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- クライアント・リストG2012ドラマ, 犯罪, ロマンスHer business is your pleasure.Riley is a single mother living in a small Texas town and leading a shocking double life. Her secret would send shockwaves through the community and possibly land her in jail if it was ever exposed. Riley's taken a job at a seemingly traditional day spa, but soon realizes that the parlor offers a little more than just massage therapy. It's not the happy ending she was expecting but it does open her eyes to a world she's never seen before.
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Tom Selleck's mustache and Paradise, Massachusetts' toughest police chief: here's seven Jesse Stone mysteries for Movember.人気のレビュー
Crystal Lake
One month to go, until my most anticipated show of 2026 premiers. Linda Cardellini is the perfect choice to play Pamela Voorhees. Can't wait to see how they expand upon the whole Friday the 13th lore as well. With what I've seen in the trailer; I'm quietly optimistic, that we're in for something very good here. October the 15th can't come quick enough. I've got my Fingers Crossed 🤞🤞 that "Crystal Lake" is going to be good. After I finish watching all 8 episodes, I'm going to rate & review the first season. And also rank all of the episodes, from my least to my most favourite episode in the "My Discussions" category.PhysicalMedia4LifeCrystal Lake2026年9月15日Musk
Musk and Event Horizon (1997) are both journeys into the darkest corners of human ambition, except Alex Gibney’s documentary runs nearly four goddamn hours, making the viewing experience feel like you’ve personally boarded the Event Horizon, activated its gravity drive, and spent an entire afternoon crawling through a wormhole straight into Satan’s digestive tract. Bro, at 3 hours and 55 minutes, this thing is so long that by the third hour you’re practically begging Laurence Fishburne’s Captain Miller to blow the airlocks and put you out of your misery. But the length also gives Gibney room to explore Elon Musk’s contradictions, from the genuine audacity of his technological ambitions to the increasingly troubling consequences of his public influence. There’s something fascinating about comparing Musk to Sam Neill’s Dr. William Weir, two men obsessed with pushing humanity beyond its known boundaries, convinced that the greatest discoveries lie on the other side of doors nobody else has the balls to open. Weir invents a gravity drive that folds space and accidentally punches a hole into a dimension of eternal torment, while Musk dreams of making humanity multiplanetary, a considerably more optimistic destination, although the documentary questions what happens when enormous technological power becomes inseparable from one man’s ego. Gibney’s relentless accumulation of interviews, archival footage, and controversies becomes its own infernal production design, replacing Paul W. S. Anderson’s blood-soaked corridors and spinning machinery with a nearly endless procession of headlines, rocket launches, and increasingly uncomfortable revelations. The editing sometimes feels like the Event Horizon’s gravity drive malfunctioning, folding three separate documentaries into one gigantic black hole that refuses to release its audience. Yet beneath all that hellfire, there’s a genuinely compelling examination of innovation, celebrity, wealth, and the dangerous temptation to mistake personal ambition for humanity’s salvation. Event Horizon (1997) remains the superior masterpiece of cosmic damnation, but Musk makes a surprisingly convincing case that you don’t need to discover an actual wormhole to Hell when you’ve already got four hours, a billionaire with a rocket company, and a director determined to drag you through every burning circle of the inferno. By the time the credits finally roll, dude, it feels like you’ve traveled to Neptune, taken a wrong turn through Beelzebub’s furnace, and returned to Earth about three geological eras older.RipLinesManMusk2026年10月27日The Dog Stars
The Dog Stars and Event Horizon (1997) are basically two different expeditions into the bowels of Hell, except Ridley Scott replaces a spaceship that punched a wormhole through Satan’s backyard with a beat-up Cessna flying over a Colorado landscape that looks like Lucifer personally scorched it with a flamethrower. Jacob Elordi’s Hig is essentially Laurence Fishburne’s Captain Miller after the Event Horizon’s gravity drive ripped open the gates of damnation and dumped him back on Earth, surrounded by the ashes of civilization. Josh Brolin’s Bangley brings the same hard-ass survival mentality, guarding their little patch of purgatory like the last security checkpoint before the ninth circle of Hell. Bro, the similarities get pretty gnarly when you consider how both films use isolation, machinery, and the promise of salvation to lure their characters toward something potentially monstrous. Sam Neill’s Dr. William Weir builds a gravity drive that folds space and accidentally discovers a wormhole straight into a dimension where demons have apparently turned eternal suffering into an energy source. Hig’s mysterious radio transmission serves a similar purpose, a voice calling from beyond the wasteland that could be an invitation to paradise or the Devil whispering directions to his furnace. The production design makes that connection even sweeter. Paul W. S. Anderson turns the Event Horizon’s corridors into a floating Gothic cathedral, complete with cruciform architecture, industrial machinery, and a gravity drive resembling the mechanical jaws of Hell. Scott takes the opposite approach, transforming the open skies and abandoned landscapes into an enormous outdoor inferno where the apocalypse has already happened and the survivors are just waiting for the demons to finish their paperwork. Even the Cessna becomes a miniature Event Horizon, a fragile metal coffin carrying its pilot toward an unknown destination, except Hig has no wormhole to collapse the distance between himself and salvation. He has to fly through every miserable mile of this earthly underworld. Both directors understand that the real horror isn’t simply discovering Hell exists, but realizing how easily grief can convince someone to enter it voluntarily. Weir embraces the abyss because he mistakes damnation for transcendence, while Hig risks everything because he refuses to believe the entire universe has become a crematorium. Event Horizon (1997) remains the hotter, nastier masterpiece, a movie where the flames seem capable of melting the soul clean off its skeleton, but The Dog Stars finds its own haunting beauty in a man flying through the Devil’s smoking backyard, hoping there’s still a little piece of Heaven beyond the fire.RipLinesManThe Dog Stars2026年10月27日Resident Evil
