WebSorve

The second episode, titled "The passionate football prodigy", resumes immediately after the intense stand-off between Tsubasa Ozora and Genzo Wakabayashi that marks the beginning of their rivalry, which will span throughout the first arc, commonly referred to as the Kids' Dream or Elementary School Arc.

Wakabayashi is astonished by Tsubasa's skill, accuracy and shot power. He appears to be dazed until the players from Shutetsu B team show up. He then challenges Tsubasa to prove himself by facing the entire team and attempting to score, as this will be the only way to determine whether he is a true football player or not. Tsubasa agrees, and what follows is another testament to the quality of this anime series. In a riveting sequence showcasing the dynamic animation style it has become known for, Tsubasa makes easy work of his opponents. In a mixture of skill and speed, he dribbles, evades, and nutmegs the whole squad before shooting on target.

The face-off against Shutetsu B Team is the highlight of this episode, filled with captivating moments that culminate in another showdown between Tsubasa and Wakabayashi, where their rivalry escalates into a bloody affair. This scene is particularly noteworthy for two reasons: it reveals the identity of the mysterious stranger as Roberto Hondo, the famous center-forward of the Brazilian national team, and showcases Tsubasa Ozora's resourcefulness while establishing him as a complete football player. As a result, Nankatsu's Elementary School's football team regains access to the Junior Football Ground , so that it can be used as their training facility until the upcoming tournament.

Regretfully, the pacing becomes uneven as the episode loses its momentum, dialling down on the action considerably until the final scene. Even though we are shown a defining moment in Tsubasa's past, the plot point that ends up sparking our curiosity the most is the undisclosed nature of Roberto Hondo's connection with Kodai Ozora, Tsubasa's father. Still, these fail to either captivate or reach the intensity of previous standout moments.

The episode draws to a close with a promising setup for future contests, as Tsubasa ultimately decides to face Wakabayashi as the newest member of the Nankatsu Elementary School's football team, who proudly accept Roberto Hondo as their new coach. The anticipation for their rivalry remains, although one could have hoped for a stronger conclusion, as Roberto's acrobatic overhead kick, while impressive, doesn't reach the same level of excitement as the previous episode's intense stand-off.

"Spreading his wings into the sky" marks the starting point of a young boy's journey toward becoming the greatest Japanese football player the world has ever seen. We meet Tsubasa Ozora as he embarks on this new chapter, relocating with his mother, Natsuko, from suburbian Tokyo to Nankatsu—a place widely known to aspiring young football enthusiasts as the home of the prominent Shutetsu Football Team, recent winners of the national tournament.

The episode kicks off with an enticing glimpse of what lies ahead, offering a preview of the formidable adversaries Tsubasa will face in the early stages of his development as a professional athlete. Once he arrives at his new home, our main character wastes no time and explores his surroundings, hoping to find others as passionate about football as he is. Unrestrained, Tsubasa quickly captures the attention of local youth, be it for his dribbling skills or ball control. Most of them seem to harbour some form of resentment for the talented Shutetsu Private School's football team that Tsubasa aspires to join. However, theirs aren't the only eyes watching; a mysterious stranger, seemingly well-acquainted with Tsubasa's reputation as a youth possessing extraordinary skill and untapped potential, takes an unusual interest in him. But intrigue can wait, for shortly after, a face-off between the genius goalkeeper, Genzo Wakabayashi, and the captains from other sports teams, namely rugby, handball and baseball, ensues. This contest of skill showcases the exceptional animation style that this series has become known for, emphasizing fluid movement and dynamic ball play. Another highlight is the way in which Tsubasa chooses to challenge Wakabayashi, defying all odds and expectations. The subsequent stand-off between the two raises the stakes, fueling their rivalry and setting the stage for an epic clash between the local legend and the new kid on the block.

Other notable moments include the budding bond between Tsubasa and the captain of the Nankatsu Elementary School's football team, Ryo Ishizaki, as they become fast friends. On the other hand, Tsubasa's first interaction with Sanae Nakazawa is so unremarkable to the point that is doesn't even hint at what the future holds for them.

Overall, this episode delivers a well-paced and engaging introduction to "Captain Tsubasa". The standout scenes, particularly the showdown at Nankatsu's Junior Football Ground and the onset of the rivalry between Tsubasa and Wakabayashi, testify to the series' ability to set up the premise, develop character dynamics and offer thrilling football action that not only defies the laws of physics but also grips your attention and doesn't let go.

