Showing posts with label castille landon. Show all posts
Showing posts with label castille landon. Show all posts

Friday, 1 December 2023

After Everything (2023) - Movie Review


Well… it had to end eventually. I mean, yeah, this still has a prequel and sequel in the works, but as far as the main story that is the increasingly fucked-up relationship of Hardin and Tessa, this is meant to be the finale. And with the unholy bombshell that the last film ended with, I am once again morbidly curious about how they could possibly follow that up and, more pertinently, how they could make things even worse. And sure enough, they found a way.

Thursday, 15 September 2022

After Ever Happy (2022) - Movie Review

Y’know, at the fourth film in, I was honestly expecting the bottom to drop out of this series. Even with how well the After films have been doing at getting increasingly worse, yet increasingly more fun to watch, with each instalment, I thought it would get to a point where the melodrama couldn’t be pushed any harder and we’d start seeing diminishing returns. I mean, even with film series I like for reasons beyond laughing at their expense, it’s rare to see one last this long and still maintain that key engagement factor. And for a little while, it indeed looked like this was where things would start petering out. But then it decided to floor it into a brick wall and further the series trajectory to unleash what is, somehow, the new worst and new funniest entry in the series.

Monday, 22 November 2021

After We Fell (2021) - Movie Review

What a curious little series this has turned into. The first film is still a garbage fire behind a gasoline refinery, but past that point, these films have basically turned into everything I wanted out of the Fifty Shades series: Silly, phenomenally stupid, but almost endearing in their asininity and willingness to entertain on those terms. And as the third of a proposed four (possibly five) film series, After We Fell is more of the same unhealthy junk food that came before, only it’s lacking in even the most basic of narrative fibre by this point.