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In the age of film continuity, remakes and live-action, Wonka is a direct prequel to Mel Stuart's Willy Wonka And The Chocolate Factory, full of music and splendour. With amazing actors such as Timothée Chalamet, Hugh Grant, Olivia Colman and the legendary Rowan Atkinson, Wonka promises to be an explosion of joy and to bring back the "magic" of the original film, but it lacks a certain narrative sparkle that many nostalgia-driven older viewers have waited for. Despite everything, it's still a musical movie as sweet as chocolate itself.

The story explores the origins of Willy Wonka (played by Timothée Chalamet), a young man from humble beginnings and a great dreamer whose goal is to become a great chocolatier in the big city, close to the other great chocolatiers who make up the chocolate industry. Gifted with quasi-chemical skills in making homemade chocolate, Willy arrives in the city with twelve silver coins and a "hatfull" of dreams, and is immediately surprised by the reality of facing the challenges that arise. In the process of adapting to his new life and starting a dream, Willy falls for the scam of Mrs Scrubitt (played by Olivia Colman), the owner of a filthy laundrette who tricks people looking for local accommodation by offering an "eternal" stay in exchange for forced labour. Between musical moments, the viewer gets to know the other characters, including Noodle (played by Calah Lane), an orphan who can read and becomes Willy's right-hand pal, the old accountant Abacus Crunch (played by Jim Carter), the failed comedian Larry Chucklesworth (played by Rich Fulcher), the shy Lottie Bell (played by Rakhee Thakrar) and the laid-back Piper Benz (played by Natasha Rothwell). As in the original film, where Willy Wonka invites five children to the chocolate factory, in this prequel, Willy joins forces to help Mrs Scrubitt's five prisoners escape (Noodle can be compared to Charlie's role in the original film). In the course of the narrative, it is revealed that the chocolate industry is controlled by a trio of treacherous chocolatiers who envy Willy's skills, corrupting the city's police to the point of sabotaging Willy's endeavours (by paying chocolate-based bribes to the Chief of Police), who decides to put an end to the reputation of the evil chocolatiers in his own way (with lots of music, elaborate choreography and, of course, chocolate). It's also important to mention the various moments of nostalgia in the film, such as the presence of the Oompa-Loompa with the original design (played by Hugh Grant) and the eventual explanation of how Willy Wonka's incredible chocolate factory came to be.

Wonka doesn't present anything new, but he delivers what he promises. This is an enjoyable film for kids and adults who grew up with the original film (or Tim Burton's Charlie and the Chocolate Factory). It's a film that respects and makes reference to the past and, with the strong actors in it, it would be impossible to go wrong. Willy's journey to realise his dream is motivating and the narrative about Noodle's past provides a "comfortable bed" of mystery that helps combat the sugariness of the work. Finally, I just want to congratulate the performance of Timothée Chalamet, who manages to bring out the essence of Gene Wilder's Willy Wonka (and sang Pure Imagination with finesse). I conclude this review by giving the film a 7.5/10 rating, recommending it to all chocolate fans.

This is one of my favourite movie and, without a shadow of a doubt, a film that everyone should see because of its historical and cinematic importance. Roberto Benigni's Life is Beautiful (or, in Italian, La Vita è Bella) won the Grand Prix at the Cannes Film Festival in 1998, around nine David di Donatello Awards in Italy and three Oscars at the 1999 Oscar Ceremony (which included the awards for Best Foreign Film, Best Actor and Best Soundtrack). Incredibly, the achievements don't stop there, given that it is also the most watched film on Italian television, garnering a total of sixteen million viewers when it was broadcast in 2001.

Inspired by the book Ho Sconfitto Hitler by Rubino Romeo Salmonì, Life is Beautiful is a dramatic comedy that tries to bring an essence of optimism and hope to a struggle for survival in extreme circumstances. Negatively criticised for conveying a "comic and light-hearted" approach to what happened at the beginning of the narrative, Life is Beautiful in no way diminishes or ridicules the horrific and inhumane events of the Holocaust. On the contrary, we see the struggle and sacrifice of a father's love for his son's safety, even doing the impossible to make things right. A tragic-poetic narrative that leaves the viewer glued to the screen, wishing for the best possible scenario for the characters. In this emotional story we meet the Jewish Guido Orefice (played by Roberto Benigni), an outgoing waiter with a unique active humour who meets Dora (played by Nicoletta Braschi), an upper-class Italian woman with whom he falls in love. The first part of the narrative explores Guido and Dora's relationship in Mussolini's Fascist Italy during the 1930s, followed by the second part, which takes up most of the movie. Now married to Dora, the father of little Giosué (played by Giorgio Cantarini) and now the owner of a bookshop, Guido has the misfortune of being sent (along with his son and his uncle, the old Eliseo) to a concentration camp due to Jewish persecution during the Second World War. It's at this point in the narrative that the initially comical and brazen character is inverted into a narrative of tension and sensitivity, capable of leaving any viewer with tears in their eyes. In order to keep his son safe and keep him "pure and innocent", Guido pretends that the whole event is a game where everyone is against everyone and the "final prize" is a real battle tank (since Giosué likes tanks). Guido's physical and mental efforts override the human limit, doing everything possible to keep his son hidden and untouchable inside the concentration camp. This is a story of paternal love, affection and resistance against the dictatorial authoritarianism of what was a bloodthirsty regime. Roberto Benigni, the great star of Italian cinema, gives all his talent and soul to a performance worthy of the Oscar he won.

It's a movie that stands alongside cult classics like Schindler's List and The Pianist, strong and reflective for many (including me, who always lets a few tears fall when I watch this masterpiece). Films like these are an account of a past that must never happen again, stories of pain, suffering and great sadness. All of us, unique and rational elements of a global society, must fight for this society to remain fair, equal and civic-minded. Even in the midst of chaos and destruction, where there seems to be no escape, there is always a ray of hope where we can laugh and fight against oppression. I finish this review by giving the film a rating of 10/10, leaving my deep and sincere recommendation.

An unexpected addition that surprised many Five Nights at Freddy's fans in a positive way, despite bringing little in terms of gameplay. With a new premise and the introduction of new characters (some of whom were sneakily introduced in the previous FNAF World), Five Nights at Freddy's: Sister Location returns to the origins of point-and-click, but significantly reduces the Horror, relying heavily on Narrative and Suspense. With a clearer, more objective narrative, accompanied by dialogue and a few mini-games, Five Nights at Freddy's: Sister Location ends up continuing to deliver the same recipe, and may prove repetitive and frustrating for some players.