Choosing the 1977 Porsche 924 as the inaugural project for a TV programme like "Wheeler Dealers" was a clever move. It's a sleek car that commands attention, just like the dynamic duo that hosts the show. Mike Brewer, a natural at making deals, teams up with Edd China, who effortlessly demystifies the most challenging restoration processes.

After a brief introduction to the show and the vehicle itself, the first half of this episode focuses on Mike's search for the smartest buy, the much-needed test drive, and the swift deal-making (after a very brief negotiation) before handing the car over to Edd. The bodywork involved addressing a significant dent on the left-side rear quarter, which required fixing, scraping, filling, and repainting. Additionally, the passenger door needed to be replaced, and a laborious process of high-speed T-cutting was performed to restore the paint's glorious red shine. The exterior work was rounded off by cleaning and repainting the frames on the wheels.

The entire restoration process progressed smoothly, leaving Mike thoroughly impressed with the results. He even went the extra mile by including a set of inserts for the wheels, as the original ones had been broken. As the episode draws to a close, a brief recap highlights the budget and total expenditure thus far.

In his directorial debut, Martin Hicks demonstrated a clear understanding of what was originally intended by the show's creators, expertly utilizing interesting camera angles to match the program's informal style. Not only was this an engaging way to kick-start the series, but it also seemed to hit the mark with its target audience, as well as casual viewers, who turned '"Wheeler Dealers" into a massive success story.

"Ohm" is the short film debut of writer and director Santiago Menghini, who is credited for both roles. The film was released in 2009 and stars Nicholas B. York as an unnamed scientist who appears to be obsessed with experiencing sensorial augmentation, or the transference of his senses, through the use of an electrical resistance named Ohm. He seems intent on immersing himself ever deeper in an unquenchable thirst for control or understanding of certain elements and materials, such as water, wood, vegetation and ice. However, the increasing levels of electrical current used to conduct this experiment exact a heavy toll on his body and mind, as well as on anything electrical around him. Alas, although it proves to be nearly fatal, the experiment ends up claiming his sanity, as he plans on taking things a step too far.

This short film is presented in a 4:3 aspect ratio, with grainy visuals, and a vintage look. The overall aesthetics and level of technology employed are meant to transport us back to the late 1960s or early 1970s, which were the height of sci-fi during the network era of American television. And, notwithstanding a few continuity errors, half-baked effects, and average editing, it is clear that a lot of effort, thought and work was dedicated to this project. The influence of TV shows like "The Twilight Zone" and "The Outer Limits" is also quite noticeable, as is Menghini's inclination towards the horror and sci-fi genres. I found "Ohm" to be a very decent first effort and hope that it was a mere stepping-stone in a potentially prolific and brilliant career.

4444444444 (1998) is the second of two short films that were written and directed by Takashi Shimizu, which serve as prequels to his feature film debut, Ju-on : The Curse (2000). Here, we are introduced to Tsuyoshi Murakami (Kazushi Andô), a young man who just happens to be riding his bicycle around the corner of an old building when he stops to investigate the mysterious ringing of a mobile phone in a deserted alleyway. He looks for it behind abandoned furniture and damaged household items and eventually finds it, only to realize that the call is originating from a very odd number. He reluctantly answers the phone, only to hear the meowing of a cat coming from the other end. He dismisses the caller and decides to terminate the call. However, as he is about to ditch the phone, it starts ringing again. He sees that it is coming from the same number, but answers it anyway, only to be greeted by a similar raspy cat-like sound. He takes a seat on a nearby step and begins to wonder if someone might actually be watching him when he suddenly realizes that the cursed spirit of Toshio Saeki (Daiki Sawada) is sitting right next to him. Even though the premise is simple, it is extremely effective and showcases several characteristics of classic J-Horror movies, such as the ghostly figure of a child, an eerie or secluded location and a complete lack of a music score. The acting is also more than adequate and the ending is quite satisfying, despite being somewhat ambiguous. And, although it is still one of the shortest short films that I ever watched, it remains a fitting introduction or companion piece to one of be most famous Japanese horror franchises.

