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Ricky Church reviews the second episode of Hazbin Hotel season 2… The momentum continues in Hazbin Hotel’s second episode of the season, ‘Storyteller’, which showcases the most captivating and headbanging song of the series thus far. This doesn't detract from the storyline and character development present in this episode focused on Heaven, where Sir Pentious copes with the starkly different environment compared to Hell. ‘Storyteller’ serves as a great companion to ‘New Pentious’. While Charlie battles with her survivor’s guilt and attempts to redefine herself from a warmongering angel killer to a being focused on redemption, Heaven is abuzz with the notion that redemption might be attainable, alongside fears of a potential retaliation from sinners due to the numerous Exterminations Heaven secretly authorized. The powerful themes explored in this episode are substantial and engaging, allowing the overall narrative of the season to progress in intriguing directions for what’s ahead. Redemption is undoubtedly central to these themes as Pentious’ arrival is met with skepticism by most in Heaven, while Emily and a few other angels express excitement about the possibilities. Sir Pentious becomes the show’s first character to receive a flashback, revealing his life on Earth as a reclusive and socially awkward scientist who witnessed Jack the Ripper commit his first murder without reporting it to the authorities. This flashback adds depth to Sir Pentious’ character and motivations from the previous season, hinting at why he is the first sinner to be redeemed and welcomed into Heaven. It is also poignant that Pentious can only think about his friends in Hell and yearns to reunite with them. A notable background moment occurs during the song ‘Like You’, where Pentious is seen destroying various items that he later incorporates into his ill-fated device intended to return him to Hell. Alex Brightman and Shoba Narayan shine as Pentious and Emily, with her vibrant positivity—akin to Charlie’s—serving to uplift him. A significant aspect of the episode is the deeper exploration of how Heaven functions, with its overt brightness and positivity clashing with the conflicting politics of its council. Amid their feelings of betrayal regarding the Exterminations and fears of Hell’s resurgence, the introduction of Adam’s song Abel—voiced by Fall Out Boy’s Patrick Stump—highlights his new position as the leader of the Exorcists over Lute, suggesting that Heaven may be facing more internal strife than it has in a long time. It’s compelling to witness Sera grappling with her own inner conflict and guilt after permitting the Exterminations, viewing it as a regrettable necessity for Heaven’s security. Her acceptance of redemption and acknowledgment of the souls lost adds depth to this stoic character, and her solo, ‘Sera’s Confession’, performed by Patina Miller and Liz Callaway, serves as a powerful ballad reflecting her journey. Yet, the standout moment in ‘Storyteller’ belongs to Jessica Vosk in Lute’s emotionally charged rock ballad ‘Gravity’. This track could be the best in the series, highlighted by its powerful lyrics and stunning animation, with Lute's choreography and striking visuals captivating the audience. Scenes such as her imaginary Adam passing through her knife or her walking up a wall evoke the image of an angry caged bird, making ‘Gravity’ a memorable scene. Vosk’s vocals convey Lute's rage and sorrow exceptionally well, engendering sympathy for her. Although redemption is a focal point, it’s clear that Lute will harbor no regret for her actions and will persist in eliminating every sinner she encounters. ‘Storyteller’ is an outstanding episode filled with remarkable character moments, thematic depth, and impressive songs. ‘Gravity’ is compelling enough to be enjoyed outside of Hazbin Hotel, showcasing its rock and emo influences. With these two episodes, this season of Hazbin is proving to be unmissable. Rating: 9/10 Ricky Church – Follow me on Bluesky for more movie news and nerd discussions.