Just like Five Nights at Freddy's 4, whose protagonist is no longer the classic Night Security Guard, in Five Nights at Freddy's: Sister Location we take on the role of Mike, a Mechanical Technician who works the Night Shift at Circus Baby's Pizza World, a new restaurant chain from Fazbear Entertainment Inc. Aimed at a younger audience and using top-of-the-range animatronic robots (unlike the robotic technology used in the robots we've been seeing). Unlike previous games, where you have to "survive" the Five Nights, in Five Nights at Freddy's: Sister Location, the player has to complete a set of varied activities (with a strong mini-game "flavour") to complete the turn. From checking the animatronic activity to resetting electrical systems, all the activities prove dangerous, as the animatronics are aggressive towards the Player. Accompanied by a faulty artificial intelligence guide-system and the sinister Circus Baby, an animatronic apparently more intelligent than the rest, the Player "faces" figures such as Funtime Freddy and Bon-Bon (a reference to the classic Freddy and Bonnie), Funtime Foxy (who was introduced as a playable character in FNAF World, this being a reference to Foxy) and Ballora, a robot dancer apparently created to "attract the attention of children's parents" with a "mesmerising" dance. Whenever we finish a night, the Player returns home, where he watches a kind of soap opera called "The Immortal and the Restless". Like its predecessors, there's still a "Hard Mode" and a "Custom Night" mode (where you play as the Night Security Guard in a system similar to the first games in the franchise).

Even with a more polished and modern take on the story, I feel that the only thing Five Nights at Freddy's: Sister Location adds to the player is more information about the history of the franchise itself. It gets its due for being, like Five Nights at Freddy's 4, "different" in terms of gameplay and for having a slightly better graphic quality compared to its predecessors, but it's not enough to match others in the franchise. With Nights that are extremely difficult to the point of having to create an improvement patch (in the case of Night 4) to the point of taking all the pleasure out of playing, there is a panoply of small elements that reduce the quality to a "Whole". That said, I have to end this review by giving the game a rating of 7.5/10.

Here's another emotional and curious animation from Netflix, Drifting Home is a Japanese animation nominated for Best Anime Film of 2023, losing the podium to Sword Art Online Progressive: Aria of a Starless Night. With fluid animation and impeccable work by the dubbers (both the Japanese and English dubbers), A House Adrift presents us with a complex narrative that explores the Five Stages of Grief and the behaviour of young pre-teens when faced with dangerous situations, where Friendship and Trust are called into question.

Despite managing to balance the elements of Drama with Comedy and Adventure (Drama being the main element that makes up the narrative), A House Adrift fails to define a target audience, adopting a narrative direction (with some violent moments where blood and physical injuries appear) for a much older audience than the one that would possibly be attracted to the work. In this touching animation, we meet a group of five youngsters (aged between 10 and 12) who are prevented from returning home when they find themselves trapped inside a residential block about to be demolished. The residential block is nothing more than the old building where Kosuke and Natsume (the main characters) lived, a place of many strong memories that prove to affect young Natsume in particular. The group is made up of stereotype characters that are very common in POP culture or Japanese media. Kosuke is the typical adventurous and logical male character, with explosive behaviour and an indomitable spirit, Natsume is the one who keeps her feelings to herself, repressing herself and conveying a false sense of calm and security, little Taishi is the comic relief and pairs up with Yuzuko, the typical "gentle giant". In parallel, there's the energetic and popular Reina whose temper is controlled by the calm Juri, the "adult" character in the group of friends. Together, they try to return home and survive in the ocean where the residential block seems to be adrift.

In addition to the mystery of the residential block and why it was "teleported" into an ocean with other buildings adrift, there are also small secondary elements, such as the identity of Natsume's "friend", the mysterious Noppo, and why Natsume and Kosuke stopped being friends. The narrative has a beginning, middle and end, bringing all the narrative elements together at the end without leaving any questions open. Although it has an interesting premise and, like other Japanese animated films, contains an intense soundtrack and breathtaking moments, some of the concepts it deals with have already been explored in other films and anime, such as the dynamic that exists between all the characters. Even though it enchants on the visual and aural fronts, it doesn't innovate in the narrative niche.

It is possible to say that A House Adrift is a film that could please a large part of the public interested in Japanese entertainment content, behaving as a singular and well-structured piece of cinema, but it loses the definition of a target audience and zigzags between narrative elements that, if explored, could have made the whole story more intense and interesting for the viewer. With that, I end this review by giving the film a rating of 7.5/10.

Directed and scripted by Josef Fares, winner of the 2019 BAFTA for Best Multiplayer Game, A Way Out is a cinematic experience that is more like an interactive film with alternative endings than a game. Similar to games where two players are required, such as It Takes Two or Unravel Two, this work presents us with a deep and well-crafted narrative, impacting and giving rise to a bond of affection and empathy between the player and the characters. After being sentenced for crimes they didn't commit, Vincent Moretti and Leo Caruso have their fates crossed after helping each other in a prison fight, slowly establishing a bond of trust that intensifies when they discover they have the same enemy, a mobster called Harvey. It's from the moment Vincent creates an elaborate escape plan that the "real" game begins, with both players initially choosing one of the main characters to play.

With intuitive gameplay and a greater focus on visual and narrative elements, A Way Out achieves what many cooperative games fail to do: create an intense narrative and give the player the feeling that they are watching a film rather than playing a typical video game. Accompanied by a series of mini-games hidden in a detailed and rich setting, the player is allowed to deviate slightly from the "Story Mode", exploring the "false open world" that the game establishes (where the settings are minimally explorable). Although there is a lack of many elements that could enrich the gameplay (such as greater freedom to alter the characters' looks and a real open world to explore), such elements would eliminate the "interactive film" experience that the game offers. The sound ambience is superb and the development of both characters as you progress is exceptional. The need for constant co-ordination and help between the players to solve the puzzles is notorious and can lead to memorable moments during the experience for both players. In addition to the puzzles, there are also a few moments where the essence of the game comes together with the setting presented, adopting moments such as car chases in the middle of forest regions reminiscent of Uncharted or brief moments of survival that give a touch of The Forest (but without the cannibals the game is so well known for). Given the nature of the game, it's recommended not to delve too deeply into the story to avoid weakening the experience.

Even though it's a game outside my "gaming comfort zone", A Way Out was a tremendous surprise and one of the games that will go down in my list of "Best Games I Played in 2024". The graphics and sound work deserve to be applauded and the narrative in the construction of the characters of Vincent and Leo is comparable to characters in 70s thrillers (like the film Taxi Driver, for example). This brings this review to a close, giving the game a rating of 8.5/10 and leaving my recommendation to anyone looking for a game to play with a friend or loved one.

