Nineteen Eighty-Four - Part Two
- Berlin, Germany
Heist Society
- Budapest, Hungary
Tuesday, September 30, 2025
Box Office Breakdown (Season 34 Round 2)
The Flintstones
Budget: $82,000,000
Total Box Office: $252,498,418
Total Profit: $64,909,375
Nineteen Eighty-Four - Part Two
Budget: $80,000,000
Total Box Office: $196,422,340
Total Profit: $23,769,221
Heist Society
Budget: $40,000,000
Total Box Office: $33,109,892
Total Profit: -$31,000,600
Box Office Facts
The Flintstones
The Flintstones' co-writer Lon Charles now joins Meirad Tako and Jacob Jones as the third writer to have multiple films crack the Top 10 Highest Grossing Animation Films.
Nineteen Eighty-Four - Part Two
Writer Meirad Tako's three George Orwell adaptations have now combined to gross just over $501 million at the worldwide box office.
Heist Society
Four films into his LRF writing career now, Dawson Edwards is 50/50 at the box office. Metroid and The Legend of Zelda were hits, while Before Love Came to Kill Us and Heist Society have flopped at the box office.
Genre Rankings
The Flintstones
Comedy: #17
Animation: #10
Nineteen Eighty-Four - Part Two
Sci-Fi: #98
Heist Society
Comedy: #76
Heist: #4
Season 34 Round 2
Total Box Office: $482,030,650
Total Profit: $57,677,996
Season 34 Totals
Total Box Office: $879,047,175
Total Profit: $91,136,152
Season 33 Summary
1. Sgt. Rock : $306,851,781
2. The Flintstones : $252,498,418
3. Nineteen Eighty-Four - Part Two : $196,422,340
4. Exodus : $76,164,182
5. Heist Society : $33,109,892
6. Mises : $14,000,561
Monday, September 29, 2025
Release: Heist Society
Heist Society
Genre: Comedy/Heist
Director: James Gunn
Writer: Dawson Edwards
Based on the novel by Ally Carter
Cast: Kiernan Shipka, Joe Keery, Yara Shahidi, Jharrel Jerome, Finn Wolfhard, Noah Jupe, Jack Dylan Grazer, Walton Goggins, Giancarlo Esposito
Budget: $40,000,000
Domestic Box Office: $21,980,490
Foreign Box Office: $11,129,402
Total Profit: -$31,000,600
Reaction: Two rounds into Season 34 and the studio has already suffered through its second major financial flop.
SOCIAL SPOTLIGHT
Actors don’t just light up the screen — they light up the feed. Social Spotlight takes a look at how today’s stars promote their movies through the platforms that matter.
This round we have an Instagram post from Heist Society star Kiernan Shipka....
Sunday, September 28, 2025
Now Showing: Heist Society
Heist Society
Genre: Comedy/Heist
Director: James Gunn
Writer: Dawson Edwards
Based on the novel by Ally Carter
Cast: Kiernan Shipka, Joe Keery, Yara Shahidi, Jharrel Jerome, Finn Wolfhard, Noah Jupe, Jack Dylan Grazer, Walton Goggins, Giancarlo Esposito
Plot: The morning at Colgan School begins with quiet dignity. Students scurry to class, books in hand, their pressed uniforms gleaming under the bright sunlight. Kat Bishop (Kiernan Shipka) walks among them, her head held high, exuding a calm confidence. She’s left behind her past—a life of crime and heists—and wears her new identity as a scholarship student like armor. She fits in. Or, at least, she did.
A distant commotion breaks the peace. Kat turns toward the source of the chaos and freezes. The headmaster’s prized car sits precariously on the edge of the campus fountain, soap bubbles spilling out of its doors. The music blaring from its speakers, “Hit the Road Jack,” completes the scene.
By the time Kat reaches the headmaster’s office, the whispers are already spreading across campus. “Miss Bishop,” the headmaster snarls, his face flushed red, “your past may have fooled others, but it doesn’t fool me.” Before Kat can reply, the door opens, and W.W. Hale (Joe Keery), the picture of entitled charm, leans against the frame.
“You’re welcome,” Hale says, smirking as he tosses a car key into the air.
Kat glares at him. “You got me expelled.”
“You needed the push,” he replies. “Your dad’s in trouble.”
She storms out of the office with her suitcase, Hale trailing behind like an eager puppy. His grin doesn’t waver. “Someone framed your dad for stealing five paintings from Taccone. You’ve heard of Taccone, right? Ruthless, psychopathic art collector? Fun guy. He’s given your dad two weeks to return the paintings. Problem is, your dad didn’t take them.”
Kat stops mid-stride. “What’s your plan?”
Hale raises a brow. “Our plan. Let’s go.”
---
Paris sparkles as Kat steps into Gabrielle’s world. Her cousin (Yara Shahidi), stunning in every sense of the word, stands at the center of a grand hall, charming a wealthy art dealer into handing over his business card. “Oh, come on, darling,” Gabrielle says when she spots Kat. “You’re lucky I was getting bored.”
