SR
The main setting of Japan (“played” here by Taiwan and Taipei) is gorgeously photographed by Scorsese and Silence cinematographer Rodrigo Prieto (The Wolf of Wall Street), with visual motifs of rainy days and mist-covered mountains creating a sense of atmosphere that is no doubt meant to emulate the painterly storytelling style commonly associated with arthouse Japanese cinema. Problem is, Silence comes off more as an imitation of that style than one that Scorse comfortably appropriates and makes feel like his own here. This is most apparent in the film’s careful, yet also heavy-handed use of sound and, yes, silence (for thematic effect) and its pacing – which tends to drag over the course of the film’s lengthy runtime, rather than pass by unnoticeable.
Saw’s legacy is often remembered for its inventive traps, but the original film is actually a psychological thriller – not horror.
CCG writes - "Lost on a Mountain in Maine is based off of a 2013 book documenting the true story about a twelve-year-old boy named Donn who was lost on Mt. Katahdin for nine days. This happened in 1939 where there were no cell phones, air tags, GPS, or any easy way to locate lost people. What makes this story even more miraculous is that Donn wasn't a seasoned hiker with proper equipment. He was separated from his family during a storm and was fending for himself with only the clothes on his back. "
TNS: "The final Venom film, Venom: The Last Dance, is an enjoyable mess that manages to have fun while falling apart."