Considered by the overwhelming majority of fans to be the worst game in the entire Five Nights at Freddy's game franchise, FNAF World (or Five Nights at Freddy's World) is a Final Fantasy and Dragon Quest style RPG where the player has the opportunity to explore the world of Animatronica, a "magical" and "fun" universe (without any terrifying aspect, as if it were designed for a children's audience) where all versions of animatronics live in harmony. With a weak premise, confusing gameplay and inelegance of the final product, FNAF World received so much criticism at the time of its release that Scott Cawthon himself withdrew it from Steam, leaving it free (just like Ultimate Custom Nights) on his profile on Game Jolt, the website for independent game developers.

After choosing the difficulty of the game (Normal Mode or Hard Mode), the Player can choose whether to start with a Standard team (made up of two teams of four Animatronics) or a Fixed team (the Fixed team being unchangeable throughout the game) and, after choosing the type of team, they are introduced to Fredbear who informs them of a "great Evil" that is terrorising all Animatronics. Once the conversation with Fredbear is over, the Player is "dropped" without any kind of tutorial or indication into the game's "First World", a setting that mixes 2D and 3D and gives the impression that it hasn't been finalised yet. The player is then forced to explore the map, embarking on a cartoonish adventure where they can occasionally engage in battles with enemies who are apparently from Five Nights at Freddy's lore. With more than 48 characters available to "capture" and use in battle (a bit like Pokémon) and with a wide range of combinations with "Bytes" and "Chips" (in-game collectibles that alter the statistics of the team the player uses, giving certain advantages against certain enemies) the player has the opportunity to collect around nine trophies that will only become available if the player manages to complete all eight alternative endings (each trophy associated with an ending). Beyond the Normal Mode Ending and the Hard Mode Ending, it becomes a challenge to figure out how to unlock the rest of the endings, since the game gives absolutely no hint, clue or even indication that these endings exist, being treated as "easter eggs" that only the most daring and curious can complete. Between precarious and outdated combat mechanics, a weak narrative (which only serves to "play" with the player's patience and advertise the next game in the franchise, Sister Location) and the use of "glitches" (parallel dimensions that lead the player to enter epileptic scenarios in order to teleport around the six worlds on the map), the game doesn't know what audience it wants to reach. Despite the "interesting" concept, the most inattentive players will have a hard time finding these "glitches" and, if they do, they may think they are flaws in the game itself (as the first players thought).

Even though I'm an avid fan of role-playing games and appreciate the extensive narrative developed by Scott Cawthon, FNAF World is, in my opinion, an incomplete game and totally out of keeping with the horror or thriller premise of its predecessors. With many limitations, poor graphics and a weak exploration system, this game only manages to stand out because it is precisely an RPG from a popular franchise and because it offers the chance to play with your favourite characters. I therefore conclude this review by giving the game a 6/10 rating.

With humble origins in the world of YouTube Indie Animation and currently occupying the top spot in Amazon Prime Video's ranking of the most watched series of January and February, Hazbin Hotel is an animated series for adults that has captured the heart of the Internet, maintaining a legion of fans since the pilot episode was released in 2019. In 2024, after many years of waiting, fans finally had access to the first season, with the promise of more seasons to come.

Controversial and innovative, Hazbin Hotel shows the efforts of Charlie Morningstar, Lucifer's daughter and Princess of Hell, to avoid the annual bloodbath that is the Angelic Extermination, an event where exorcist angels led by Adam, the First Man, head to Hell and decimate sinners in order to control the overpopulation. Despite having an almost impossible mission on her hands, Charlie maintains a positive attitude, founding the Hazbin Hotel, a hotel on the Pride ring (the first of the seven rings of Hell) that acts as a place of rehabilitation and redemption for sinful souls. Accompanied by her girlfriend Vaggie and the sadistic Radio Demon, Alastor, Charlie manages to bring together a small group of sinners who intend to seek divine forgiveness and ascend to Heaven. Despite the simple premise, Hazbin Hotel has an immense level of complexity in the development of the characters it presents to the viewer, touching on themes such as forgiveness, redemption and the healing of traumas that come together in the various sinners we meet, as well as dealing with moral issues and criticising the duality between Good and Evil represented in religious texts, demonstrating that there is an extensive layer of "shades of grey" rather than the "black and white" described by the inhabitants of Heaven. Parallel to Charlie's mission, the viewer is introduced to other narratives that further explore the lives of sinners in Hell. We see the rivalry between Vox, the Demon of Television, and Alastor (where the joke is made that the "radio killed the video star", a parallel to the song "Video Killed the Radio Star" by The Buggles), Angel Dust's struggle to free himself from the "prison" that is addiction and the "lust" industry imposed by Valentino, the Demon of the "Lust" Industry, among others. The mystery of Lilith's disappearance (Adam's First Wife and Charlie's mother) is the subject of several fan theories, as it coincides with Alastor's "temporary" disappearance (they both disappeared for seven years), as well as the reason why the Angelic Extermination began or even Alastor's true intentions. It's also important to emphasise that the series, despite being based on biblical texts, takes certain creative liberties that end up enriching the narrative (such as the existence of the Overlords, sinners who have obtained power and influence in Hell through agreements and pacts with other sinners of lesser power).

Every episode is accompanied by two musical moments that are designed to intensify the emotions of the characters (which is an element that some fans find unnecessary, despite the fact that the songs are very good and have lyrics that stick in the ear). The musical moments are accompanied by lyrics and instrumentals by The Living Tombstone, the musical group known on YouTube for their Five Nights at Freddy's songs. Always maintaining a comic and sarcastic tone accompanied by numerous swear words and some sexual jokes or criticisms of the social norm, Hazbin Hotel proves to be a "giant" of indie animation and proves how any project is capable of reaching positions of relevance, as long as it has a good, consistent story and is capable of winning the hearts of fans. The spin-off available on YouTube, Helluva Boss, extends the narrative to the other levels of Hell, giving more life to this universe.

I won't go into too much more detail in order to protect the experience. Despite the attacks and criticisms from the Christian conservative masses, who accuse the series of multiple things, Hazbin Hotel is still a sensational series with incredible songs and an engaging story. The only fault I can find with it is the unfortunate fact that it's only eight episodes long and deserves many more. That said, I'll end this review with a rating of 9.5/10 and a recommendation for lovers of independent animation.