The Bagshaw brothers are a different story. The siblings crash into Kat’s rented car during a heist gone wrong, covered in glitter and soot. “You can’t park here,” Angus protests (Noah Jupe) as Hamish (Jack Dylan Grazer) dives into the backseat.
“Tell him that!” Hamish shouts, pointing at the enraged casino guard chasing them.
Simon (Finn Wolfhard) is reluctant but easy to convince. “You need me?” he asks, nervously glancing at his monitor, where he’s halfway through hacking a government database. “You’re gonna owe me for this.”
Nick (Jharrel Jerome) is the final piece of the puzzle. Kat finds him lifting wallets from tourists outside the National Gallery. He’s smooth, with an easy charm that instantly grates on Hale. During introductions, Nick palms Hale’s watch and hands it to Kat with a grin. “I think this belongs to him.”
Hale’s jaw tightens. “You’re gonna fit right in.”
---
The team gathers in a crumbling London safehouse, the walls lined with blueprints and faded Polaroids. Simon nervously points out the Henley Museum’s top-tier security system, while Gabrielle lounges nearby, sipping wine. “A fortress of art,” Simon mutters, “and they really don’t want people stealing anything.”
“Good thing we’re not people,” Gabrielle quips, winking at Kat.
The plan unfolds, each member taking a crucial role. Gabrielle will infiltrate the gala as a wealthy heiress, distracting guards and blending in with ease. Simon will hack the museum’s security grid from the van outside. The Bagshaw brothers will create distractions to pull attention away from the vault. Kat, Hale, and Nick will handle the extraction.
Gabrielle’s entrance is nothing short of dazzling. The camera follows her in a shimmering red dress as she glides through the gala, effortlessly charming the head of security. She tilts her head, her smile disarming. “Tell me,” she purrs, “is this your first event, or are you always this good at your job?” The guard, blushing furiously, doesn’t notice her slipping a tracker into his pocket.
Simon stares at his monitors, sweat dripping down his face as he types furiously. “Okay, okay. I’ve got this. I think.” His fingers fly across the keyboard as red alarms flash across the screens. “Oh no. I don’t got this.”
“Breathe, Simon,” Hale’s voice crackles over the comms. “We’re counting on you.”
Inside the museum, the Bagshaw brothers unleash pure chaos. Hamish stages a dramatic faint, collapsing in front of the champagne fountain, while Angus shouts accusations at an unsuspecting guest. The ensuing argument spirals into a full-blown scene, with security rushing to diffuse the commotion.
Meanwhile, Kat, Hale, and Nick move through the museum’s labyrinthine corridors. Tension crackles between the three. Hale’s confidence falters every time Nick speaks, his charm irritatingly effortless. At the vault, Nick picks the lock with a flourish. “What’s the plan if I’m not here?” he asks, grinning.
Hale mutters, “We’d figure it out.”
The paintings are in sight, but the museum’s laser grid isn’t as easy to bypass as expected. Simon’s voice crackles through their earpieces. “Whatever you do, don’t touch the—”
A loud beep cuts him off as Hamish trips a wire. Alarms blare, and chaos ensues.
The escape is pure chaotic madness. Gabrielle uses a fire extinguisher to block a guard’s path, her laugh echoing through the chaos. The Bagshaw brothers grab a security drone, debating whether to disassemble it or throw it. Simon frantically disables locks from his van, shouting, “Run! Run now!”
Kat leads the way, her heart pounding as she clutches the stolen paintings. Hale stays close, throwing quick glances back at Nick, who can’t resist a grin. “Not bad, Bishop,” Nick says, his tone teasing.
“Shut up and run,” she snaps.
---
Back at the safehouse, the team’s celebration is short-lived. Nick’s demeanor shifts as he reveals his secret: he’s the son of an INTERPOL agent (Giancarlo Esposito), sent to investigate Taccone’s operation. His voice softens as he looks at Kat. “At first, it was about the job. But now... it’s about you.”
Hale’s scoff is audible. “That’s convenient.”
Before Kat can process Nick’s betrayal, the door bursts open. Taccone’s (Walton Goggins) presence fills the room, his cold smile sending chills through the team. “Did you think you could steal from me and get away with it?” he asks, his voice calm but dripping with menace.
The team barely escapes Taccone’s ambush, forced to leave the paintings behind. Kat feels the weight of her choices pressing down on her. Gabrielle, for once serious, turns to her. “So, what’s next?”
---
The faux auction is Kat’s boldest plan yet. Taccone arrives, smug and confident, unaware he’s walking into a trap. Gabrielle works the room, charming bidders and dropping subtle hints to keep Taccone on edge. Simon, sweating bullets, manipulates the auctioneer’s teleprompter, accidentally typing “LOL” during Taccone’s bid.
The Bagshaw brothers unleash more chaos, setting off a fire alarm just as agents swarm the scene. Taccone’s fury boils over as he realizes he’s been duped. Kat steps forward, locking eyes with him. “You underestimated us.”
