r/Cinema

Each actor brings something different to the role. While I believe Tobey Maguire was the best, many argue that Tom Holland is the one who best embodies the character of Spider-Man.

I saw Back To The Future with friends way back in 85. The audience gave it wild applause and afterwards I felt like I was walking on air.

I'd love to know how people felt after seeing Star Wars, ET, Alien, Indiana Jones, Pulp Fiction or whatever it may be....

The Goldfinch film is actually a great companion movie to the original Pulitzer prize-winning novel. It was poorly received when it came out, and some critics said it was "too faithful" to the book. For those who had not read the book, it could seem rushed, confusing, and didn't give people time to connect emotionally with the characters.

I just finished watching The Song of Sparrows by Majid Majidi, and honestly, I’m kind of amazed by how simple yet powerful this film is. This was actually my first Majid Majidi film, and now I’m really looking forward to exploring more of his work. It’s not a movie with a big plot or dramatic twists, but the way it makes you feel that’s what stayed with me. There are so many small moments that really stuck with me. One scene in particular when the container of fish falls felt so real and chaotic, and the acting there was just incredible. It didn’t feel like acting at all. What I loved the most is how the film focuses on small things honesty, daily struggles, and simple choices and shows how they slowly shape a person’s life and even their destiny. It’s such a quiet message, but it hits deep. The contrast between rural life and city life was also beautifully shown. The village felt calm and grounded, while the city felt fast, messy, and a bit overwhelming and you can actually see how that starts affecting Karim as a person. Also, I don’t know if it’s just me, but the film felt so raw and real that it almost didn’t feel like a “big budget” movie and that actually made it even more beautiful. It’s one of those films that doesn’t try too hard, but still leaves a strong impact.

Cinema had been sparring with television since the cathode ray first began glowing in American living rooms, but in 1976 it landed its biggest punch. Sidney Lumet’s Network looks into the medium’s soul and finds commerce, hysteria, and a ravenous appetite for spectacle. And while television is the film’s obvious target, Paddy Chayefsky’s script widens the indictment to include the larger American culture that made such a medium not only possible, but profitable.

Chayefsky knew television from the inside. Having helped define the early medium with teleplays such as Marty, he understood both its possibilities and its deformations. By the mid-1970s, however, the writer had grown disgusted by what he saw around him: news divisions shaped by ratings, corporate interests disguised as public service, and viewers increasingly content to let the idiot box think on their behalf.

Out of that anger came Howard Beale, the aging UBS anchor whom Chayefsky turns into both prophet and patsy.Beale’s on-air breakdown, his cries of “bullshit,” and finally his command that viewers get up, go to their windows, and shout their rage into the night, register at first as acts of revolt. Consider how Beale’s fury is not allowed to become political action, only programming. His anger becomes a product, a catchphrase, a marketable convulsion for an audience that wants catharsis more than change.

To be sure, Network remains prophetic because it foresaw sensationalist news, reality television, the merging of information and entertainment with unnerving clarity. Its deeper outrage, however, is directed at the corporate mechanism that can absorb dissent and sell it back to the masses. In Chayefsky’s world, television is a freak show, an amusement park, and above all a business. The real sting of Network is that the system does not fear our rage...it monetizes it. On UBS, the revolution will be televised.

I have no idea where to post this but I was at a cinema and the movie looked like this the entire time, what could've happened here?

India’s most ambitious cinematic project, Ramayana, just gave us our first visual glimpse, and the scale already looks unreal.

With a reported $500M budget, this isn’t just another mythological adaptation. The film is being built for a global stage, backed by top-tier Hollywood talent. The VFX is being handled by DNEG (known for multiple Oscar-winning work), with motion-capture expertise from Terry Notary, and music composed by Hans Zimmer.

From the first visuals alone, you can see the intent: massive world-building, high-end CGI, and a clear attempt to match (or even compete with) global epics like Avengers: Endgame in scale and presentation.

The film is planned as a two-part release:

Part 1: 2026

Part 2: 2027

With a massive worldwide rollout across ~42,000 screens.