Winner of the Golden Lion at the 2023 Venice Film Festival and with around eleven nominations for the 2024 Oscars, Poor Creatures is a surrealist romance, with an M/16 rating, based on the literary work by Alasdair Gray that presents the life of Bella Baxter and her journey for knowledge and a fair, equal and free life in a secretive world oppressed by the moral norms of a society that hides in a veil of uncertainty.

Beginning in black and white, the viewer is introduced to the routine of scientist and anatomy professor Godwin Baxter (played by Willem Dafoe), a brilliant and peculiar scientist who "plays" with nature and, through logic and science, assembles and disassembles creatures, filling his house with four-legged ducks and pig-headed chickens. Tormented by his father (who was also a scientist and the founder of the university where he teaches), Godwin (nicknamed "God" by those closest to him, making a joke in English with the figure of "God") represents the dehumanisation of the Human Being through Science, where all the answers to the Human Body must be answered with crude, graphic and inhuman experiments (which fits in with the film's narrative, as it possibly takes place at the end of the 19th century). Godwin Baxter lives with his maid, Mrs Prim (played by Vicki Pepperdine) - who is the typical stereotype of a grumpy Victorian maid who obeys blindly - and with the slender Bella Baxter (played by Emma Stone), a young adult who is initially treated as having cognitive disabilities and behaves like a child. For Bella, Godwin is the centre of the world (hence the pun on Bella's term "God"), but he is the same one who prevents her from seeing the world and oppresses her thirsty desire for exploration, behaving like the over-protective "oppressive father" often depicted in classic literature. After the viewer learns more about Bella's supposed past, we are introduced to Max McCandles (played by Ramy Youssef), Godwin's only student who doesn't judge him by his appearance and who gains his trust. Godwin invites Max to be his assistant and, later, to help him catalogue the evolution of Bella's behaviour. As time goes by, Bella develops a more refined intellect and a mutual affection for Max that leads to a marriage proposal and the creation of a document that further oppresses Bella's freedom, leading her to run away with a bohemian gallant called Duncan Wedderburn (played by Mark Ruffalo).

Separated into six parts, the narrative focuses on Bella's psychological growth and the way she begins to interpret the society around her, without moral filters and "pure" in a toxic society. Bella's life becomes a projection of the constant struggle for freedom and women's rights in a patriarchal world. From the discovery of carnal pleasure to the impact of the cruelty of social differences, Bella ends up travelling the world accompanied by Duncan, who initially just wants to live a life of luxury with Bella, abusing her innocence and lack of morals. From London they move on to Lisbon, where Pastel de Nata and Fado conquer Bella's heart (now in a world of colour), a cruise on the Mediterranean where philosophical questions about the meaning of life are challenged and finally Paris, where the political ideals of Socialism reach Bella's mind (and free herself from Duncan).

There are some surprising revelations in the course of the film that can't be revealed, as well as moments that take the viewer's breath away. The "horny" scenes (excessive in my opinion) represent Bella's indomitable and free spirit and the strong and important feminist message the film carries is remarkable. With sets straight out of fantasy books (Lisbon being the most superb) and curious costumes, Poor Creatures could be considered a lot of things, but it's definitely a sensational film. The choice of camera shots and the evolution from black and white to colour bring the film to life and we must highlight the performance of the incredible Carminho, an amazing Portuguese fado singer, who gives her voice to a remarkable moment. I therefore conclude this review with a rating of 9.5/10.

The dark fantasy from 1984 that, alongside The Labyrinth, forms the duo of Jim Henson and Frank Oz films far from the Muppet universe. The Dark Crystal perfectly transcribes the cycle of the Hero's Journey in a fantastic universe of mystical and odd creatures, gently touching on issues such as the Environment, Slavery and the Corruption of Power. Despite the tremendous box office failure and being considered "too scary" at the time for the target audience (which, in this case, was children), The Dark Crystal has aged with refinement and splendor, becoming the favorite "wine" of many lovers of fantasy films and puppets (such as myself).

With a simple narrative, but an immeasurable universe (duly explored and developed over the last thirty years through books, comics and the prequel series on Netflix, The Dark Crystal: Age of Resistance) The Dark Crystal begins with a poetic narration through the voice of Joseph O'Conor, introducing the viewer to the parallels of this world: The Mystics and the Skeksis. On the Mystics' side, we have a kind of hermit druid-like creatures who dedicates themselves to peace and pagan practices while solidifying they connection with the world of Thra (a planet bathed by three suns). As for the Skeksis, we are introduced to a hybrid species between reptiles and degraded birds in luxurious clothes who have reigned for over a thousand years, abusing the power of the Crystal, a purple crystal that is linked to the heart of Thra and represents all Life on the planet. These creatures are portrayed as hostile, arrogant and aggressive, constantly fighting each other in a tireless battle in search of eternal life, for they fear death and oblivion. We are also told that there were once more Skeksis and Mystics, but there are only ten of each left and, on this "anniversary" of a millennium of reign, both the Emperor of the Skeksis and one of the Mystics have died (further strengthening the parallel between worldly Good and Evil, starting an imbalance in the "Natural Order of Things"). In the Castle of the Crystal, the Skeksis fight each other to choose a new leader (which is done through a tribal ritual, demonstrating the true barbaric nature of these cruel beings) and, in the Valley of the Mystics, the Mystics send Jen (a Gelfling who was in the care of the deceased Mystic) on a mission to find Aughra and recover a fragment of the Crystal and thus end the reign of the Skeksis. From here, the narrative forms a parallel between Jen's journey through Thra and the events of the Castle of the Crystal. Jen continues his epic journey through green hills and desert regions until she meets Aughra, an old "elder" as old as Thra, who gives him the Crystal Shard and later crosses paths with another Gelfling called Kira,who lives with the Pod People (a kind of creatures who are enslaved by the Skeksis) and we learn more about Thra's past, where the Skeksis massacred the Gelfling people and destroyed Thra through the corruption of the Crystal (which cracked through their fault). Back at the castle, the Skeksis choose a new leader and expel Chamberlain (a whiny Skeksis with the gift of gab and manipulation) for losing the ritual against the Garthim Master (a rough, violent and arrogant Skeksis). Chamberlain joins the castle guards, the Garthim mutant crabs, and tries to find the last Gelflings (who are Jen and Kira) to avoid the prophecy that one day the Skeksis would be defeated by a Gelfling. The narrative continues, meticulously using the Hero's Journey format with ups and downs in Jen and Kira's journey. After several challenges, the movie closes with Jen managing to save Thra by placing the fragment of the Crystal in the Dark Crystal.