Ricky Church reviews the second episode of Hazbin Hotel season 2… The momentum continues in Hazbin Hotel’s second episode of the season, ‘Storyteller’, which showcases the most captivating and headbanging song of the series thus far. This doesn't detract from the storyline and character development present in this episode focused on Heaven, where Sir Pentious copes with the starkly different environment compared to Hell. ‘Storyteller’ serves as a great companion to ‘New Pentious’. While Charlie battles with her survivor’s guilt and attempts to redefine herself from a warmongering angel killer to a being focused on redemption, Heaven is abuzz with the notion that redemption might be attainable, alongside fears of a potential retaliation from sinners due to the numerous Exterminations Heaven secretly authorized. The powerful themes explored in this episode are substantial and engaging, allowing the overall narrative of the season to progress in intriguing directions for what’s ahead. Redemption is undoubtedly central to these themes as Pentious’ arrival is met with skepticism by most in Heaven, while Emily and a few other angels express excitement about the possibilities. Sir Pentious becomes the show’s first character to receive a flashback, revealing his life on Earth as a reclusive and socially awkward scientist who witnessed Jack the Ripper commit his first murder without reporting it to the authorities. This flashback adds depth to Sir Pentious’ character and motivations from the previous season, hinting at why he is the first sinner to be redeemed and welcomed into Heaven. It is also poignant that Pentious can only think about his friends in Hell and yearns to reunite with them. A notable background moment occurs during the song ‘Like You’, where Pentious is seen destroying various items that he later incorporates into his ill-fated device intended to return him to Hell. Alex Brightman and Shoba Narayan shine as Pentious and Emily, with her vibrant positivity—akin to Charlie’s—serving to uplift him. A significant aspect of the episode is the deeper exploration of how Heaven functions, with its overt brightness and positivity clashing with the conflicting politics of its council. Amid their feelings of betrayal regarding the Exterminations and fears of Hell’s resurgence, the introduction of Adam’s song Abel—voiced by Fall Out Boy’s Patrick Stump—highlights his new position as the leader of the Exorcists over Lute, suggesting that Heaven may be facing more internal strife than it has in a long time. It’s compelling to witness Sera grappling with her own inner conflict and guilt after permitting the Exterminations, viewing it as a regrettable necessity for Heaven’s security. Her acceptance of redemption and acknowledgment of the souls lost adds depth to this stoic character, and her solo, ‘Sera’s Confession’, performed by Patina Miller and Liz Callaway, serves as a powerful ballad reflecting her journey. Yet, the standout moment in ‘Storyteller’ belongs to Jessica Vosk in Lute’s emotionally charged rock ballad ‘Gravity’. This track could be the best in the series, highlighted by its powerful lyrics and stunning animation, with Lute's choreography and striking visuals captivating the audience. Scenes such as her imaginary Adam passing through her knife or her walking up a wall evoke the image of an angry caged bird, making ‘Gravity’ a memorable scene. Vosk’s vocals convey Lute's rage and sorrow exceptionally well, engendering sympathy for her. Although redemption is a focal point, it’s clear that Lute will harbor no regret for her actions and will persist in eliminating every sinner she encounters. ‘Storyteller’ is an outstanding episode filled with remarkable character moments, thematic depth, and impressive songs. ‘Gravity’ is compelling enough to be enjoyed outside of Hazbin Hotel, showcasing its rock and emo influences. With these two episodes, this season of Hazbin is proving to be unmissable. Rating: 9/10 Ricky Church – Follow me on Bluesky for more movie news and nerd discussions.

The Threesome, 2025. Directed by Chad Hartigan. Featuring Zoey Deutch, Jonah Hauer-King, Ruby Cruz, Jaboukie Young-White, Josh Segarra, Robert Longstreet, Arden Myrin, Kristin Slaysman, Allan McLeod, J… “I Want Someone to Surprise Me”: Jennifer Lawrence Discusses Die My Love, Lynne Ramsay’s Assurance, and the Directors She Hopes to Collaborate With.

“I Want Someone to Surprise Me”: Jennifer Lawrence Discusses Die My Love, Lynne Ramsay’s Assurance, and the Directors She Hopes to Collaborate With.

In Die My Love, Jennifer Lawrence plays Grace, a writer whose life is turned upside down when the arrival of a baby prompts her to relocate to rural Montana to be nearer to her husband Jackson's (Robert Pattinson) family. The disruptions in her life stem from various sources, including a lack of intimacy, postpartum depression, writer’s block, or a mental illness. Atropia Trailer: Alia Shawkat Navigates the Struggles of War in Sundance Award-Winning Film

Atropia Trailer: Alia Shawkat Navigates the Struggles of War in Sundance Award-Winning Film

