Category: Reviews

Exploring Dean Potter: The Dark Wizard of Extreme Climbing

My dear readers. As a person who never walked, climbing was way out of reach. It is something that occasionally fascinates me. I’ll be honest, if I was able bodied, I wouldn’t risk it. I definitely wouldn’t free climb.

If you want to know how nutty people can be, then you need to watch this.

From the very first frame, The Dark Wizard Episode 1 grabs you with the raw, exhilarating energy of extreme climbing and never lets go. Titled “The Death Consequence,” this opening installment serves as a powerful introduction to the legendary—and often controversial—figure of Dean Potter.

It masterfully blends breathtaking footage of his daring feats with intimate glimpses into the man behind the myth, setting up what promises to be one of the most thought-provoking docuseries of the year.The episode opens by immersing viewers in Potter’s early years in Yosemite during the 1990s, where he bursts onto the scene as a fiercely talented, renegade climber. We see him forging new ascents, setting world records, and connecting deeply with a tight-knit community of like-minded adventurers who thrive on the sport’s intoxicating mix of freedom and adrenaline.

The cinematography is nothing short of spectacular—sweeping shots of towering granite walls, heart-pounding sequences of free soloing and base jumping, and slow-motion captures that make you feel the wind and the exposure. It’s viscerally exciting, the kind of footage that leaves you breathless and in awe of human potential.

What elevates this episode beyond a simple highlight reel of athletic achievements is its honest, unflinching exploration of Potter’s inner world. Friends and contemporaries, including Alex Honnold, share candid reflections on his restless energy and the darker undercurrents that drove him. One particularly poignant thread is how Potter used the “death consequence”—that razor-edge awareness of mortality during his most extreme pursuits—as a form of therapy to quiet his racing mind and battle personal demons. Journal entries come alive on screen, revealing a sensitive, introspective soul seeking clarity through emptiness and risk. Lines like “I need to quiet my mind” hit hard, transforming the narrative from pure adrenaline into a profound meditation on mental health, self-medication through danger, and the complex relationship between joy and struggle.

Five stars out of five. Just don’t copy him. A ticket to an early death.

Review: The Testaments Episode 1 – A Stunning Dystopian Journey

Multiple people wearing red cloaks walking on a damaged street in a destroyed city.

Ah readers, there is surely no better way to spend a Friday afternoon than reviewing a series in one of my favorite dystopian universes.

Is it strange that I loved The Handmaids Tale, being a man and all. I couldn’t care less.

Years after the events of The Handmaid’s Tale, The Testaments (on Hulu) follows two teenage girls navigating life inside the oppressive regime: the dutiful and pious Agnes (played with quiet intensity and breakout star power by Chase Infiniti) and the spirited newcomer Daisy (Lucy Halliday), a convert from beyond Gilead’s borders. Assigned as mentor and mentee at Aunt Lydia’s elite preparatory school for future wives—where obedience is enforced with brutal, divinely justified precision—their unlikely bond becomes the emotional core and catalyst for upheaval.

To date, I’ve only seen the first episode but that will change this weekend.

What makes this setup so brilliant is how it reframes the dystopia through youthful eyes. Instead of the raw desperation of Handmaids, we get the gilded cage of privilege mixed with stifling control: lavish yet suffocating halls, rigid social hierarchies, and the constant psychological weight of expected perfection. The series smartly avoids retreading familiar ground—no sea of red cloaks in the early episodes—and instead builds a textured, lived-in world that feels both evolved and eerily consistent with what came before. It’s a defiant coming-of-age tale that explores friendship, identity, rebellion, and the quiet power of connection in the face of systemic cruelty.

Visually, The Testaments is stunning. The production design contrasts opulent, pristine settings with underlying menace—think polished marble and elegant uniforms that mask the brutality beneath. Cinematography captures both the grandeur and the claustrophobia of this society, while the score enhances the emotional undercurrents without overpowering the performances.