With a simple narrative and puppetry that lives up to the name of the Jim Henson Company, The Dark Crystal manages to introduce the viewer to a whole universe of new characters, rules and world development in an acceptable dose for an hour and a half movie. Although many questions remain unanswered and there are some gaps that the most demanding fans would like to see filled, it's a movie for kids and adults with a rich and consistent message. The fantastic design of the Skeksis and Mystics is surreal and the detail in the composition of the sets brings Thra to life. There's no need to talk about the masterful handling of the puppets or their quality, as the Jim Henson Company has always been one step ahead when it comes to puppet quality. It's one of my favorite dark fantasy films and, if it had received a well-deserved sequel, we'd have a universe capable of reaching the knees of The Lord of the Rings or The Chronicles of Narnia. With this, I finish this review by giving it a rating of 9/10.

The final chapter in the "classic" Five Nights at Freddy's quadrilogy and considered to be one of the scariest and most challenging by fans, Five Nights at Freddy's 4 was released a few months after the previous game, similar to the other games in the franchise. With mini-games that tell a linear story and affect the player's gameplay, as well as a high level of psychological terror (through Sound and the Artificial Intelligence of the animatronics), Five Nights at Freddy's 4 managed to do what its predecessor couldn't, winning back a number of fans and opening up space for the creation of more theories.

Unlike its predecessors, where the player takes on the role of a Night Guard trying to survive five nights in an establishment with animatronics, in Five Nights at Freddy's 4 we are introduced to a much deeper, darker and more graphic narrative. Taking on the role of the Crying Child, a neglected youngster with a fear of animatronics who is bullied by his older brother, the player will have to survive five nights in the tormented youngster's room, fending off horrifying and distorted visions of classic animatronics. These versions are called "Nightmares" and represent the way the Crying Child sees animatronics, being extremely aggressive and frightening. During the course of each night, we discover that there is a countdown to a Birthday Party to be held at Fredbear's Family Dinner, the original establishment that gave rise to Freddy Fazbear's Pizzeria years later, and that the Crying Child is not comfortable with this. Guided by Fredbear's soft toy (which seems to be able to communicate with the Child), the Crying Child tries to endure the torments of his brother, who chases him and scares him with a mask of the animatronic Foxy (the animatronic that the Crying Child is most afraid of). Unlike previous games, where agility and reflexes were the most important elements, Five Nights at Freddy's 4 makes use of hearing and reaction time to seed the challenges that arise throughout the nights. With only the option of closing the bedroom doors or pointing a torch, the player is totally dependent on their hearing to realise where and when the animatronic robots are going to attack, which can lead to situations of excessive sound volume when jumpscares occur (if the player is playing at a volume level above the recommended). At the end of each night, we are introduced to the mini-game that presents the story of the Crying Child and "Catch the Plushtrap", a mini-game in which the player must catch the new animatronic, Plushtrap (a miniature of the animatronic Springtrap), in order to automatically advance two hours the following night (starting at 2am instead of the usual Midnight). It's also important to emphasise that this is the first game in the franchise to provide a guide that helps the player learn the basics of how to play (turning the First Night into a kind of Level 0, where the level of danger is minimal).

This addition to the franchise is proof that Scott Cawthon is capable of developing complex narratives and that the truth behind Five Nights at Freddy's has yet to be revealed to the player, leading many to speculate whether Five Nights at Freddy's 4 is a prequel or a sequel. With countless important dates and only small pieces of information that only the most attentive can register, the secret behind Five Nights at Freddy's is its narrative complexity and the way it manages to grip fans. With a much more mature, intense and graphic approach (such as the use of "blood" and the truth behind the Crying Child) it makes this the true "horror game" of the franchise. I therefore give the game an 8/10 rating.

Twenty years after the comic book was published and more than a decade since the live-action film premiered, Scott Pilgrim Takes Off is a pleasant and explosive surprise that has been accepted with open arms by most fans of the franchise. With the original actors playing the respective characters and a meticulous illustration faithful to that of the comic book, the series has brought a new sense of nostalgia to fans in a set of eight episodes averaging twenty-six minutes each, creating a new way of telling the story of this universe.

Unlike the comics and the film, Scott Pilgrim Takes Off presents a "What If..." style story where the main character becomes the mysterious Ramona Flowers (voiced by Mary Elizabeth Winstead) instead of the controversial Scott Pilgrim (voiced by Michael Cera). Viewers come into contact with a facet of the film where the characters are studied in depth, with greater development and which expands the rules and logic of this Universe. With a beginning almost identical to that of the live-action film, the viewer is introduced to the relaxed life of Scott, a 23-year-old young adult who lives with his best friend Wallace (voiced by Kieran Culkin) while playing bass in his friends' band, Sex Bomb-Omb, made up of Kim (voiced by Alison Pill) on drums and Stephen (voiced by Mark Webber) on guitar. After meeting the girl of his dreams and starting an unofficial relationship with her (even though he already has a girlfriend), Scott is forced to confront the League of Evil Exes, an organisation made up of Ramona's seven ex-boyfriends (each of whom is a physical representation of a phase of Ramona's life that was left unfinished). The story this series offers begins with a twist after the first "battle", when Scott mysteriously disappears. While in the original story it was Scott who took on Ramona's evil ex-boyfriends through epic fights with references to POP! Culture and gaming in order to "earn the right" to date Ramona, it is Ramona who takes centre stage and takes on the Past itself, embarking on a journey in search of Scott, who disappears in the first battle. In the course of her adventure, Ramona crosses paths with her ex-boyfriends and "helps" them with their internal conflicts, giving them the chance to close the chapter of their lives where they dated her.

Scott Pilgrim Takes Off continues to be a work aimed at teenagers and Young Adults, touching on more serious themes such as relationships, the difficulties at the beginning of Adulthood and the fears that can arise when we face our Past. The character of Scott (who is loathed by most fans for his behaviour and immaturity) has a rich development and both Ramona and the seven ex-boyfriends are explored in different layers, giving the viewer an almost impossible perspective that is not even worked on in the original work. Ramona, while searching for Scott, matures and faces her past alone, freeing herself from each ex, just as each ex frees himself from her, moving on to other goals in life. It's important to mention the prominence of characters like Young Neil and Wallace, as well as the animation work and the soundtrack that accompanies every moment. Without going into too much detail, in order to protect the reader's experience of watching the animation, I'll end this review with a rating of 9/10 and a recommendation if you're a Scott Pilgrim fan.

The third game of the franchise and one of the least appreciated by the fans, Five Nights at Freddy's 3 was released just a few months after the second game (same case with the second compared to the first) and gave players the answers to many of the theories that fans had speculated about, putting an "end" to the franchise's history. Even accompanied by a set of secret mini-games and offering more extras, it ended up maintaining the same style of gameplay as the previous games and significantly reducing diversity, beginning a phase of deterioration and decline in popularity.