Resident Evil and Event Horizon (1997) both understand that Hell doesn’t need to be underground, bro. Sometimes it’s hiding on the other side of a wormhole, and sometimes it’s waiting in a hospital corridor with a mouthful of rotten teeth and absolutely no respect for visiting hours. Zach Cregger takes the familiar Resident Evil formula and drags it through a meat grinder, delivering a nasty, claustrophobic survival nightmare that feels like somebody opened the Event Horizon’s gravity drive inside Raccoon City and let Satan’s entire biological weapons division crawl through. Austin Abrams plays the unfortunate courier like a younger, considerably less prepared version of Laurence Fishburne’s Captain Miller, a regular dude suddenly responsible for surviving a catastrophe that makes every reasonable escape route look like the entrance to another circle of damnation. Meanwhile, the infected creatures feel like distant cousins of the mutilated horrors lurking beyond Sam Neill’s Dr. William Weir’s wormhole, human bodies transformed into something so grotesque that death starts looking like the more generous option. The production design is where the comparison really catches fire. Paul W. S. Anderson built the Event Horizon like a Gothic cathedral welded to a slaughterhouse, with its rotating gravity drive resembling a mechanical gateway into Lucifer’s digestive system. Cregger achieves a similar atmosphere through abandoned medical facilities, contaminated interiors, and corridors that seem to descend another hundred feet into Hell every time somebody opens a door. The sound design deserves particular credit, with every distant scream and mechanical groan suggesting something unspeakable is chewing through the walls. What makes both films work is their treatment of scientific arrogance as an invitation to damnation. Weir believes humanity can conquer the limitations of space and accidentally discovers an express wormhole into eternal suffering, while Resident Evil’s biological experimentation turns the human body itself into a gateway for monsters. Dude, imagine being promised a revolutionary scientific breakthrough and discovering you’ve actually purchased a one-way ticket to Beelzebub’s basement. The pacing occasionally gets so frantic that the characters barely have time to register the horrors around them, but the relentless momentum is part of the appeal. Event Horizon (1997) remains Paul W. S. Anderson’s masterpiece of cosmic damnation, where the fires of Hell burn hotter than a thousand collapsing stars, but Resident Evil is a seriously entertaining descent into the same infernal territory. One movie opens a wormhole to Hell. The other suggests Hell has been waiting inside our own DNA the entire time.RipLinesManResident Evil2026年10月27日Verity
Hope Anne Hathaway is doing ok, this is by far the worst movie she’s been in From the opening scene edited like a trailer it’s obvious something is very wrong Absolute cringe extravaganza, almost couldn’t watch, Dakota johnson is painful to watch and her character is unintentionally an insane person as is the main guy, they both behave like david lynch dream logic characters The absolutely least earned couple jump scares ever So much wrong with it The plot is awful nonsense All of this does make sense when you consider the actual purpose of the film is just a sex fantasy story, doesn’t excuse the terrible writing/editing/acting. Very easy to compare to “housemaid 2015” which is another female sex fantasy movie thinly veiled as a thriller, however had an actually fun/interesting plot and twists Overall does have a bit of entertainment value as a cringe comedysopulaVerity2026年10月24日Primetime
Nightcrawler meets Natural Born Killers meets Weird: The Al Yankovich Story meets Moby Dick The movie that dares to ask who is more exploitative, the pedophiles who try to meet up with 13 year olds, or the team who make a spectacle of capturing them before they do? The movie manages to make it a semi-compelling question. When a potential crime is heinous enough, is it okay to plaster your target's face all over television before a legal trial? Is it okay that one of the core drivers of your justice brigade is simply trying to win an Emmy, and draw more eyeballs than a show with polar bears on a mysterious island by any means necessary? Is it okay that your fan base snarls about how they should be carved up and bled out instead of incarcerated? Is it okay to become a sort of facsimile to the very thing you're hunting, as long as you feel justified? Is it okay that the paragon of your version of justice, who is sworn to protect vulnerable children, only interacts with his own children in so far as he forces them to watch inappropriate material to stroke his own ego, while being otherwise completely absent from their lives? Chris Hansen, Dan Plumb, and Andie Bender all make for very compelling characters. Each a damaged person, each driven, each with a singular vision. I appreciate how each of them is given equal ownership of the story and screen time. Unfortunately I think the style and aesthetic was ultimately a little bit too much for me. I appreciate subjective cinematography, it can be used to great effect and really enhance the emotional resonance of a scene or film as a whole, but every single frame was cranked to 11 in this. When even scenes where a character is attempting to buy candy from a vending machine, or having a catch and a chat are shot as though we're watching an unhinged psychotic have a massive breakdown, it starts to feel like the movie is shoving an emotional palette into my orifices, rather than attempting to enhance a natural response. That said, I'd rather a filmmaker really try for it and whiff. It's still far better than taking the safe, meaningless, bankable middle ground, whether nothing is said or offered beyond a bit of runtime. And there's no doubt Primetime has something to say and says it with passion and flare.vangh1Primetime2026年9月28日