Giving the first episode 4 stars out of 5.

Have you seen it? What did you think?

Magnus Carlsen’s Dramatic Face-off: A Netflix Review

Chess pieces on a board with a tornado and lightning storm in the background

My dear readers, as you may all have gathered by now, I love Chess. So when I saw Chess Mates on Netflix, I immediately watched.

It revolves around Magnus Carlsen, the undisputed greatest chess player of his generation, facing off against Hans Niemann, a brash young American talent who rose through online chess during the pandemic boom. What starts as a dramatic over-the-board victory quickly spirals into one of the most bizarre and talked-about controversies in modern sports history.

Magnus Carlson is convinced that the young Hans cheated. The first question that arises is how. They search for devices before each match.

It deals with the Carlsen-Niemann scandal with such intelligence, balance, and cinematic flair that it feels more like a high-stakes thriller than a standard sports doc. From the very first minutes, the film hooks you. It masterfully sets the stage:

The production quality is outstanding. Netflix spared no expense with crisp archival footage, sharp interviews, and smooth pacing that keeps the nearly 75-minute runtime flying by.

The directors weave together player interviews, expert analysis from grandmasters, journalists, and even some of the wild online speculation (yes, including the infamous “anal beads” rumors) without ever feeling exploitative. They let the story breathe while providing real context about the pressures of elite chess, the explosion of online play, and the challenges of proving (or disproving) cheating in a game where engines are stronger than any human.

I was particularly impressed by how even-handed the documentary feels. It gives both sides a voice — Carlsen’s deep frustration and skepticism, Niemann’s defiant personality and claims, and the broader chess community’s divided reactions. No cheap villain-making here; instead, it explores the human elements: ego, genius, paranoia, ambition, and the blurry line between intuition and suspicion at the highest levels.

The talking heads are excellent — thoughtful, articulate, and sometimes refreshingly candid. The way the film builds tension around key games, analyzes critical moments without drowning non-chess players in notation, and examines the aftermath (including the lawsuit and lingering bad blood) is superb. Even if you only have a passing interest in chess, the universal themes of rivalry, trust, and scandal make it incredibly accessible and entertaining.

Overall, I was more inclined to agree with Niemann. Carlson comes across as very smug to me. The fact that Niemann cheated online when he was 16, 17 hardly proves much. Lots of people cheat at that age I’m sure. At leasr he wasn’t on drugs, right.

This gets four out of five stars from me.

Oreus 2 part (v)

Soldiers in combat-ready wheelchairs strategizing around a holographic table in a wasteland bunker.

Oreus glared. “You cannot be serious! The Fianna Warriors will be torn to shreds.”

The Governor’s eyes narrowed as he stared back. “Do you think you know better than the Emperor’s representative?”

Looking downwards Oreus replied, “No, of course not. It’s just that it would be over too fast. What entertainment would there be?”

Brigid grinned. “Remove the weapons restriction. That should liven things up a bit.”

The Governor slammed his hands on the table. “Done. Now, how do we get our a Gargantuan?”

Oreus felt sick as the conversation switched to how exactly the Gargantuan would be procured. The name Galvius was mentioned and then various prices. But it all blurred into his background.

“What do you think, Oreus?” The room went quiet. The Governor was looking right at him.

Oreus shuffled in his seat. “It all sounds in order.”

The Governor took a fit of coughs. “Good, then it is all settled. You can inform your warriors of their next challenge. Let’s hope they can make it interesting. That is all.”

The Governor, took a step back, then left followed by the others. At all Oreus made sure that he was ready to fire, just in case. Better to be seeking forgiveness than dead. He was last to leave, shaking his head in disbelief.

A Gangster’s Life Review: Charm and Chaos in British Crime Comedy

Silhouettes of two men facing each other, one aiming a gun, with police tape and cracked background

If there one that the British are good at, it gangster films. Who could ever forget Lock, Stock and two smoking barrels?