Taccone’s glare burns into her. “This isn’t over.”
---
With Taccone in custody and her father’s name cleared, Kat stands on the edge of a new chapter. Hale leans against her car, his smirk softer now. “You know we’re not done, right?”
Nick, lingering nearby, adds with a grin, “You’ll miss me.”
Kat sighs, shaking her head at both of them. Gabrielle tosses her a set of keys. “Let’s go, darling. The world’s waiting.”
As the team drives off into the night, their laughter and bickering fill the air, leaving the audience eager for what’s next.
In Development
Heist Society: The YA heist comedy novel adaptation from director James Gunn and writer Dawson Edwards is rounding out its cast with the additions of Jack Dylan Grazer (Written By Jason, Love Is...), Walton Goggins (Joker vs. Deadshot, The Vintner), and Giancarlo Esposito (Justice League War, Baby Teeth) in supporting roles. The film is based on the book series by Ally Carter.
Convalescence: Also completing its cast is the drama Convalescene. The film follows two recovering alcoholics - played by Toby Wallace and Clayne Crawford. Judy Davis (Nitram, The Dressmaker) has been cast as Crawford's mother in the film, while Wunmi Mosaku (Sinners, "Loki") will play Crawford's parole officer. Robert Machoian is directing from an original script by Jimmy Ellis.
Robopocalypse: Everly Carganilla (Spy Kids: Armageddon, Yes Day) has joined the big-budget sci-fi flick Robopocalypse in a major role as a young girl who receives robotic eyes that allow her to see and control robots. Morena Baccarin (Resident Evil 5, Winter's Displeasure) and Adam Rodriguez ("Criminal Minds", Magic Mike's Last Dance) have also joined the film as her parents. Gareth Edwards directs from an adaptation by Nic Suzuki. The film is based on the novel by Daniel H. Wilson.
Test of Time: Asher Angel (Power Rangers, Final End) is set to join his Power Rangers co-star Wyatt Oleff in Test of Time, a coming of age high school story from director Josh Boone and writer Billy Cruder, Emma Myers (A Minecraft Movie, "Wednesday") and Brighton Sharbino (An Irish Rendezvous, Strawberry High) have also signed on to join the ensemble cast.
Blood Brothers: Aldis Hodge (Fractus, The Champ) and Jharrel Jerome (Hideaway, Tomato Can) are set for the two starring (and only) roles in Blood Brothers. Based on the play Topdog/Underdog, the film will tell the story of two brothers sharing a small apartment, which becomes part of a contentious relationship. Elijah Bynum (Hot Summer Nights, Magazine Dreams) is directing the film from an adaptation by Giovanni Garcia (The Flash, Circumstances of Time) - his first film with LRF since Season 18.
X-Men: Age of Apocalypse: Several familiar faces are all returning for another X-Men film. Now we at least know that Jamie Dornan (X-Men: Hellfire, Northrock: Verge of War) is back as Cyclops, Toby Stephens (X-Men: Sinister, X-Men: Hellfire) is back as Xavier, David Oyelowo (Mandingos, X-Men: The Cure) is back as Beast, Jessie Buckley (Recursion, X-Men: Hellfire) is back as Jean Grey, and Millie Bobby Brown (Power Rangers, Written By Jason) is back as Kitty Pryde. Also returning for the film will be writer Dwight Gallo (The Vintner, The Lone Ranger) and director Miguel Sapochnik (X-Men: Hellfire, Skyrim) for the second time after taking over for Alex Garland on the fourth film.
Saturday, September 27, 2025
HISTORY LESSON (SEASON 7)
Welcome to History Lesson, where we take a closer look at the movies that dare to tackle real-life events with varying levels of accuracy, drama, and WTF casting choices. These films promise to educate and entertain, but more often than not, they rewrite history with the subtlety of a sledgehammer. We’ll be your guide through the land of miscast biopics, dramatic embellishments, and historical “inspired-by” liberties, breaking down whether these flicks are Golden Reel Award-worthy masterpieces or just a big-budget Wikipedia summary. Either way, it’s more fun than your high school history class—and there’s popcorn.
This time around we will take a look at Season 7's fact-based slate....
HISTORY LESSON: PRESSING LUCK
Pressing Luck might be about a guy beating the odds, but the real gamble here is Wyatt Russell playing Michael Larson, an ice cream truck driver turned game show con artist. Russell nails Larson’s mix of scrappy charm and compulsive obsession, making you root for a guy who treats a VCR and a game show like the Holy Grail. The movie dives deep into Larson’s harebrained schemes, from memorizing the Press Your Luck board to spending $50,000 in singles chasing a radio contest - because nothing screams financial responsibility like hoarding more dollar bills than a strip club.