With a similar concept to the previous games, Five Nights at Freddy's 3 concludes what is considered by fans to be the "Original Story", behaving like a gold-plated attempt that caused more disappointment than enthusiasm. In this game, the protagonist is hired (like in the previous games) to work as a Night Guard for five nights (from Midnight to 6am) in a horror attraction that explores the myths and legends of Freddy Fazbear's Pizza (the company responsible for the pizzerias in the previous games, steeped in rumours and conspiracies about disappearances). Unlike the previous games, where the player is forced to survive the five nights against a host of animatronics with vengeful spirits, in Five Nights at Freddy's 3, the player is put to the test to protect himself from a single animatronic: Springtrap, an animatronic found "at random" at the back of the attraction's building. With no security doors or protective masks, all that is available to the player is the video surveillance system, the attraction's sound system and the ventilation system. Excessive use of these vital resources can cause "system crashes" that have to be fixed by the Control Panel (an innovation that to this day divides fans), leading the player to lose useful seconds during the game. In addition to the constant threat of Springtrap, the player is "haunted" by phantoms, hallucinations of the animatronics from the previous game that cause system crashes (and disrupt gameplay). As always, we have the presence of the "Phone Guy" who reveals a little about the events that are taking place at the beginning of each night and, at the end of each night, we have access to a mini-game that narrates the story. Secret mini-games (with different endings) can also be found in different scenarios (and different nights), but that's up to the player to discover.

Even though it's the supposed end of the franchise, Five Nights at Freddy's 3 is nothing less than a failed attempt to produce an epic poem without any kind of metre. With weak horror elements and even lower difficulty compared to the previous games, as well as the constant exploitation of a gameplay that had already proved repetitive and saturated, all that saves this game are the mini-games (which carry the whole story on their backs) and the diversity of endings (there is a "Good" ending and a "Bad" ending, depending on which mini-games the player unlocks). While the previous games had "Story Mode" and "Custom Mode", the game offers a substitute mode called "Nightmare" (which is the equivalent of the sixth night present in the previous ones). It's still a fun and "challenging" experience, but the existence of only a single animatronic (which can be easily contained if the player discovers the game's programming pattern) and the implementation of the Command Panel can make gameplay frustrating and tiring. I therefore give the game a rating of 6.5/10.

The sequel of Scott Cawthon's big hit and considered one of the best games in the franchise, Five Nights at Freddy's 2 was released a few months after the first game (with a gap of less than two months), innovating in gameplay and bringing a narrative that proves to be much deeper and more disturbing than the one presented in the previous game. With many more Animatronics and a gameplay of greater attention and complexity, Five Nights at Freddy's 2 fixes some of the flaws of its predecessor (despite maintaining the same graphic and sound quality) and opens the door to countless theories speculated by fans.

With the same concept as the previous game, Five Nights at Freddy's 2 brings us a new narrative and "plays" with the chronology of the canon events (moments from the Original Story that are true) in the history of this universe. In this game, the new protagonist is hired to work as a Night Guard for five nights (from Midnight to 6am) in the new pizzeria of the Freddy Fazbear's Pizza chain, a pizzeria with a new brand image and more colourful animatronics, with better technology and suitable for all ages. Unlike the pizzeria we met in the previous game, here we find a new, clean and functioning pizzeria (but with the same vulnerability problems as the previous game, where all the Animatronics try to attack the protagonist). Instead of security doors for our own protection, we now have a Freddy mask (which serves to fool the Animatronics' facial recognition intelligence and thus prevent the attack), a flashlight (to illuminate the corridor in front of the office and mobilise some Animatronics) and a music box (which can never stop playing, whatever the cost). We still have the presence of the video surveillance system and the "Phone Guy" instructor, who calls every night to narrate events that are happening at the moment and further feed the narrative, which is now revealed through four mini-games that are randomly unlocked whenever the player is attacked by an Animatronic. These mini-games turn out to be metaphorical ways of narrating the story to the player in a creative way, other than through text or dialogue.

Despite all the changes mentioned and the variety of new Animatronics (in addition to the four main ones we already know), the game continues to offer an experience that can become tiring in the long run for the player and the level of terror remains in the spectrum of light suspense and jumpscares, already popular in the previous game. Like its predecessor, after completing the "Story Mode" (which consists of five nights), the player can still do the 6th Night and then play the "Custom Night Mode", the only difference being the identity of the protagonist and the extreme level of difficulty. So, all I have to say is that Five Nights at Freddy's 2 is an excellent sequel that manages to surpass the success of its predecessor, but the light level of terror doesn't satiate the search for "fright" and despair that some horror game fans are looking for. It still has the "Achilles heel" of repetitive gameplay, but it's still fun and challenging. Finally, I'll end this review by giving the game a rating of 7.5/10.

Scott Cawthon's first hit game and an icon in the Horror Games genre, Five Nights at Freddy's is a point-and-click with an easy-to-learn concept that had a very strong impact on the gaming community and remained relevant for a long time on YouTube, where reputable YouTubers such as Markiplier and Jacksepticeye made videos that lead the game to become popular in a relatively short time among teenagers. The game's success was due to its simplicity and shallow story (which turned into a complex timeline in the following games), making it a good introduction to horror games. An important fact to note is that Five Nights at Freddy's was the driving force behind other game franchises, such as Hello Neighbour and Bendy and the Ink Machine.

The story behind this game is simple: the protagonist is hired to work as a Night Guard for five nights (from Midnight to 6am) in a pizzeria similar to the American fast-food chain Chuck E. Cheese. Freddy Fazbear's Pizzeria presents itself as a decaying pizzeria for children's parties where shows are put on by a group of four animatronic robots (Freddy Bear, Chica the Chicken, Bonnie the Rabbit and Foxy the Fox). The protagonist's job (which is controlled by the player) is to make sure that nothing happens to the place during the night, keeping an eye on every room in the pizzeria via a video surveillance system. This is when the "horror" element of the game comes into play: the robots come to life at night and are hostile towards the player, who can only close the office doors to protect himself from the robots' attacks (the "jumpscares"). The use of the office doors, the video surveillance cameras and the torch is limited to a percentage of the battery which, when runs out, leaves the player totally vulnerable. Each robot has a behavioural pattern that becomes more complex as the nights progress, leading the player to have a reaction time of mere seconds in order to not lose the game. The game's narrative is implied by small pieces of paper and objects scattered around the setting, as well as by easter eggs that may appear during each night and through the phone calls of "Phone Guy", the protagonist's supposed instructor who calls at the beginning of each night to explain what we should do (and who ends up revealing some of the events of this reality). Basically, the strategy of Five Nights at Freddy's is simple, with the player simply having to memorise the behaviour patterns of each robot and prevent imminent attacks through the sounds made and the use of office doors and video surveillance cameras, requiring strategy and attention throughout the game.