So, I was eager to see if this latest film lived up to my expectations. Unfortunately, it didn’t.

A Gangster’s Life (2026) is a low-budget British crime comedy-drama directed by Zak Fenning (his feature debut), written by Roy Rivett, and released digitally in the UK on January 19, 2026, via Miracle Media. It runs for over 90 minutes.

It has a strong start, with two low level gangsters on the verge of being tortured for scamming a ruthless London mob boss. When he discovers how they did it though, he puts business first and they are forced to join his gang. They decide the only way to escape is to do a double scam and flee to Greece, where they believe they will be safe.

The story mixes gritty London gangland tension with fish-out-of-water moments abroad, blending crime caper elements, dark humor, power struggles within the mob, and some attempts at character-driven drama.

The film’s biggest assets are its central performances and occasional bursts of charm. Tony Cook and Jonny Weldon make a solid double act as the mismatched duo—Cook channels a Jason Statham-like tough-guy charisma with his bald-headed, accented presence, while Weldon leans into the comedic potential of his character’s unfortunate name (“Dick”) with blunt, very British humor that often lands.

There are genuinely funny moments, tense sequences, and even a few meaningful beats amid the chaos. The opening title sequence has energy, nodding to Bond-esque flair or late-night crime TV, and the script delivers on-the-nose genre tropes—exaggerated personalities, one-liners, and underworld bravado—with unapologetic enthusiasm.

On the flip side, the movie struggles under the weight of its modest budget and debut-director ambitions. Production values feel limited, with pacing that can turn uneven, dialogue that occasionally stalls, and a story that sometimes plays it too straight or veers into TV-drama territory rather than feeling like a polished feature. Critics have noted character inconsistencies, a muddled ending in places, and moments where the humor or tension falls flat—not always intentionally funny.

Three stars out of five from me.

Uncovering the Truths of Slavery in History

Small green sprout growing between broken rusty iron shackles on a stone floor.

I liked the show about Native Americans so much that I decided to give this one a shot. His promotion included that you won’t have learned this in school. Which is true, but personally, I have learned a lot of it over the years.

Matt Walsh’s A Real History of Slavery is a compelling, no-nonsense documentary that cuts through the one-sided narratives too often presented in modern education and media.

Rather than treating American chattel slavery as an isolated, uniquely evil invention of the West, Walsh provides essential historical context that reveals slavery as a near-universal human institution stretching back thousands of years across virtually every culture and continent.

What stands out most is the film’s willingness to highlight uncomfortable but well-documented truths: African kingdoms actively participated in capturing and selling millions into slavery long before Europeans arrived; the Arab and Islamic slave trades were massive and often far more brutal, including the enslavement of Europeans by Barbary pirates; and the transatlantic trade, while horrific, was dwarfed in scale and duration by other systems, including the East African trade. Walsh doesn’t shy away from these facts—he embraces them to show that slavery was the norm throughout history, not an aberration unique to America or white Europeans.

He draws a parallel between white slavery and indentured servants, pointing out that half died before they were eligible for freedom. However, he skips over the institutionalization of the process for blacks, where if your mother was a slave, you were. This may have happened to some whites, but it was rarer.

The production is crisp, engaging, and accessible, making complex historical realities easy to follow without dumbing them down. Walsh’s straightforward narration avoids sensationalism while delivering a clear message: the story of slavery isn’t simply one of Western guilt, but one of human nature, power, conquest, and—crucially—abolition. The West, particularly Britain and the United States, played a leading role in ending the global slave trade, a moral achievement that deserves far more recognition than it typically receives today.

I give it four stars out of five.

Have you seen it? Let me know in the comments.

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Challenging Myths: The Real History of Native Americans

Two cowboys on horseback silhouetted against a dramatic lightning storm on the open plains.