The sign reads "Welcome to Riverdale, the town with pep!", but that may actually be an overstatement. As a matter of fact, there is very little pep to be found here. It all looks and feels ominous and gloomy. Much like the teen angst that is affecting its main characters. Once we're introduced to this seemingly peaceful small town, we are immediately told that not everything is as it seems. We then proceed to trail the Blossom twins, Cheryl (Madelaine Petsch) and Jason (Trevor Stines), an odd pair of gingers, all dressed in white, as they make their way to a local river for an early morning boat ride. Sounds incestuous? It isn't. Just a few moments later, tragedy strikes as Jason Blossom falls into the river and disappears. It's becoming more interesting, isn't it? Well, don't keep your hopes up. In fact, this mystery, which should be at the heart of this episode, is quickly relegated to being a mere backdrop in the lives of Archie Andrews (KJ Apa), Betty Cooper (Lili Reinhart) and Veronica Lodge (Camila Mendes), three high school sophomore students on the verge of discovering who they are and what they want out of life. Or is it "who" they want out of life? It doesn't really matter. What matters is the teen romance and the heartache. This is what we've come to expect from a CW teen soap opera, these days, isn't it? Regardless, some of the creative choices kept it interesting for me, such as choosing Forsythe "Jughead" Jones (Cole Sprouse) to be the narrator of this story, even though we are only introduced to this character at the very end of the episode. I was also into the whole retro vibe, which is clearly an homage to the old Archie comics. There was one scene, in particular, that I really enjoyed, which was an argument between Archie and his father, Fred Andrews (Luke Perry), while standing on their front porch, where they discuss the importance of honesty and truth on the road to becoming the best version on oneself. It was probably one of the best character-building conversations I've seen on the small screen and, in some weird cosmic sense, made me feel that Luke Perry was always meant to play this role. Altogether, "The River's Edge" turned out to be a pretty decent start to this teen drama. It was well written by the series developer, Roberto Aguirre-Sacasa, proficiently directed by Lee Toland Krieger, who currently seems to be the go-to guy for pilot episodes, having previously directed the premieres for both Happyland (2014) and Beyond (2017), and brilliantly scored by Blake Neely. It was also properly edited and boasts a few great moments, including a fair amount of pop culture references and the occasional nod to cult television shows that keep the source material fresh, interesting and relatable to its target audience. Let's see where it goes from here.