The film hilariously captures the absurdity of Larson’s rise and fall, with John Krasinski’s game show host Peter Tomarken nearly combusting on-screen as he watches Larson obliterate his precious game board. And yet, even as Larson racks up a record-breaking $110,000, his life spirals from small-town triumph to strip-club despair. The narrative teeters between comedy and tragedy, with Larson’s misadventures often feeling like a cautionary tale for anyone who’s ever tried to outsmart Vegas - or a radio DJ. By the time Larson ends up running a Ponzi scheme from his couch, you’re torn between laughing at his audacity and shaking your head at his inevitable doom. It's Quiz Show meets Tiger King, but with way more Whammies.
HISTORY LESSON: STAINED
Stained may sound like a political thriller, but it’s more like The Office meets a Greek tragedy. Matthew McConaughey’s Bill Clinton is part Southern charmer, part walking disaster, while Bel Powley’s Monica Lewinsky perfectly captures the naivety of someone who thinks her biggest workplace hazard is coffee stains, not presidential DNA stains. Watching Clinton’s sly “fried chicken over salad” routine in the Oval Office makes you wonder if we should’ve impeached him for his cholesterol choices alone.
The film hilariously balances the absurdity of the scandal with its devastating fallout. Allison Tolman’s Linda Tripp deserves an award for being the world’s worst “friend,” turning secret phone calls into her personal podcast. Meanwhile, Paul Giamatti as Kenneth Starr comes off as a grumpy dad disappointed that he found this in the family attic instead of corruption gold. As the chaos unravels, the supporting cast - Naomi Watts as a steel-nerved Hillary and Hank Azaria as a perpetually exasperated Leon Panetta - serve as a reminder that even the most powerful people can’t escape being caught up in one of history’s juiciest soap operas. It’s a wild, cringe-inducing ride with just enough saxophone solos to keep it classy.
HISTORY LESSON: RANGER
Ranger is a solid slab of frontier machismo soaked in gunpowder, sweat, and lots of historical revisionism. Joel Edgerton grunts and broods his way through the role of Leander McNelly, a real-life Texas Ranger turned cinematic folklore instrument, while Alden Ehrenreich plays a slick Easterner turned gunslinger who basically speed-runs a Clint Eastwood origin story. The film assembles a stellar cast - Oscar Isaac, Jason Momoa, Bryan Cranston, and Bill Pullman all show up looking like they wandered in from different Westerns - but Scott Cooper directs it with such earnest swagger that you almost don’t notice how much of this is completely fabricated. “Inspired by true events,” in this case, mostly just means “names and mustaches were borrowed.”
And oh, the historical accuracy: a rape revenge subplot that never happened, a conveniently cinematic cattle war that plays like Red Dead Redemption: The Movie, and a final act that has Richard King show up at dawn like the cavalry in The Two Towers. Still, Ranger has its pulp pleasures - bloody shootouts, righteous monologues, and enough leather to bankrupt a saddle shop. It’s a solid Western, that is committed to its myth. Just don't bring a Texas history teacher.
HISTORY LESSON: CLEOPATRA
Cleopatra is a film that dares to ask the question: what if Barbie’s energy was applied to one of history’s most fascinating women - but without the self-awareness, the charm, or any real grasp of narrative coherence? Directed by Guy Ritchie, who seems to think history is just one long montage of smoldering glances and sword-drawn standoffs, the movie staggers under the weight of its own self-importance. Gal Gadot stars as the legendary queen with all the gravitas of a fashion model in an eyeliner commercial. Her Cleopatra is less a brilliant political operator and more of a passive Instagram goddess, always shot in flattering gold light while men talk about the fate of the world around her. Historical power player? Not here - she mostly reacts to events, pouts with strategic concern, and occasionally murmurs things about destiny.
The script reads like a Wikipedia article written by someone who skimmed the page while watching Gladiator. It collapses decades into a blur of royal entrances, bedroom negotiations, and overwrought speeches that feel like AI-generated Shakespeare. Battles are filmed with the kinetic chaos of a perfume ad - loud, smoky, and unintelligible. Michael Fassbender tries to inject some life into Marc Antony, but even his scenery-chewing feels phoned in. Theo James, as Octavian, spends the whole movie looking like he’s fighting a migraine - and maybe he is. And yes, the infamous “rug reveal” is here, but treated with such po-faced seriousness it might as well be Cleopatra emerging from a coffin. For a story about sex, war, betrayal, and empire, Cleopatra is astonishingly lifeless - another attempt to mythologize a woman while completely missing her humanity.
Release: Nineteen Eighty-Four - Part Two
Nineteen Eighty-Four - Part Two
Genre: Sci-Fi
Director: Darren Aronofsky
Writer: Meirad Tako
Based on the novel by George Orwell
Cast: Cillian Murphy, Saoirse Ronan, Javier Bardem, David Morse, Diedrich Bader, Bill Nighy
Budget: $80,000,000
Domestic Box Office: $95,032,007
Foreign Box Office: $101,390,333
Total Profit: $23,769,221
Reaction: While not quite as profitable as the first film due to increased cost (raises for Murphy, Ronan, and Bardem mostly), but the worldwide gross was still in the same ballpark.