Many of my readers may not be familiar with Matt Walsh. He is a popular right-wing YouTuber from the United States. He is as reviled as he is loved, becoming famous for his opposition to trans ideology, and especially child transitioning, describing it as child abuse.

Here, in an over one-hour-long documentary, he delves into a different contentious topic. Note that I watched it on YouTube. Also available on DailyWire+.

Matt Walsh’s “The Real History of the American Indians” is a bold, refreshing, and much-needed documentary that cuts through decades of romanticized myths and perhaps ideological propaganda. In this episode of his Real History series, Walsh delivers a clear-eyed examination of Native American history that challenges the dominant narrative taught in schools and pushed by Hollywood.

He dismantles the fairytale of universally peaceful, noble “Indians” living in perfect harmony with nature, only to be mercilessly victimized by evil European settlers. Instead, Walsh presents a more complex and historically grounded picture: one where tribes frequently engaged in brutal warfare, conquest, and slavery among themselves long before European arrival, where concepts of land ownership differed sharply from Western traditions, and where conflicts with settlers involved aggression on multiple sides rather than one-sided genocide.

He points out that pre-Civilization violence was horrific and worse on a pro rata basis than modern warfare. No prisoners were taken – everyone apart from pre-adolescents but not babies faced extermination if a battle was lost.

Although not mentioned in the series, this is one of the reasons the African populations boomed after colonization, also. Free from constant war, farmers could grow crops. Similarly, the population of Ireland grew after the arrival of the Vikings, who brought trade and settlements, reducing overall conflict.

What makes this documentary stand out is Walsh’s signature style: sharp, unapologetic, and deeply researched. He doesn’t shy away from uncomfortable truths on any side, but his core strength is exposing how selective storytelling has been weaponized to instill guilt and self-loathing in modern Americans.

Myths like the “smallpox blankets” as deliberate genocide or the idea that the entire continent was “stolen land” with no legitimate settlement are taken apart with logic, primary sources, and straightforward reasoning. The result feels liberating rather than divisive—it’s history as it actually happened, not as activists wish it had.

Visually and structurally, the film is engaging and accessible. Walsh combines narration, historical context, and pointed takedowns of mainstream shibboleths without descending into dry lecturing. Viewers come away better informed about the realities of pre-Columbian societies, intertribal conflicts, the challenges of assimilation and reservation systems, and the genuine progress that Western civilization brought to the continent. It’s a strong antidote to the guilt-tripping versions of American history that dominate today. If you’re tired of sanitized, agenda-driven accounts that treat Native Americans as cartoonish victims or infallible environmental saints, this documentary is essential viewing. Walsh does what great historians should: he tells the raw, unfiltered truth that sets the record straight and helps us understand our shared past without the self-flagellation.

Four stars out of five from me.

Have you seen it? What did you think? Let me know in the comments.

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Predator: Badlands – Exciting New Film Highlights and Insights

Armored soldier with a rifle standing in a desert during a lightning storm at sunset.

Everyone, how could I possibly not have known about this new film? My flicking through Disney+ came to an abrupt halt. A new Predator film. Predators or Yuatja have gone up against Aliens (the rib-cracking ones) and Arnold Shwarzneggar for God’s sake!

Predator: Badlands is a 2025 American science fiction action film directed by Dan Trachtenberg and written by Patrick Aison from a story by Trachtenberg and Aison. It is the seventh installment in the Predator franchise and stars Elle Fanning and Dimitrius Schuster-Koloamatangi in leading roles.

Predator: Badlands is an absolute blast—a fresh, exhilarating, and surprisingly heartfelt entry in the Predator franchise that breathes new life into the iconic Yautja hunters while delivering nonstop thrills.