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VisionQuest
Vision’s Mindscape
What do you think about how Vision’s Mindscape, or Psychoscape (of being in an old fashioned homestad with his AIs as servants and isolated Ultron as forcefully voiced) is portrayed by the makers of Visionquest? How could Marvel Television/Studios escalate on this idea within the universe?MinimalGAVisionQuest2026年10月25日Avatar: Seven Havens
Avatar: Seven Havens In Sweden
Finally, *Avatar: Seven Havens* has arrived in Sweden on SkyShowtime. I have to say, the Swedish dub is absolutely fantastic—just as good as the English version. It’s a shame that SkyShowtime only gave us three episodes to start with; I was expecting six, like in the English release, but it’s still really good. I hope the rest arrive soon.matzonyAvatar: Seven Havens2026年10月17日Spider-Man: Brand New Day
It’s was good but no way home was better
Many people say it’s the best Spiderman movie but I am going to say that’s not true no way home brought us something iconic something we knew it was possible but it was too good to be true no way home is truly better than brand new day don’t get me wrong brand new day is a great movie my top 2 but genuinely it’s not at no way homes level it’s incomparable.TanuxxiSpider-Man: Brand New Day2026年8月26日This movie is as bad as everyone else says it is
If you’re one of those who think others may be wrong and want to be a risk taker, this movie is for you. The first 60 minutes went by pretty uneventfully but usually a climax more than makes up for it but you won’t find that here. The ending felt like the screen writer and director were fired before the movie was finished and they just made something up. It’s not only derivative but hastily done and insults the audience for staging with it hoping something truly redeeming but all you get is get a discounted supermarket pie in the face. Between watching this or getting a root canal, I’d have to say the root canal just edges out.TheFifthGoldenGirlThe Dog Stars2026年9月7日My Review & Thoughts on Crystal Lake Season 1 👇
Crystal Lake is a very competently made prequel and reimagining of the Friday the 13th universe. I really loved how they expanded on the whole Friday the 13th mythology & lore, with some of the creative decisions that they went with here. By far this 1st Season of "Crystal Lake's" biggest strength though is, and it goes without saying "Linda Cardellini" as "Pamela." She really embodied & disappeared into the character of "Pamela Voorhees." It was as if "Linda Cardellini" was born to play this role she was phenomenal all the way through this 1st Season. She didn't put a foot wrong. Also just both how "Pamela" was potrayed by "Linda Cardellini" and with how the character was written, has really given "Pamela" a lot of staying power for the "Friday the 13th universe. I also loved the way they kept "Jason" totally in the background, and just seeing him in flashes after his drowning in the Opening Episode was a smart move imo; because it felt his eventual reveal as an adult where we see him full on in the final Episode, 💯 felt earned and it was a great payoff for this Opening Season. The whole revelation of why "Jason" can't die and why he was born the way that he is, was also another major highlight for me. It made total & utter sense and I don't think creatively they could have come up with a better explanation for "Jason's" abilities. I'm 💯 on board with it 👏👏👏 And on top of that at the same time, they've made "Pamela" a very tragic & sympathetic character, even though she's a villain. When they were showing the backstory of "Pamela's" earlier life in Episode 7, I couldn't help but feel sympathetic for the character. She wasn't born a psycho, she was made into one, and that's one of the main elements of Season 1 that for me, they absolutely knocked out of the park, I bought it. And a lot to do with this Season having the feel, look, vibe & atmosphere of the 80's films with them filming this Season in the same locations, that the old Friday the 13th movies were filmed in. That did make a massive difference as well, in keeping the Friday the 13th DNA 🧬 there. I loved that. Overall a very strong Season that imo stuck the landing on what it was going for. It took some massive swings which I totally admire abd in this case it payed off, well at least for me anyway. However some of the creative decisions they took here will cause division between "Friday the 13th" fans, but I'm on the side that's championing what they've done here. I liked how everything all came together in the last 2 Episodes, just a very well done and made Season of television. My Personal Ratings/Scores for Crystal Lake Season 1 is ⭐️⭐️⭐️⭐️⭐️ & a 10/10PhysicalMedia4LifeCrystal Lake2026年10月18日I think it sounds good
I have not watched this yet, but plan to in the future. I personally think it sounds good. Everyone who knows me, knows I like books better as a hobby and pastime Now, I'm going to watch this because the synopsis and reviews and discussions from a few people here make it sound worth while.C.C.Verity2026年11月1日
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