Despite its simplicity, Five Nights at Freddy's has generated a huge community of fans and had such an influence on POP culture that it has spawned more than 13 games, 28 books and the film that premiered on 1 November 2023. Despite being considered a game with old-fashioned graphics and gameplay, it offers the player a healthy challenge that is neither easy nor difficult. Once the player has completed the "Story Mode" (which consists of the five nights), they can still do the 6th Night (a more difficult night) and, finally, they can choose the difficulty of each robot (from 0 to 20) in the "Custom Night Mode" (where the 4/20 difficulty challenge represents the most difficult way to play the game). All that remains for me to say is that Five Nights at Freddy's is a simple game with a mild level of terror (basically zero for true fans of horror classics) and a good way to introduce the theme of horror games to new players. Although it doesn't offer much in the way of long-term entertainment (it can become repetitive or boring), it can provide a few hours of fun and a lot of satisfaction for the player when they complete each of the five nights. With that, I close this review by giving the game a rating of 7/10.

A film with a biographical nature (but without being a biography) and with some dramatic touches that drive the narrative, the film "Napoleon" summarises the last twenty-five years of the life of what is, for many, France's most important historical figure and one of the best military leaders in history, Napoleon Bonaparte. For the production of this film, originally distributed on Apple TV+, Ridley Scott (director of films such as Gladiator, Blade Runner and ALIEN) used the letters that Napoleon Bonaparte (played by Joaquin Phoenix) exchanged with Josephine de Beauharnais (played by Vanessa Kirby) throughout his life, thus giving rise to a film that portrays the most intimate and daring side of the figure of Napoleon. For history experts and the more attentive, you'll easily realise the historical differences between reality and fiction, as well as being pleased with the job Ridley Scott has done in conveying some of the most important moments in Napoleon's life. The narrative begins in the French Revolution, with Marie Antoinette being beheaded and a "rosy" Robespierre beginning the "Reign of Terror". Napoleon, still a general, is assigned to lead the Battle of the Siege of Toulon (1793), which he wins, and where he is appointed Brigadier General. It was from this event that Napoleon began his rise to Power, hoping for a stable France and a peaceful Europe.

Numerous historical events are highlighted, such as the Egypt Campaign of 1798 (where the pyramids were not bombarded by Napoleon's cannons like showed in the film), the Coup of 1799 (which made Napoleon First Consul of France), Napoleon's Coronation (1804), the Battle of Austerlitz in 1805 (also known as the Battle of the Three Emperors, where Napoleon defeated the Austro-Hungarian troops of Emperor Francis I and the Russian troops of the young Tsar Alexander I), the Russian Campaign (1812) and, of course, the Battle of Waterloo in 1815, where Napoleon was defeated by Arthur Wellesley, the Duke of Wellington. It's curious that the French Invasion of the Iberian Peninsula is not explored and there is never any mention of Portugal or Spain. However, since this is a film about the content of the correspondence between Napoleon and Josephine, the absence of certain historical events that we know about through other records is understandable. As previously mentioned, this is a film that explores Napoleon's more intimate side, exposing his insecurities, weaknesses and more "human" side that, for a moment, makes the viewer wish that Napoleon would win. The costumes are exceptional and Martin Phipps has done an incredible job with the soundtrack, while the meticulously positioned sets and extras provide an immersive experience that appeals to the viewer's emotions.

Although I understand some of the frustrations of critics and history experts, I believe that this film should be seen as a film and not as a documentary, where the facts should be true and without any elements of fiction. Bearing in mind that this film has an extended version of around 4h 00min (240min), I believe it could achieve a rating of 9/10. However, I conclude this review with a rating of 8.5/10.

Inspired by the first book of Anne Rice's Vampire Chronicles, the film Interview with the Vampire is the story of the bicentenary vampire Louis de Pointe du Lac (played by Brad Pitt), a young farm owner from the 18th century colonial New Orleans who, after losing his wife and daughter in childbirth, falls into disgrace and loneliness until he is found by Lestat de Lioncourt (played by Tom Cruise), a vampire from the Old World (Europe) who becomes fascinated by him and "gives him the choice he was never given" after attacking Louis at night: accept being turned into a vampire or die. Louis, tired of living, accepts the "tempting offer", but ends up entering a depressive spiral of melancholy, sadness and regret, developing a homo-affectionate love-hate relationship with Lestat over the years they spend together. The two hundred years of Louis' life are introduced to the viewer through an interview Louis is giving to Daniel (played by Christian Slater), a San Francisco journalist from the 1990s whom he meets on a "hunting night".

It is as Louis recounts the events of his life to Daniel that the viewer learns more about vampires and Louis' experiences with Lestat, where we realise that while Lestat is a masochistic and sadistic vampire, a lover of luxury and the "blood of aristocrats", Louis has kept his humanity, preferring to feed on the blood of animals rather than humans. Various characters also appear, such as the young Claudia (played by Kirsten Caroline Dunst) and Armand (played by Antonio Banderas). The film, like the book, transforms the monstrous idea of the vampire creature into a sophisticated and sensitive singular individual, serving as a metaphor for the experiences of people within minorities who are seen as outside the social norm. Anne Rice's Vampirism is emphasised by the presence of strong emotions such as Love, Melancholy, Anger, Sadness and Revolt against a society that doesn't allow them to exist, as well as drawing heavily on the "classic" elements of the mythology that the creature carries (very present in the film Dracula by Bram Stroker), also placing it as something desirable and attractive to the Human spirit, using the concept of Immortality as a force against moral and social issues.

Following Anne Rice's definition of a vampire, the characters present are more human than the stereotype usually associated with vampires (so much so that the current definition of a vampire in POP culture is the one constructed by Anne Rice). The film has a reasonable soundtrack (enough to immerse you in the film), careful lighting work and beautiful sets that depict the two centuries in which the narrative takes place (between the end of the 18th century and the end of the 20th century). With superb costumes in Gothic and Victorian styles and a strong cast, Interview with the Vampire respects and honours the literary work, serving as a chalice of "fresh blood" for fans of Vampires and the writing of Anne Rice, despite the fact that some decisions in character development have not aged well with the passage of time and the narrative developments of fiction. I therefore conclude this review with a rating of 8.5/10.