The series premiere of Battlestar Galactica was written by Glen A. Larson, the show's creator, and directed by Richard A. Colla, who was already an experienced television director at a time when the space genre was gaining popularity, following the tremendous success of George Lucas' Star Wars. Regardless, it turned out to be quite the costly enterprise for Universal Pictures, with the studio spending nearly $8,000,000.00 to produce it, making this one of the most expensive made-for-television movies of the decade. In an attempt to regain some of their initial investment, the pilot episode was actually released in movie theatres prior to its original broadcast in the US on September 17, 1978. This may be the reason why not only the opening titles, but Stu Phillips' epic score and Patrick Mcnee's short, but memorable, narration allude to a more cinematic experience. However, even though it was intended to be a 3-hour television event, this feature length outing has since been separated into three episodes for syndication. But what truly elevates this episode are both the story and its pacing. And this is how it goes: in the seventh millennium of time, the human race is on the verge of achieving peace with the Cylons, the robotic remnants of an extinct alien race, in what is widely considered to be the most significant event in the history of mankind, as it will bring about the end of a war that has raged on for the better part of a thousand years. It is at this point that we are introduced to Commander Adama (Lorne Greene), a member of the Quorum of Twelve and the commanding officer of the Battlestar Galactica, who is gathered with President Adar (Lew Ayres) and his fellow representatives of the United Colonies of Kobol at the President's own Battlestar, the Atlantia. Meanwhile, during a routine patrol run, Adama's sons, Apollo (Richard Hatch) and Zac (Rick Springfield), find a Cylon Tanker and a Cylon Freighter hiding above an old moon and decide to investigate further, only to find countless Cylon Raiders on their way to ambush the unsuspecting fleet with the sole purpose of annihilating the entire human race. It doesn't take long for the Cylons to detect the pair of Colonial Vipers and engage them in combat, while jamming their transmissions to prevent them from warning the fleet about the impending assault. Commander Adama requests that the fleet is placed on alert and their fighters are launched to counter this unknown threat, but the President rejects this, under the advice of Count Baltar (John Colicos), as he is fearful that any show of force might put the already fragile peace treaty at risk. This decision doesn't deter Adama from ordering a battle stations drill and increasing the readiness level of his own Battleship. Even though Apollo manages to reach the Galactica in time, Zac is far less fortunate and his ship is destroyed just short of the fleet, as the Cylons begin their deadly attack. At this stage, the Galactica is the only ship that is ready to repel the assault from the enemy fighters, so they open fire with their laser batteries and order all their fighters to launch, among which are Lieutenant Starbuck (Dirk Benedict) and Lieutenant Boomer (Herbert Jefferson Jr.). However, this doesn't stop the Cylons from their executing their plan, as they focus their attack on the Battlestar Atlantia instead. During the battle, Commander Adama is informed that Cylon Baseships are approaching the Inner Colonies to lay them to waste, so he decides to withdraw from the battle, as the Atlantia explodes in the distance. Alas, they are too late. While on route to their homeworld, Caprica, the crew of the Galactica tap into a live broadcast feed and are crushed by an overwhelming sense of hopelessness, as they watch the vicious attack and destruction of the areas surrounding the Caprica Presidium. At the end of this devastating assault, all of the twelve colonies, along with all remaining Battleships, are utterly destroyed, nearly wiping out all of mankind from existence. While some of the surviving fighter pilots struggle to make it back to the Galactica, Adama decides to go down to the planet's surface to look for his wife and is confronted by a small group of survivors, where we find Serina (Jane Seymour) and her son Boxey (Noah Hathaway). In an attempt to ensure that mankind has a fighting chance, he asks them to send word to anyone who survived the attack on the colonies to board any ships that are fit to travel and meet up with the Battlestar Galactica, so that they can venture together into deep space in search of the mythical 13th Colony, a planet called... Earth. The episode ends with Count Baltar basking in the glory of the destruction of Caprica, while Cylon Centurions carry out the orders they had been given by their Imperious Leader -- the extermination of any surviving humans. For me, this was a near-perfect way to start a season-long story arc, which was an extremely rare quality in science fiction shows of that era. Not only are we introduced to compelling characters, but also to the universe where these events take place. It was also surprising to see how ethnically diverse the cast of this show really was. The main cast is truly exceptional, particularly Lorne Greene, and are accompanied by a very strong supporting cast, who constantly deliver solid performances throughout. It also takes the subject matter seriously, allowing the audience to witness a holocaust that nearly wiped out all of the human race, adding a certain level of tension and setting a very dark tone from the onset of the series. And this is why I'm really looking forward to see what awaits us in Part 2.

Just as I was about to watch "One Missed Call", the American remake of "Chakushin Ari", a Japanese horror movie that was directed by Takashi Miike and released back in 2003, I had a feeling that I had already done it once before during its original theatrical run. However, for some odd reason, I couldn't remember it. Well,... now I know why. It is utterly forgettable. Aside from the fact that it follows the same basic premise as the original movie, where people start receiving voicemail messages from their future selves with the exact date and time of their deaths, this movie simply ignores most of the elements that made the Japanese version so creepy and intriguing. But this didn't just end up being another pointless attempt by an American studio at remaking a Japanese horror movie. It actually killed the public interest in the genre and was also considered to be the worst movie of 2008, as well as one of the worst movies of the decade. Some of you are probably wondering what went wrong, so I'll be pointing out some of the reasons that led to this epic fail. Firstly, it was directed by Eric Valette, a French director with an unremarkable resume, who hadn't really done much outside of television prior to directing this movie and was also making his directorial debut in America. It appears that he had made the decision not to watch the original and asked his actors to the same. Frankly, I don't see the point in remaking a movie if you have no interest in watching the original or, at the very least, reading the novel from which it was adapted from, but that is just me. Anyway, rumour has it that, while on set, no one really saw eye-to-eye and that the writer, the director and the cast had very different ideas regarding what they thought the movie should be and that most were dissatisfied with the end result because of it. To give you a clear example of this, the screenplay that had been written by novelist Andrew Klavan was intended to be a horror-comedy, which kind of explains why the dialogue feels so clunky, but the movie itself ended up having a much more serious tone. Besides, you can't help but notice that this movie borrows a lot more from the far superior "Final Destination", a horror movie franchise that had begun in the year 2000 and had already spawned two successful sequels, than it does from the actual source material. And, even though it's half an hour shorter than the original, it's impressive how it still manages to be inexplicably plagued by filler scenes. But it wasn't all down to sloppy execution. The acting itself was just as bad and, regardless of how hard I tried, I was unable to find a saving grace from anyone at all. Not only that, but the special effects, which relied heavily on CGI, looked fake and detracted from the story. The studio executives are also to blame for this stinker, as they'd decided to make this horror movie PG-13 after they had already wrapped up principal photography, stripping away all creative control from the director. I could go on, but you probably get the point. In conclusion, it is my opinion that this was a boring, flat and lifeless horror movie that I don't plan on watching ever again... and neither should you.