Rated R for mature thematic elements, violence, and sexual content
Friday, September 26, 2025
Top 10 Cillian Murphy Films
Sherman J. Pearson here for another Top 10. In recent years, both in and out of LRF, Cillian Murphy has massively increased his star profile. Here are his Top 10 films for LRF - not counting this round's release - Nineteen Eighty-Four - Part Two.
Top 10 Cillian Murphy Films
10. Before You Help
9. The Refugee
8. Heartstone
7. To the Other Side
6. Animal Farm
5. Nineteen Eighty-Four - Part One
4. And Then There Were None
3. A Boy and His Robot
2. Caesar
1. Caesar Part II
Now Showing: Nineteen Eighty-Four - Part Two
Nineteen Eighty-Four - Part Two
Genre: Sci-Fi
Director: Darren Aronofsky
Writer: Meirad Tako
Based on the novel by George Orwell
Cast: Cillian Murphy, Saoirse Ronan, Javier Bardem, David Morse, Diedrich Bader, Bill Nighy
Plot: One morning at work, Winston (Cillian Murphy) is heading to the men’s room when he notices a dark-haired girl, Julia (Saoirse Ronan), with her arm in a sling. As she suddenly falls, Winston rushes to help her up, and she discreetly slips him a note. To his astonishment, the note reads, “I love you.” Winston is bewildered by this unexpected message, struggling to understand its meaning. He has long suspected that the girl might be a political spy, tasked with monitoring him for suspicious behavior, and now she professes love for him. Before Winston can make sense of this revelation, he is interrupted by Parsons (Diedrich Bader), who starts talking enthusiastically about preparations for Hate Week. Despite the confusion, the note stirs in Winston a sudden, intense desire to truly live.
For several days, Winston feels a tense nervousness, unable to speak to the girl. Then, he manages to sit at the same lunch table as her. They keep their eyes down, talking in hushed tones to avoid attracting attention. They quickly arrange a secret meeting in Victory Square, where they hope the bustle of the crowds will shield them from the ever-watchful telescreens. When they meet in the square, they witness a venomous crowd tormenting a group of Eurasian prisoners being paraded through. Amid the chaos, the girl discreetly gives Winston directions for a rendezvous: he is to take a train from Paddington Station into the countryside, where they can have their secret tryst. Before they part, they manage to briefly hold hands, a small but thrilling act of defiance.
Following their plan, Winston and the girl meet in the secluded countryside. Although uncertain about what to expect, Winston has come to trust that the dark-haired girl is not a spy. Despite worrying that there might be hidden microphones among the bushes, he feels reassured by the girl's confident demeanor. She introduces herself as Julia and defiantly removes her Junior Anti-Sex League sash, signaling her rejection of Party ideals. As they move deeper into the woods, Winston becomes aroused, and the two make love. The experience is strikingly similar to a passionate encounter Winston had often fantasized about.
Afterward, Winston asks Julia if she has done this before, and she admits that she has—many times, in fact. Far from being disturbed, Winston is exhilarated by her response. He tells her that the more men she has been with, the more he loves her, because it means more Party members are secretly defying the rules, fueling his hope for rebellion against the oppressive regime.
The next morning, Julia takes charge of organizing their return to London, and she and Winston resume their everyday lives. In the weeks that follow, they arrange a series of brief, secret meetings throughout the city. During one rendezvous in the ruins of an old church, Julia shares stories from her life, including the experience of living in a hostel crammed with thirty other girls and her first illicit sexual encounter. Unlike Winston, who yearns for a broader rebellion, Julia is more focused on personal defiance. She enjoys outsmarting the Party and indulging in small acts of pleasure, finding satisfaction in these minor victories.
Julia explains to Winston that the Party’s strict prohibition on sex is a tactic to redirect people's pent-up sexual energy into passionate hatred for the Party’s enemies and fervent adoration of Big Brother. She believes the regulation of intimate relationships is a way for the Party to maintain control over its citizens’ emotions.
In response, Winston shares a dark memory about a walk he once took with his estranged wife, Katherine. During the walk, he considered pushing her off a cliff but ultimately did not. He reflects on the incident with a sense of resignation, telling Julia that whether he had pushed her or not, it would have made no difference, as the forces of oppression in their lives are too powerful to overcome.
Winston surveys the small room above Mr. Charrington’s (Bill Nighy) shop, a space he has rented—foolishly, he thinks—for his secret affair with Julia. Outside the window, a sturdy woman with red arms sings while hanging her laundry, a simple scene of daily life. The couple has been preoccupied with the city’s frantic preparations for Hate Week, leaving Winston frustrated by their limited opportunities to meet. The situation has been further complicated by Julia’s recent period, which kept them apart. Winston longs for a different kind of life with Julia, one that is more relaxed and romantic, where they could live together like an old, married couple.