Having premiered at the Sundance Film Festival earlier this year and winning the Grand Jury Prize, Hailey Benton Gates' debut feature Atropia has taken a while to secure distribution. Nevertheless, this satire produced by Luca Guadagnino, which features Shawkat, Callum Turner, Zahra Alzubaidi, Tony Shawkat, Jane Levy, Tim Heidecker, Lola Kirke, and Chloe Sevigny, will be released soon. Top No Deposit Bonus Casinos | Obtain 50+ Free Spins No Deposit Casino Bonuses from the Finest Real Money Websites

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The previously mentioned table displays the top 5 no-deposit bonus offers and codes for redemption in 2025. Wouldn't you like to learn more about these top no deposit options? Dr. No: 13 Images from the Initial James Bond 007 Movie

Dr. No: 13 Images from the Initial James Bond 007 Movie

Ursula Andress and Sean Connery appeared in Dr. No, the film that kicked off the James Bond 007 franchise. The 10 Best Films of 1977 — A Year That Transformed Cinema Forever

The 10 Best Films of 1977 — A Year That Transformed Cinema Forever

Here are the top 10 films of 1977, a year that is often credited with initiating the blockbuster era, ranked according to their box office performance.

Continuous Sports Thrills via Live Streaming - MovieMaker Magazine

Sports revolve around significant moments; whether it's an impressive goal, an unexpected comeback, or a player hitting the crucial shot to win the game. In the current era, live streaming enables you to Ghoul's Saloon set to debut eerie pub management in 2026.

Ghoul's Saloon set to debut eerie pub management in 2026.

Capitalism triumphs over the undead apocalypse as Quest Craft reveals that Ghoul’s Saloon will launch on Steam in 2026. Manage the saloon and scrap stall during the day, and at night prepare defenses, set traps, and... Two-Face is now part of Mondo's collection of sixth scale figures from Batman: The Animated Series.

Two-Face is now part of Mondo's collection of sixth scale figures from Batman: The Animated Series.

Mondo has announced the latest entry in its sixth scale Batman: The Animated Series collection, featuring a new Two-Face action figure inspired by Harvey Dent's appearance in the beloved TV show. Limited… Film Review – Train Dreams (2025)

Film Review – Train Dreams (2025)

Train Dreams, 2025. Directed by Clint Bentley. Featuring Joel Edgerton, Felicity Jones, Kerry Condon, William H. Macy, Clifton Collins Jr., John Patrick Lowrie, Alfred Hsing, Ron Ford, Olive Steverding… Sydney Sweeney collaborates with Justin Lin for the remake of That Man From Rio.

Sydney Sweeney collaborates with Justin Lin for the remake of That Man From Rio.