The story follows Dek (Dimitrius Schuster-Koloamatangi), a young Yautja “runt” cast out from his brutal clan on Yautja Prime. Desperate to prove his worth to his unforgiving father and earn his place as a true hunter, Dek sets off for the nightmarish death planet Genna. His goal? To slay the legendary Kalisk—the ultimate, seemingly unkillable adversary that even seasoned Predators fear. Along the way, he forms an unlikely alliance with Thia (Elle Fanning), a damaged Weyland-Yutani synthetic (android) who’s lost her lower body but retains sharp wit, resourcefulness, and a surprising amount of heart. Their odd-couple dynamic—gruff alien warrior and clever, talkative synth—becomes the emotional core of the film, blending humor, mutual respect, and genuine growth as they navigate Genna’s lethal ecosystem.

What makes Badlands stand out is how boldly it expands the Predator mythology. We get immersive glimpses into Yautja culture, clan dynamics, and their ruthless honor code, all without slowing down the pace. The homeworld opening sequence is gripping, setting up Dek’s internal conflict perfectly: he’s not just hunting for trophies—he’s fighting for acceptance in a society that values only strength. Once on Genna, the planet itself becomes a character, teeming with deadly flora, ferocious fauna, and environmental hazards that keep the tension sky-high. The action set pieces are inventive and visceral, blending practical effects with seamless CGI for some of the franchise’s most creative hunts and battles yet. From high-tech Predator weaponry to brutal close-quarters combat, it feels raw, tactical, and immensely satisfying.

Visually, the film is a triumph. Trachtenberg and cinematographer Jeff Cutter craft breathtaking, alien vistas that make Genna feel both beautiful and terrifying. The Predator suit work and movement (brought to life with impressive physical performance from Schuster-Koloamatangi and his team) look fantastic, while the creature designs—including the Kalisk and other Genna threats—are imaginative and menacing. The score pulses with energy, enhancing both the quiet character moments and the explosive action.

Performances elevate the whole experience. Schuster-Koloamatangi delivers a compelling, mostly nonverbal turn as Dek, conveying vulnerability, determination, and quiet growth through body language and those iconic Predator mannerisms. It’s a bold choice to humanize the “brute” without losing his edge, and it works beautifully—you’re genuinely rooting for this outcast hunter by the end. Elle Fanning is a standout as Thia; she’s charming, funny, and resilient, turning what could have been a sidekick into a fully realized partner whose banter and ingenuity provide perfect counterbalance to Dek’s stoicism. Their chemistry crackles, turning survival into something warmer and more meaningful. The supporting cast, including the clan dynamics back home, adds weight and stakes without overcomplicating things.

At its core, Predator: Badlands is about more than just hunting—it’s a story of found family, redefining strength, and learning that true worth comes from connection and adaptability rather than raw dominance.

Five stars out of five from me. An absolute must-watch.

Epic Review of 2012: A Disaster Movie Masterpiece

Skyscrapers collapsing into a fiery lava-filled chasm under a dark, stormy sky with lightning.

I watched this old blockbuster yesterday. Okay, I admit it. I only recalled watching it years ago, about halfway through.

2012 (2009), directed by Roland Emmerich, stands as one of the most exhilarating and ambitious disaster films ever made—a true spectacle that delivers non-stop thrills, jaw-dropping visual effects, and an unapologetic celebration of human resilience in the face of apocalyptic chaos. If you’re looking for a movie that turns the end of the world into an edge-of-your-seat rollercoaster ride, this is it. Emmerich, the master behind classics like Independence Day and The Day After Tomorrow, outdoes himself here with a film that prioritizes pure cinematic excitement over subtlety, and it succeeds brilliantly on those terms. The car driving along while all the buildings collapsed on either side was particularly memorable.

