TL;DR – A beautiful look at how the pain of the past can define us even when we don’t know that it is happening.
Score – 4 out of 5 stars
Post-Credit Scene – There is no post-credit scene
Walking into this film I didn’t know what to expect, I knew it stared Antonio
Banderas, but not a whole lot else. Indeed, I think that was the same for a lot
of the people sitting around me, with one person mentioning that they “hoped it was more glory than pain.”
However, as the film went on it became clear that this was a film about how
pain and glory can find themselves intertwined.
So to set the scene, Salvador Mallo (Antonio Banderas) was once a famous film
writer/director in Madrid, but these days he spends most of his time in his
house alone with his painting and his thoughts. Over the years his body has
slowly been causing him more and more pain culminating in major back surgery
that he has never really gotten over. Being a filmmaker was everything to him
and now when he can’t physically do it anymore he has lost his purpose for
life. One day he is contacted by a local cinema who has remastered Sabor one of his earlier films and they
have asked him and the lead actor Alberto Crespo (Asier Etxeandia) to come to
host a Q&A. The only problem is that Salvador has not spoken to Alberto in
30 years. But more than that, this event starts dredging up the past in all its
beauty and dysfunction.
TL;DR – This is one of the
strongest opening hours of TV I have seen in years, with the first few minutes affecting
me in ways I was not ready for.
Score – 5 out of 5 stars
A pilot episode of television has a lot it has to do. It has to set the tone,
explain the setting, introduce you to the main characters, and find the drive
for the whole season. I have seen a lot of TV show pilots in my time and even
shows that are fantastic can fumble parts of this very important introduction.
Well, today I look at a show that nails every single element in its 50 minutes
So to set the scene, we open in on a tragedy where Alex Irving (Deborah Mailman)
is thrust into the national spotlight after a video goes viral. Alex shuns all
media request for interviews but she has caught the eye of someone important.
Soon there is a knock at the door and Jonathan (Harry Richardson) who works for
the Federal Government arrives at Alex and her mother Jan’s (Trisha
Morton-Thomas) house in Winton in country Queensland. He is there with an offer
for Alex to take over the seat of a Senator that has just died. She declines,
saying that if Prime Minister Rachel Anderson (Rachel Griffiths) wants her to
be a senator then she can come and ask herself, which is exactly what she does.
For here we will be looking at the episode as a whole, so there will be [SPOILERS] ahead.
TL;DR – An exploration of what it means to come back from nothing, good at times, but always held back a little bit from being great
Score – 3 out of 5 stars
Post-Credit Scene – There is a mid-credit scene
I am and always will be a sucker for a good redemption story, where someone
comes back from nothing only to triumph. Today we get to explore this idea
through the lens of professional racing. Which is always good because at the
very least you will get some good car scenes throughout. However, while Pegasus is an interesting film, it is
always holding itself back just that little bit more than it should have.
So to set the scene, Zhang Chi (Shen Teng) was one of if not the best rally car
driver in all of China. However, one day he decided to take part in an illegal
street race that was intercepted by the police. Five years later after serving
a suspension, and having to sell everything to pay off his debts, he is a free
man. He wants to get back behind the wheel and reclaim his championship for his
son but in those five years the game has changed and there is a whole patch of
new young drivers.