Julia soon arrives, bringing sugar, coffee, and bread—rare luxuries typically reserved for Inner Party members. As she applies makeup, her enhanced beauty and femininity captivate Winston, filling him with a sense of wonder. That evening, as they lounge in bed, a sudden sight of a rat horrifies Winston, revealing his deep-seated fear. Julia calmly searches the room and spots a glass paperweight. Winston explains that the paperweight is a connection to the past, a fragment from a time before the Party's dominance.
Together, they sing a rhyme about St. Clement’s Church, and Julia casually remarks that one day she will clean the old picture of the church hanging on the wall. After Julia departs, Winston remains in the room, staring into the crystal depths of the paperweight, imagining a life where he and Julia could exist together in perfect stillness, suspended in time.
As Winston had anticipated, Syme disappears without a trace. The city buzzes with activity as preparations for Hate Week intensify, and the oppressive heat of summer seems to heighten the energy, even making the proles more restless than usual. Parsons busily decorates the streets with streamers, while his children enthusiastically sing a new anthem called the “Hate Song,” composed especially for the occasion.
Winston finds himself increasingly preoccupied with thoughts of the room above Mr. Charrington’s shop, longing for the sanctuary it provides, even when he can’t visit. He fantasizes about a future where Katherine, his estranged wife, dies, allowing him to marry Julia. At times, he even dreams of abandoning his current life and adopting the identity of a prole, imagining a different kind of freedom.
During their conversations, Winston and Julia discuss the Brotherhood, the rumored anti-Party resistance. Winston shares the strange sense of connection he feels with O’Brien, while Julia expresses her belief that the war and Party enemies, such as Emmanuel Goldstein (David Morse), are fabrications created by the Party to manipulate the populace. Her casual indifference toward these ideas frustrates Winston, who criticizes her for being a "rebel only from the waist down," implying that her defiance is limited to physical pleasure rather than a deeper ideological resistance.
O’Brien (Javier Bardem) finally makes contact with Winston, a moment Winston has long anticipated. In a brief hallway encounter at the Ministry of Truth, Winston feels a mix of anxiety and excitement. O’Brien subtly refers to Syme and extends an invitation for Winston to visit his home one evening to view a Newspeak dictionary. The exchange seems charged with hidden meaning, and Winston interprets it as an acknowledgment of his dissent.
Winston senses that this meeting is part of a larger journey that began with his first act of rebellion against the Party. He grimly believes that the path he’s on will ultimately lead to the Ministry of Love, the dreaded place where he expects to meet his death. Despite the dark certainty of his fate, Winston is thrilled to have O’Brien’s address, seeing it as a step toward a deeper involvement in the resistance he has dreamed of.
One morning, Winston wakes up in tears in the small room above Mr. Charrington’s antiques shop. Julia is by his side and asks what’s wrong. He reveals that he had been dreaming about his mother and that, deep down, he has always carried a sense of guilt, as if he were responsible for her death. This dream triggers a flood of long-suppressed memories. Winston recalls the difficult years of his childhood after his father disappeared, when he, his mother, and his baby sister spent much of their time in underground shelters hiding from air raids. Hunger was a constant presence, and one day, in a desperate moment, he stole a piece of chocolate from his family and ran away. He never saw them again.
These memories fuel Winston’s hatred for the Party, which he believes has eradicated genuine human emotions. He feels that while the proles still possess a sense of humanity, Party members like him and Julia are conditioned to suppress their feelings so thoroughly that they become almost inhuman.
The couple is painfully aware of the risks they face. They know that if they are captured, torture and possibly death await them, and renting the room above the shop has only increased the chances of being caught. Despite their fears, they reassure each other that while torture will inevitably force them to confess, it cannot destroy their love. They agree that the sensible choice would be to abandon the room for good, but they find themselves unable to let go of their secret sanctuary.
Winston and Julia take a significant risk by visiting O’Brien’s luxurious apartment together. Once inside, they are astonished when O’Brien turns off the telescreen, an action that defies Party protocol. Feeling momentarily liberated from the Party's constant surveillance, Winston takes the opportunity to openly confess that he and Julia are enemies of the Party, expressing their desire to join the Brotherhood. O’Brien confirms the existence of the Brotherhood and reveals that Emmanuel Goldstein, its elusive leader, is indeed real and alive. He then leads them through a ritualistic song, symbolically initiating them into the rebellion.
O’Brien pours them wine—a rare luxury—and Winston suggests that they drink a toast to the past. Afterward, Julia departs, and O’Brien promises Winston that he will provide a copy of Goldstein’s book, the revolutionary manifesto. Before they part, O’Brien enigmatically tells Winston that they may meet again someday. Winston asks if he means "the place where there is no darkness," a phrase from Winston's recurring dreams, and O’Brien affirms it by repeating the phrase back to him.
O’Brien shares the missing lines of the St. Clement’s Church rhyme that Winston and Julia had been reciting, completing the verse. As Winston leaves the apartment, O’Brien turns the telescreen back on and resumes his work, as though the extraordinary meeting had never taken place.