As her new film Christy prepares to debut in theaters this week [read our review here], Deadline has announced that Sydney Sweeney has agreed to produce and star in a remake of the 1964 French adventure film… One of the most poignant documentaries this year, Sepideh Farsi’s *Put Your Soul On Your Hand and Walk,* debuted at Cannes shortly after the Israeli occupation claimed the life of its subject, 25-year-old Palestinian photojournalist and poet Fatma Hassona. The film is crafted through segments of the director's FaceTime conversations with Hassona, providing a window into daily life under siege—a profound testament to enduring terror and a compelling plea for the Israeli government to halt the destruction of innocent lives. During the film’s premiere at the New York Film Festival, I had a conversation with Farsi about how her distinctive formal approach fosters intimacy and intentional disruption, the extensive editing involved, her tribute to Fatma, Trump’s statements regarding a ceasefire, the film's reception, and more. Read on ahead of the film’s theatrical release on Wednesday, November 5. The Film Stage: Your choice to film the conversation using your phone creates a deeply personal, emotional connection and reflects your perspective. When did this formal idea originate? Sepideh Farsi: Yes, it was there from the very start. The original goal was to enter Gaza, which proved impossible. I then began filming other Palestinian refugees who had just left Gaza shortly before my arrival in Cairo—in late March or early April of last year. I felt frustrated because I desired to connect with someone from inside, and not being able to enter posed a challenge I was trying to address. Having done this kind of mobile filming for other projects before, it felt natural once I realized she was there and we had to connect online. I thought, “I have to document our conversation.” The mobile phone felt like the most organic option. The intuitive choice stemmed from our conversations occurring over phones, which made it fitting to use another phone, adding dynamics and intimacy as you pointed out. Reflecting on it, it’s fitting since we’ve been witnessing this genocide through mobile devices; while we sometimes see it on TV, social media is predominantly where this conflict is conveyed. I believe the lower-quality image offers a more personal depth to the narrative. As you mentioned, much of what we observe unfolds through mobile phones, revealing horrific stories and footage. Your film highlights another aspect of resilience, showcasing humanity as individuals strive to maintain a semblance of daily life. How crucial was it for you to depict the everyday experiences of life? I believe my film opens a window that is usually closed, providing a human face to many Palestinian stories, especially those who have been significantly dehumanized and kept out of mainstream media narratives. Palestinians rarely have the opportunity to speak for themselves; others speak about them. This film pays tribute to someone—my aim was to listen to her. While I would encourage discussion with questions, our special relationship allowed for insights that are often unpredictable. Despite that, the key distinction between my film and what audiences usually encounter—horrors on social media or TV—is that she resembles us. She could be your sister or my cousin, sharing the same aspirations as any other young person. She is very talented and open-minded, yet confined to her circumstances, with goals that resonate with many. This portrayal of Palestinians is rare because they aren’t allowed to be represented like this in the media. As an Iranian exile, I have some understanding of this feeling, as I have faced similar circumstances and have found ways to express myself here over the years. Iranians have more avenues for voicing their experiences. Palestinians are significantly restricted in that capacity. This, I believe, allows audiences to connect deeply with her story—seeing someone who could be their friend only to learn of her tragic fate. Moreover, she does not express curses or hate; she exudes light, and perhaps that distinction makes an impact. In your conversations, you address sensitive topics. As a filmmaker, did you ever hesitate to ask certain questions for fear of intruding on very personal matters? Or did you think, “This is your moment; I’ll ask everything on my mind”? I approached it with openness. While I think I subconsciously refrained from asking particularly intimate questions about her love life or similar subjects, there were moments when she mentioned getting engaged. I chose not to include that in the film. Overall, I wouldn’t say I was self-censoring. You mentioned having 100 hours of footage. Can you describe the editing process? Is there potential for a second film or additional footage to be released? There could be, but it wouldn’t make sense because in editing, you focus on the strongest moments; not that the others lack value. It’s simply that due to the inherent formal consistency of the film—limited in structure to conversations, video calls, and news clips—my primary intention was to create a narrative and emotional arc. That guided my editing decisions. While each conversation was engaging, some had greater emotional resonance or unique developments. Ultimately, I had to balance the runtime; we are nearing two hours and could