Takashi Miike's "Chakushin Ari", more commonly known as "One Missed Call", is a Japanese horror movie that is based on a novel of the same name by Yasushi Akimoto and revolves around a curse responsible for creating a chain of missed calls and voicemail messages on its victim's mobile phones from their future selves with the sounds, screams and the exact date and time of their own violent deaths. While the curse does serve its purpose and ends up working well for the story, you won't be able to ignore the fact that the rest of the plot feels incredibly formulaic and that you've already seen this being played out many times before. Regardless, Takashi Miike's direction does elevate this movie to a whole new level and his use of slow pans, precise framing, careful pacing and inspired sound editing helps create an intensely creepy and eerie atmosphere that will grip you for the most part. Once again, he is able to prove that he can be extremely successful at generating suspense and building up tension. The acting is also very good, with Ko Shibasaki and Shin'ichi Tsusumi delivering solid performances as Yumi Nakamura and Hiroshi Yamashita respectively. Now, you may find that this may not be the best Japanese horror movie you've ever seen, by any standards, but it can be genuinely scary, even though it can also be quite confusing and puzzling at times, particularly towards the end. Nevertheless, it's still interesting to see how well it holds up nearly two decades after its original release, especially when you take into consideration the fact that we now live in the digital age and that almost everyone owns a smart phone. But, be that as it may, it remains a thrill to watch and a must-see it to anyone who's into J-Horror.

No one was expecting Alfred Hitchcock, the Master of Suspense, to fail in the delivery of a proper premiere to his own television series, which either he or the network executives decided to call, oddly enough, "Alfred Hitchcock Presents", and he most certainly did not. Aside from his duties as the presenter, Hitchcock was also the creator of this series and the director of the very first episode, which was written by Francis M. Cockrell based on a story by Samuel Blas. This episode, titled "Revenge", focuses on a couple of newlyweds, Carl Spann (Ralph Meeker) and Elsa Spann (Vera Miles), who had just moved into a mobile home, located somewhere near the ocean alongside the California coast. While Carl is initially portrayed as caring and loving husband to his psychologically troubled wife, he soon becomes exasperated and sullen upon arriving at their trailer, one day, and finding her lying unconscious on the bedroom floor. Shaken and clearly disturbed, she tells him that she has been attacked by an unknown salesman, who tried to kill her when she refused to give him money. Feeling incredibly frustrated after being told by the police that they don't have enough information to go on, he decides to take matters into his own hands and goes looking for the assailant himself. What transpires next, all the way up to the inevitable twist at the end, is what makes this a very satisfying episode and would inevitably set the tone of the entire series. The performances of both Ralph Meeker and Vera Miles stand out under Hitchcock's direction. The man was truly a genius and it's quite an amazing experience to observe what he could achieve in so little time, even when working from such an unremarkable script. Although the episode is quite short in length, with a runtime of only twenty six minutes, he proves that he was still able to provide so much information in the opening shots and establish a lot of its elements early on, without resorting to blatant exposition. We can easily identify his distinctive filmmaking style in this episode, such as the employment of upward angles to create depth, close-ups that are designed to build up tension and the clever use of shadows on the wall and reflections on mirrors to show the audience what is going on without displaying too much violence or breaching any of the restrictions that television had at the time. Overall, this was a very satisfying start to this series and I can't wait to see the next episode.