After a grueling ninety-hour workweek, Winston feels utterly exhausted. Amid the chaos of Hate Week, Oceania has abruptly changed its enemies and allies in the ongoing war, leaving Winston with an overwhelming amount of work to manage this shift. During one rally, the speaker is forced to abruptly revise his speech, declaring that Oceania is not, and has never been, at war with Eurasia, but rather with Eastasia. The crowd becomes embarrassed by their anti-Eurasia signs and scapegoats Emmanuel Goldstein's agents for the confusion. Despite this, they unleash their full hatred toward Eastasia.
Back in the room at Mr. Charrington’s, Winston begins to read Goldstein’s *The Theory and Practice of Oligarchical Collectivism*, which O’Brien had given him. The book is lengthy and filled with chapters named after Party slogans like “WAR IS PEACE” and “IGNORANCE IS STRENGTH.” It outlines a theory of social classes throughout history, dividing society into three categories: the High Class (the Inner Party), the Middle Class (the Outer Party), and the Low Class (the Proles). Goldstein details how Eurasia formed when Russia absorbed all of Europe, how Oceania emerged from the United States’ annexation of the British Empire, and how Eastasia consists of the remaining nations. According to Goldstein, these three superpowers maintain a constant state of war to keep their populations distracted and powerless. The war remains stagnant, as no two allied nations can decisively defeat the third, serving only to obscure the truth of life in other regions—capturing the essence of the slogan “WAR IS PEACE.”
As Winston reads, Julia enters the room and throws herself into his arms, cheerfully pleased that he has the book. After a half-hour of intimacy, during which they listen to the red-armed woman singing outside, Winston begins to read aloud to Julia. He shares Goldstein’s assertion that controlling history is a fundamental strategy employed by the Party. He explains that doublethink enables Inner Party members to fervently support the war narrative, even while aware of the lies behind the histories they fabricate. Eventually, Winston checks to see if Julia is awake—she is not—and he drifts off to sleep. His last thought lingers on the idea that “sanity is not statistical.”
The next morning, as Winston lies in bed, the red-armed woman outside begins to sing, stirring Julia from her sleep. Winston gazes out the window at the woman, admiring her vitality and fertility. He envisions a future where the proles, embodying raw human spirit, will rise up to free themselves from the oppressive grip of the Party. Both Winston and Julia glance at the woman, feeling a profound sense of doom, yet they cling to the hope that she may hold the key to a brighter future. In a moment of despair, they both utter, “We are the dead.”
Suddenly, a third voice emerges from the shadows, chillingly responding, “You are the dead.” The reality of their situation hits them as they realize a telescreen is hidden behind the picture of St. Clement’s Church. Panic surges through them as the sound of stomping boots echoes outside; their sanctuary is surrounded. A familiar voice recites the final lines of the St. Clement’s rhyme: “Here comes a candle to light you to bed / Here comes a chopper to chop off your head!”
In an instant, the window shatters, and black-clad troops burst into the room. They ruthlessly smash the crystal paperweight, and Winston, reflecting on its smallness, feels a deep sense of loss. The soldiers kick Winston and brutally beat Julia, disorienting him. He struggles to make sense of the old-fashioned clock on the wall, unable to grasp the time in the chaos. As the troops restrain him, Mr. Charrington enters the room, commanding someone to gather the shards of the destroyed paperweight. The revelation strikes Winston: Mr. Charrington's voice had come from the telescreen, and he is, in fact, a member of the Thought Police.
Thursday, September 25, 2025
Director's Cut: Birth of Frankenstein
Birth of Frankenstein - Director's Cut
Genre: Horror/Sci-Fi
Director: J.A. Bayona
Writer: D.R. Cobb
Based on characters created by Mary Shelley
Cast: Dan Stevens, Edgar Ramirez, Imogen Poots, Jeffrey Wright, John Lithgow, Geoffrey Rush
Plot: Victor Frankenstein (Dan Stevens), a gifted but arrogant student, sits across from his mentor, Dr. Pretorius (Geoffrey Rush), in the dim office of the university science wing. Victor outlines his radical theory - that life could be artificially created by reanimating dead tissue with electricity. Pretorius, both intrigued and uneasy, warns Victor of the dangers. He suggests Victor keep his ambitions hidden, as such talk could ruin both their careers. But the glint in Victor’s eye betrays his growing obsession.
Defiant and undeterred, Victor enlists Igor (Jeffrey Wright), a former protégé of Pretorius now working as a low-level researcher. One moonless night, they sneak into a graveyard to exhume a body, but the shriek of a night watchman sends them running. The university, hearing of the scandal, expels Victor. Still, he sees the failure as a lesson - not a deterrent.