The fifteenth film of Eiichiro Oda's manga, One Piece Film: Red presents us with a new adventure featuring canonical elements (which are associated with the original story of the work) and non-canonical elements (which are not associated with the original story of the work) from the One Piece manga and anime. Set between the events of the Whole Cake Island arc (episodes 783 to 877) and the Wano arc (episodes 892 to 1072+), One Piece Film: Red is a musical film focusing on the character Uta (voiced by Kaori Nazuka and with music by the Japanese singer Ado), a singer with the style of the Japanese idol industry who gives her first live concert in Elegia, the former Kingdom of Music ruled by the old and melancholy Gordon (voiced by Kenjirô Tsuda). Newly appointed Fifth Emperor of the Sea, Monkey D. Luffy (voiced by Mayumi Tanaka) attends Uta's concert with the rest of the crew, but the atmosphere at the concert changes when the Jellyfish Pirate gang tries to kidnap Uta, who reveals her true intentions.

Over the course of the film, we are introduced to numerous characters that we already know, as well as following the journey of Luffy and the rest of the Straw Hat crew to solve the main problem and others that arise with the help of these same characters. We can also find a mixture of 2D and 3D animation (especially in the moments when Uta sings on stage) that gives to the scenes a cinematic touch. The tradition of the previous films in changing the characters' costumes is maintained and, in keeping with his style of character development, Eiichiro Oda gives Uta a tragic past full of traumas and an abandonment syndrome that grows with her. All these elements that bring the narrative to life are presented to the viewer in a slightly cursory manner, and this story could be converted into an anime in canon format and divided into five or six episodes. Even so, it's impossible to deny Oda's genius in composing engaging narratives and keeping the whole world of One Piece so alive, where no character are overlooked.

Even though it's a musical film (which may be a negative aspect for some viewers), the battles, dedication to detail and special effects are visible and it's a film that will capture the attention of any One Piece fan. As a fan of the anime myself and having followed Luffy and his crew for a good few years now, I can say with certainty that this film will be an enjoyable experience for fans, giving it an 8/10 rating.

Inspired by Scott Cawthon's "Five Nights at Freddy's" video game, Five Nights at Freddy's - The Movie is a creative adaptation of what is, for many, one of the most popular horror game franchises in the gaming world. Five Nights at Freddy's - The Movie is "just another film" in cinemas, innovating only one thing: it's an adaptation that worked. Unlike most films and series that are inspired by video games, Five Nights at Freddy's - The Movie has managed to give the fans of the horror game an enjoyable experience with plenty of fanservice (fans of the video game being the main target audience for this film). With Scott Cawthon - the creator of the franchise - at the helm, we get a narrative that unites everything presented in the games and the books, creating a "new beginning" in a story that already had a beginning.

In the course of the film, we follow the life of Michael "Mike" Scmithz (played by Josh Hutcherson), a young adult who is left to look after his little sister Abby (played by Piper Rubio) after the death of their mother and the abandonment of their father. With a problematic career and desperate to keep custody of his sister, Mike ends up accepting a job as a night guard at an abandoned restaurant, the Freddy Fazbear's Pizza. It's from this point that the action of the film starts. Between the main plot (which is Mike's fight for custody of his sister against her aunt and his attempt to solve his sleep problems, related to a sub-plot that I won't reveal) and the secondary problem (which is Mike's nights at the pizzaria, facing the challenges of the job) we still have a third plot or, in this case, a mystery that is presented by the character Vanessa (played by Elizabeth Lail): The Disappearance of Five Children in the 80s. The film manages to conclude the three plots presented in a quick and unstuffy manner (it could have put more emphasis on the second and third plots, which are more in keeping with what the film is about). With sets meticulously built to include references to the games and with details that only the most delicate fans could notice, we are given a story with a beginning, a middle and an ending that opens the door to a few more films (which have already been announced). The "terror" is definitely in the jumpscares and suspense moments, usually resorting to generic "Villain with Victim" chases or sound changes, accompanied by poor lighting (bearing in mind that we're talking about an PG13 film, where elements such as strong language and gore are not advisable, this is the most we could have).

Rating this film is challenging for me, as I'm a big fan of Five Nights at Freddy's and played most of the games during my pre-teen and teenage years. I believe that the film delivered what it promised to fans who had been waiting for more than eight (8) years for the games and books to be adapted for the cinema. I congratulate Scott Cawthon's constant creative work and end this review with a rating of 7/10 (but with an 8.5/10 in my heart).

Inspired by Agatha Christie's "Hallowe'en Party", A Haunting in Venice can be interpreted as the "third part" of this "trilogy" of films about Kenneth Branagh's version of the fictional character Hercule Poirot. After the events of Death on the Nile (2022), Hercule Poirot (played by Kenneth Branagh) decides to go into exile in Venice and begin his retirement, away from the criminal investigations and anxieties that take his sleep away, adopting a routine far from what he was used to. Encouraged by Ariadne Oliver (played by Tina Fey), a writer and old friend, to take part in a Halloween party, Hercule Poirot finds himself, once again, involved in a case with an almost impossible justification. In the "haunted" palazzo of Rowena Drake (played by Kelly Reilly), ten people are searching for the truth and only Hercule Poirot can find the answer.

Sceptical of the existence of ghosts and the afterlife, Hercule Poirot puts his "grey cells" to work and begins his investigation. Similar to the previous films, the various characters are introduced through the interrogation process, where the climax is built. Between different camera angles, moments of hallucination and attempts to heighten the "horror", the film A Haunting in Venice offers us an interesting adaptation (with a more "scary" flavour) of the book and with some creative changes that give a twist to the whole narrative (one of the best examples to be given is the fact that, in the book, the whole narrative takes place in London while in the film it takes place in Venice). We have the opportunity to meet a Hercule Poirot who is "tired" and "persecuted" by the Death and Disgrace that has accompanied him since the First World War, embracing a Logic that protects him from false beliefs or hopes lost through years of investigations and contact with the most horrible side of Humanity.

I congratulate the costume choices and the sets, as well as the various performances by the film's cast (highlighting here the young actor Jude Hill, who managed to perfectly convey a hidden essence of mysticism and a certain discomfort with the character of Leopold Ferrier). It's an ideal film to watch during the Halloween season and a treat for fans of Kenneth Branagh's Hercule Poirot, but a bit of a travesty for loyal fans of Agatha Christie's books. I believe that the previous films have piqued my interest more and, with that, I leave you with my rating of a solid seven out of ten (7/10).