Matt-Canalcon

Right from the opening with its macabre long take, "It Lives Inside" establishes a sense of dread that persists throughout this descent into hell. Competent but derivative, the final result takes us into familiar formulas and a predictable rhythm that prevent us from fully immersing ourselves in the madness.

The direction allows for terrifying imagery and creative camera movements, which are, however, trapped within a poorly woven script. The demonic presence is there, the great strength of this film lies in the grim atmosphere soaked in red and black. Indian customs and Hindu mythology add personality and richness to the film, which is greatly appreciated even if the potential is not fully realized.

There's something to be said about the work on the practical special effects, considering the production budget. Despite a certain lack of originality, the supernatural manifestations follow one another, delivering an allegory about depression and an interesting message about cultural acceptance. A feeling of déjà vu? "It Lives Inside" borrows current themes that appear in several modern horror films and stumbles slightly in execution. Eventually, we fall into a zone of predictability and a trap of clichés that prevents the final work from reaching its full potential.

Also worth noting is the presence of the young lead actress, Megan Suri, who should catch Hollywood's attention after her performance. All in all, it's an intriguing mix of satanic incantations, cultural immersion, and teen horror that should find its audience upon its theatrical (or streaming) release.

Sure, it's nothing special in terms of recipe, but the final dish is refreshingly sweet and honest.

Platonic is a mostly feel-good and charming look at adult relationships, friendship and midlife crisis shenanigans with Rose Byrne and Seth Rogen's chemistry elevating the material. If you're not into the Seth Rogen brand of humour you might actually be surprised by this performance which shows a more mature Seth Rogen who's still able to pull out some genuinely funny moments of comedy when necessary. In terms of exploration of adulthood, don't expect anything too deep but everything is flowing so smoothly that I ended up watching one episode after the other over two days.

Will (Seth Rogen) just got out of a divorce and is a owner of a brewery while Sylvia (Rose Byrne) is a stay-at-home mom of three kids who's clearly bored with her life, they both end up reconnecting after spending a few years apart. It's a light and entertaining Friday night watch with some good performances all-around. When Rose Byrne channels her inner comedic side she can be effortlessly hilarious and it's almost as if Seth Rogen brings out the best of her which allows her to unleash her wild side.

I got attach to them pretty quickly thanks also to the writing which is not flashy but can be clever at times. It wins you over with the smaller moments that speaks volume. Maybe it's because I just hit my 30's or maybe it's because I always liked Seth Rogen, but this resonated with me without saying I was emotionally moved by the series it does get you hooked with the blend of drama and comedy, all thanks to Byrne and Rogen's charms and wits.

I just think this works without being special or ground-breaking, it immediately becomes some sort of comfort food. In some ways, this might've benefited from the whole season dropping the same day but the first three episodes will be releasing on May 24th. It might lose some people along the way with the week-to-week format. By the end of the series, I was a bit underwhelmed by the finale, it left me wanting more. I still think it was a good watch overall.

The film generated a lot of interest on social media due to the crazy nature of the concept which gives flashbacks to Snakes On A Plane released in 2006 for those who remember it. Unlike Snakes On a Plane, Cocaine Bear manages to deliver the goods on its bonkers concept.

Right from the opening sequence we are introduced to the sharp and cruel sense of humor of the filmmakers as a pilot unloads a shipment of cocaine which leads to a farcical misadventure. Cocaine Bear knows exactly what type of movie it is: an hilarious and gory slasher where the main star is a coked up bear. Just like its titular drug, it starts very high and runs out a bit of steam by the end but it was utterly glorious and satisfying to witness the carnage of the lead star. One of the film's strongest qualities is its ability not to take itself seriously.

Director Elizabeth Banks knows how to introduce a cast of entertaining, cartoonish characters that will serve as a main course for Cocaine Bear who's completely out of control. Everyone adds their two cents and contributes to the success of the many gags.

Cocaine Bear finds many ways to surpass expectations and entertain even if the movie can't hide all of its flaws. In terms of editing, the challenge was to follow different separate characters in several places while keeping a certain momentum and this is not always mission accomplished for Elizabeth Banks. That being said, the strength of the film is when you see the same character in several places at the same time because he was dismembered by Cocaine Bear and the good news is that the gore does not disappoint even if the horror elements are slightly neglected.

The music by Mark Mothersbaugh also add to the 1980s vibe with energetic synthesizers, no surprise coming from Devo's keyboard player who's a wise choice as the composer for the film. All in all, it's an experience one can enjoy with a cheering midnight crowd and director Elizabeth Banks understands what people want from a movie called Cocaine Bear, something Snakes On A Plane didn't have. Including in 2006. Victory goes to the bear with the help of a little cocaine.

7.5/10.