Now working from an abandoned clock tower outside town, Victor and Igor perfect their methods. They rob graves under cover of fog, dismembering cadavers and selecting parts with surgical precision. When they run out of usable brains, Victor sends Igor to infiltrate Pretorius’ private lab and steal one of his experimental cerebral specimens. The plan goes awry - Igor accidentally drops the jar, destroying the brain. Pressed for time, Victor reluctantly settles on a criminal brain they’d already stolen.
Victor's fiancée, Elizabeth (Imogen Poots), begins to suspect something is wrong. He's grown pale, erratic, and secretive, rarely emerging from the tower. She visits Dr. Pretorius, who hesitates but finally admits Victor’s insane goal: to create a man from nothing but spare parts. Fearing Victor has gone too far, Elizabeth insists they visit the lab immediately. Pretorius agrees, half-curious to see if Victor has succeeded.
As lightning crackles outside, Elizabeth and Pretorius enter the clock tower. Victor, wild-eyed, welcomes them. He beckons them closer as he and Igor prepare the final test. High above, gears and coils hum to life. Thunder echoes as electrical currents surge into the stitched-together corpse on the table. After a long moment, the creature’s hand spasms. Elizabeth gasps. Frankenstein's creation (Edgar Ramirez) opens his eyes.
Victor helps the creature sit up. Despite its monstrous patchwork body, there’s a childlike confusion behind its eyes. Pretorius marvels at the feat, declaring it a miracle. But Igor, descending the stairwell with fresh bandages, trips and drops several beakers. The crash startles the creature, whose fear mutates into rage. It lashes out, smashing instruments, tearing through equipment. Victor and Igor subdue it with chains, dragging it into a locked back chamber.
The trio argues bitterly. Pretorius demands the creature be destroyed before it harms anyone. Victor defends his creation, insisting it needs time to learn. As tensions rise, a scream pierces the air. They burst into the chamber to find Igor’s lifeless body twisted on the floor, his neck broken. The creature growls in a corner, blood on its hands. When it lunges, Victor and Pretorius slam the door shut, bolting it from outside.
Sickened by Igor’s death and his own hubris, Victor finally agrees the creature must die. He prepares a lethal compound and gives the syringe to Pretorius. With trembling hands, Victor unlocks the chamber. The creature attacks him instantly. As they struggle, Pretorius plunges the syringe into the creature’s back. It thrashes violently, then collapses. Victor, drained and trembling, falls unconscious beside it.
Elizabeth and Victor's father, Baron Frankenstein (John Lithgow), arrive at the lab the next morning. Seeing Victor weak but alive, they bring him home to recover. Victor, haunted by what happened, insists Pretorius destroy the creature’s body. Pretorius promises he will handle it. But as the doctor begins to dissect the lifeless body, the creature’s eyes snap open. It springs to life, hurling Pretorius into a wall, and crashes through the tower’s wall into the night.
The creature wanders through farmland, disoriented. By a misty lake, it finds a girl picking flowers. She offers one to the creature, who accepts it gently. They sit and toss petals into the water. When the girl runs out of flowers, the creature, fascinated, lifts her and tosses her into the lake. She does not float. She drowns. The creature stares, confused, then runs into the forest, horrified at what he has done.
Back at the estate, preparations for Victor and Elizabeth’s wedding are underway. As Elizabeth tries on her dress, a shadow moves across her window. The creature appears in her room. She screams. Servants rush in, but the creature is gone. Panic spreads through the town when the drowned girl’s father carries her body into the square. He tells the townsfolk of the monster that killed her. They grab torches and weapons.
Victor, hoping to find the creature before the mob does, searches the forest. The creature finds him first. It knocks him unconscious and drags him to an abandoned barn. As the townspeople close in, torches in hand, they spot movement inside and set the barn ablaze. Inside, Victor wakes, coughing from the smoke. The creature crouches beside him. Victor begs forgiveness - for locking it up, for fearing it. He pleads for his life.
The creature stares at Victor, then backs away into the flames. Victor smashes through a side wall and escapes. Outside, the townspeople watch as the barn burns through the night. In the morning, they sift through the ash and charred wood. They find no trace of the creature.
Later, at the Frankenstein estate, Baron Frankenstein raises a toast at Victor and Elizabeth’s wedding. Guests cheer, unaware of the horrors that nearly destroyed the family. But Victor glances toward the distant hillside. There, half-shrouded in fog, a lone figure watches the celebration in silence before vanishing into the trees.
Release: The Flintstones
The Flintstones
Genre: Comedy/Animation
Director: Chris Renaud
Writers: Lon Charles & Joshua Collins
Based on the animated series
Voice Cast: John C. Reilly, Andy Samberg, Kelly Reilly, Ellie Kemper, Aziz Ansari, Stephen Tobolowsky, John Mulaney, Tony Hale
Budget: $82,000,000
Domestic Box Office: $152,094,888
Foreign Box Office: $100,403,530
Total Profit: $64,909,375
Reaction: The first (and only) animated film of Season 34 plays it smart with a beloved IP, resulting in some strong box office numbers.
Rated PG for rude humor, mild language, and cartoonish action.
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