’s also nothing like Skinamarink, as some comparisons suggested. This film has dialogue, music, and a narrative style that’s far more engaging. It’s beautifully shot and masterful in its dialogue. While some might argue the human interactions weren’t as creative, I’d disagree. I left the theater deeply moved.

    While there aren’t many jump scares, this film doesn’t rely on cheap tricks. Instead, it reaches into your soul and leaves a lasting impression. There’s something profound and meaningful about it. Even if it’s not to everyone’s taste, I urge you to ignore the critics who call it boring and give it a try. Perhaps you’ll leave the theater as I did, emotionally shaken yet strangely grateful for the experience.

  • You really should see KONG SKULL ISLAND if you haven’t already

    You really should see KONG SKULL ISLAND if you haven’t already

    For those who haven’t yet seen KONG SKULL ISLAND, see it..

    It could be the best movie of this type (monsters bashing each other and humans being caught in the crosshairs) since JURASSIC WORLD..

    Mostly kid-friendly. I worry about those things now that I have a son. He noted that the “big” curse was in it once, and that there were lots of ‘poops but just the other word’ being uttered.

    Despite the number of violent deaths, it’s relatively gore free..

    And it’s just cool.

    Really cool.

    I really wish it would have come out in the summer instead of the dead of winter–this is the type of film that summers are made for..

  • For me, ROGUE won

    For me, ROGUE won

    Opening night lights out.. ROGUE ONE on the theater in front of me.. Truly a monumental show.. One of the best STAR WARS movies.. and it far exceeded FORCE AWAKENS in my opinion…

    But that is my opinion.

    Yesterday I posted a story about just how divisive some of the ROGUE ONE reviews have been. Some love it.. some hate it. No middle ground. 

    The same experience occurred last night. The group of pep[le I went to see the film with actually thought it was mediocre at best.. They loved the DARTH VADER scenes, but for the most part they chalked this up to a less than memorable movie about what happens just before THE NEW HOPE arrives..

    And I thought completely different.

    One of my major issues with the FORCE AWAKENS was how it seemed to almost completely rip off NEW HOPE in storyline –this time a massive death star instead of the older more modest version the Empire built– and how it relied on old characters to get it rough the movie instead of eloping new ones..

    ROGUE ONE stood on its own. It made you believe in the force and gave you a few good reasons to do so. The Empire has always been similar in its storyline to Nazism. But in this film, we get a more hardcore glimpse into just how ruthless they were.. and how often disturbing the tactics the resistance was before Luke Skywalker gave them reason and morality.. 

    ROGUE ONE, for those who had lived under a rock, is the storyline of how the Empire loses its prized possession: The plans to the death star. The rag tag group of rebels referred to in later movies is explored in depth in ROGUE ONE. It gives a face and name to the once nameless storyline. And the brilliance of it is that we did not need Yoda, or Luke Skywalker, or even Chewbacca. There were a few homages and very brief appearances to the old characters we love, but the joy I found in this movie is that I felt like I was walking a new STAR WARS movie for once! It felt creative.. it felt fresh.. it relied not on old gimmicks but instead a limitless storyline.


    And my God, Darth Vader was the most merciless we have seen yet. 

    At one point during the film, I breathed in a big sigh and realized that I was seeing, in a theater, BRAND NEW scenes in a major movie featruring Darth Vader and James Earl Jones as the voice. How much better can that get!

    Did this film had flaws? Sure..why not. But did it have any many flaws as the FORCE AWAKENS? Not to me.


    ROGUE ONE is a movie STAR WARS fans deserved.. and the people who stole those death star plans certainly needed credit. Now they have it. Finally, the names are revealed and the heroes and heroines of the rebellion finally have their story told.

    …indeed…I may very well be going to see this movie again.