At its core, 2012 follows a diverse group of characters as they race against time to survive a series of cataclysmic events triggered by massive solar flares that destabilize Earth’s crust. John Cusack stars as Jackson Curtis, a struggling writer and divorced dad who becomes an unlikely hero, desperately trying to save his family amid the unfolding global nightmare. Amanda Peet plays his ex-wife Kate, Chiwetel Ejiofor brings gravitas as a dedicated scientist working for the U.S. government, and Woody Harrelson adds memorable eccentricity as a conspiracy theorist who sees it all coming. The ensemble cast handles the mix of personal drama and high-stakes action with sincerity, making you genuinely care about their fates even as the planet crumbles around them.What truly elevates 2012 is its breathtaking scale and groundbreaking visual effects. This is Emmerich at his most extravagant: entire cities like Los Angeles are torn apart by massive earthquakes, with roads splitting open, buildings collapsing in domino fashion, and cars desperately navigating collapsing freeways in one of the most intense opening sequences in cinema history. Yellowstone erupts in a fiery cataclysm, mega-tsunamis swallow landmarks worldwide, and iconic sites—from the White House to the Vatican—meet spectacular ends.

The CGI, which was cutting-edge for its time and still holds up remarkably well, creates immersive, awe-inspiring destruction that feels both terrifying and exhilarating. Scenes like the family’s frantic escape through crumbling Los Angeles or the desperate boarding of massive “arks” designed to save humanity are pure adrenaline, blending practical stunts with seamless digital wizardry to deliver one jaw-dropping set piece after another.

Beyond the spectacle, the film taps into a universal theme of hope and survival. Despite the overwhelming odds, 2012 never descends into pure nihilism. It balances the chaos with moments of heart—family reconciliations, acts of selflessness, and a quiet optimism that humanity can endure even the worst.

The screenplay cleverly weaves in real-world inspirations from the Mayan calendar prophecy (popular at the time) while keeping the focus on character-driven stakes. At nearly 2 hours and 40 minutes, it gives ample time for both intimate emotional beats and globe-spanning devastation, ensuring the pacing rarely lets up once the disasters begin.Critics may sometimes dismiss it as over-the-top or cheesy, but that’s missing the point—2012 knows exactly what it is and embraces it wholeheartedly. It’s big, loud, and unpretentious fun that prioritizes entertainment value above all else.

The sound design amplifies every rumble and crash, pulling you deeper into the experience, while the score heightens the emotional and epic tones. For fans of disaster movies, it’s a standout: more intense and visually ambitious than many of its peers, with a sense of wonder amid the wreckage. In the end, 2012 is a triumphant blockbuster that reminds us why we go to the movies—to witness the impossible, feel the rush of adventure, and emerge with a renewed appreciation for the fragility (and strength) of life.

If you haven’t seen it, do yourself a favor and experience it on the biggest screen possible. It’s a wild, unforgettable ride that delivers pure cinematic joy through destruction. Highly recommended for anyone who loves epic scale, heartfelt moments, and the sheer thrill of watching the world (almost) end.

Five stars for sheer spectacle and entertainment value from me! I caught up with it on Disney+

Wheelchair Wars Oreus

Glowing blue holographic man standing in a futuristic office overlooking a city skyline.

Oreus looked out over the great hall of the Fianna below him from his living quarters. Hundreds of his fighters were practicing, chattering, and loitering below.

His brow furrowed as he focused on Timothy, who was chatting with Audrey and Olsen.

The living quarters were large. A double bed with numerous pillows and screens on each of the walls linked to cameras throughout the compound and beyond.

A buzzer goes off.

“Sean, Answeer caall,” Oreus said.

A holographic image of a middle-aged woman appeared. She was sitting in battle chair, with guns on either side. Her long, black hair covered only her larger-than-normal forehead,

“Whaat doo I oowe the pleaasuure, Brigid?”

She smiled. “You know why I’m calling. I thought you would have been there. I heard some of your warriors even called out your name as they were bludgeoned to death.

Oreus grimaced. “Thaat’s oone thiing yyou weere alwaays good aat. Geetting uunder myy skiin.

Brigid laughed. “You do get so fond of your little pets. Remember, they either die in our service or that of the Emperor. Think of them as nothing more than cannon fodder. It helps keep things in perspective. Otherwise, talking to you will become such a downer.”