One of the most poignant documentaries this year, Sepideh Farsi’s *Put Your Soul On Your Hand and Walk,* debuted at Cannes shortly after the Israeli occupation claimed the life of its subject, 25-year-old Palestinian photojournalist and poet Fatma Hassona. The film is crafted through segments of the director's FaceTime conversations with Hassona, providing a window into daily life under siege—a profound testament to enduring terror and a compelling plea for the Israeli government to halt the destruction of innocent lives. During the film’s premiere at the New York Film Festival, I had a conversation with Farsi about how her distinctive formal approach fosters intimacy and intentional disruption, the extensive editing involved, her tribute to Fatma, Trump’s statements regarding a ceasefire, the film's reception, and more. Read on ahead of the film’s theatrical release on Wednesday, November 5. The Film Stage: Your choice to film the conversation using your phone creates a deeply personal, emotional connection and reflects your perspective. When did this formal idea originate? Sepideh Farsi: Yes, it was there from the very start. The original goal was to enter Gaza, which proved impossible. I then began filming other Palestinian refugees who had just left Gaza shortly before my arrival in Cairo—in late March or early April of last year. I felt frustrated because I desired to connect with someone from inside, and not being able to enter posed a challenge I was trying to address. Having done this kind of mobile filming for other projects before, it felt natural once I realized she was there and we had to connect online. I thought, “I have to document our conversation.” The mobile phone felt like the most organic option. The intuitive choice stemmed from our conversations occurring over phones, which made it fitting to use another phone, adding dynamics and intimacy as you pointed out. Reflecting on it, it’s fitting since we’ve been witnessing this genocide through mobile devices; while we sometimes see it on TV, social media is predominantly where this conflict is conveyed. I believe the lower-quality image offers a more personal depth to the narrative. As you mentioned, much of what we observe unfolds through mobile phones, revealing horrific stories and footage. Your film highlights another aspect of resilience, showcasing humanity as individuals strive to maintain a semblance of daily life. How crucial was it for you to depict the everyday experiences of life? I believe my film opens a window that is usually closed, providing a human face to many Palestinian stories, especially those who have been significantly dehumanized and kept out of mainstream media narratives. Palestinians rarely have the opportunity to speak for themselves; others speak about them. This film pays tribute to someone—my aim was to listen to her. While I would encourage discussion with questions, our special relationship allowed for insights that are often unpredictable. Despite that, the key distinction between my film and what audiences usually encounter—horrors on social media or TV—is that she resembles us. She could be your sister or my cousin, sharing the same aspirations as any other young person. She is very talented and open-minded, yet confined to her circumstances, with goals that resonate with many. This portrayal of Palestinians is rare because they aren’t allowed to be represented like this in the media. As an Iranian exile, I have some understanding of this feeling, as I have faced similar circumstances and have found ways to express myself here over the years. Iranians have more avenues for voicing their experiences. Palestinians are significantly restricted in that capacity. This, I believe, allows audiences to connect deeply with her story—seeing someone who could be their friend only to learn of her tragic fate. Moreover, she does not express curses or hate; she exudes light, and perhaps that distinction makes an impact. In your conversations, you address sensitive topics. As a filmmaker, did you ever hesitate to ask certain questions for fear of intruding on very personal matters? Or did you think, “This is your moment; I’ll ask everything on my mind”? I approached it with openness. While I think I subconsciously refrained from asking particularly intimate questions about her love life or similar subjects, there were moments when she mentioned getting engaged. I chose not to include that in the film. Overall, I wouldn’t say I was self-censoring. You mentioned having 100 hours of footage. Can you describe the editing process? Is there potential for a second film or additional footage to be released? There could be, but it wouldn’t make sense because in editing, you focus on the strongest moments; not that the others lack value. It’s simply that due to the inherent formal consistency of the film—limited in structure to conversations, video calls, and news clips—my primary intention was to create a narrative and emotional arc. That guided my editing decisions. While each conversation was engaging, some had greater emotional resonance or unique developments. Ultimately, I had to balance the runtime; we are nearing two hours and could

A prominent figure in world cinema who has garnered the backing of Martin Scorsese, M. Night Shyamalan, Olivier Assayas, Apichatpong Weerasethakul, Béla Tarr, Claire Denis, Christian Petzold, Tilda Swinton, and Ryusuke Hamaguchi––among numerous others––Carlo Chatrian transformed the festival scene through his role as artistic director of the Locarno Film Festival and Berlinale, with his impact being so significant that a resignation from Documenting Life Amidst Genocide: Sepideh Farsi Discusses Put Your Soul on Your Hand and Walk

Documenting Life Amidst Genocide: Sepideh Farsi Discusses Put Your Soul on Your Hand and Walk

One of the most poignant documentaries of the year, Sepideh Farsi's Put Your Soul On Your Hand and Walk, debuted at Cannes shortly after the assassination of the film's subject, 25-year-old Palestinian photojournalist and poet Fatma Hassona, by Israeli forces. The film is crafted through segments of the director communicating with Hassona via FaceTime, offering us a glimpse The Commandos: Origins DLC transports players to Crete.

The Commandos: Origins DLC transports players to Crete.

On November 18th, Kalypso Media and developer Claymore Game Studios will launch Shadows Over Crete, the inaugural DLC for the real-time tactics stealth game Commandos: Origi…

World Cinema: Latest News, Blockbuster Premieres, and Behind-the-Scenes Stories

Welcome to our website, your comprehensive resource for all things related to global cinema! Here, you’ll find up-to-the-minute news on major film premieres, in-depth reviews of the latest movies and series, as well as exclusive features on the behind-the-scenes lives of your favorite film stars. We keep a close eye on international film festivals—from Cannes to Venice—and spotlight emerging directors who might just redefine how we experience cinema.

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