The second episode of House, M.D., cleverly titled “Paternity”, was written by Lawrence Kaplow and directed by Peter O’Fallon. It starts off in the middle of a game of lacrosse, where a teenage boy appears to suffer from confusion and double vision shortly before being hit pretty hard by an adversary. Three weeks later, we find Dr. Gregory House at Princeton-Plainsboro Teaching Hospital with no cases to work on. And while most of his team of specialists has been sitting on their hands, Dr. Allison Cameron has been answering his mail for him. However, it seems that she has taken her newly-assigned responsibilities a bit too seriously, as she has decided to take on a case on House’s behalf, but without his consent. As it turns out, the lacrosse player at the beginning of the episode was Dan, a sixteen year old high school student who had been suffering from night terrors and whose brain seems to be losing control over his body, which is why Dr. House decides to take the case anyway. Oddly enough, it won’t be the unlikely nature of the illness, the youth of the patient or the particular circumstances of his family that will capture the viewers’ attention for the duration of this episode, but rather the paternity bet on Dan’s father that House comes up with and how it unfolds. There is very little character development here, even though we do get to see a bit more of Dr. Cameron’s idealistic nature and it becomes noticeable that House seems to favor Dr. Eric Foreman over his other two team members. Beyond that, it’s House’s brilliant deductive skills, his quips and the way in which he can goad others into falling for his tricks that truly make this unremarkable episode fun to watch.

It’s not that usual for a television series to be able to successfully establish all of its character dynamics and interactions so accurately in the very first episode, but House, M.D. manages to pull it off. This episode, commonly referred to as “Pilot”, is also known as “Everybody Lies” and was extremely well written by the show’s creator, David Shore, and expertly directed by Bryan Singer. It begins by introducing Rebecca Adler, a kindergarten school teacher who becomes the very first patient in the series, as she experiences the early symptoms of her mysterious condition while at work. The case eventually reaches the hands of Dr. Gregory House, the head of the Department of Diagnostic Medicine, who finds it boring and is initially reluctant to take it on, but is ultimately persuaded to do so by his best friend and colleague, Dr. James Wilson. As the storyline progresses, we get to witness House’s unorthodox approach to both life and medicine, whether it’s through his interactions with the members of his team, which is comprised of Dr. Eric Foreman, Dr. Allison Cameron and Dr. Robert Chase, his boss, Dr. Lisa Cuddy, who is the Dean of Medicine at Princeton-Plainsboro Teaching Hospital in New Jersey, and his patients, whether they suffer from common or rare medical conditions. Think of Gregory House as Sherlock Holmes with a lab coat… even though he hardly ever wears it. He is a doctor who is not interested in treating people, just diagnosing and treating the illness, with very little regard for his patients’ fate. This makes him one of the best characters that has ever been written for television, as he is both awesome and flawed and we get to see that during every differential diagnosis, every conversation and every scene in which he is involved in. His swagger is defined by his demeanour and he is truly at his best when he is either being arrogant, dismissive and sarcastic to people or just popping pills and quoting Mick Jagger. One thing is for sure… well, maybe two things: I’m hooked and I’ll keep watching.

The first episode of Bleach, like many other anime series that came before it, focuses on explaining who the main character is, what his motivations are and what distinguishes him from everyone else. Ichigo Kurosaki is a kind hearted, but fearless, high school student who appears to have a very special talent: he can see and is even able to communicate with ghosts. This is all established from the start, where we find him "educating" some goons on decency and respect after they knocked over a jar with flowers that had been placed on the ground as an offering to the soul of a young girl who had died there. In terms of his personality, Ichigo can be quite reserved and generally keeps to himself, as he doesn't seem to be very open about his thoughts and feelings, even with his own family. That being said, depending on the situation, he can also come across as being tremendously outspoken and energetic. His father runs a clinic and is family is presented as being comically dysfunctional, in large part due to the children's sensitivity towards the lingering spirits of the dead, a gift that they may have inherited solely from their mother's side. Ichigo's everyday life ends up being permanently affected by the arrival of the Shinigami, or Death God, Rukia Kuchiki in Karakura Town, which narrows the gap between their two worlds and brings a sense of purpose to Ichigo's existence. We learn that Rukia works for the Soul Society and is on the hunt for Hollows, who are described as evil spirits that feed on the souls of both the living and the dead. Initially, we are led to believe that they are hunting for the souls of spirits who haven't departed from the world of the living yet, which is why they are drawn to Ichigo's family clinic. However, we soon find out that it's Ichigo's own untapped potential and strength that make his extremely powerful soul such a coveted prize. As the inevitable fight ensues, Rukia is critically injured and Ichigo decides to sacrifice himself in order to become a Shinigami, so that he can defeat the remaining Hollow and save both of his sisters' lives, One of the great things about this episode is that there is virtually no filler of any kind. We are presented with a charismatic and interesting main character, along with a group of supporting characters that are not only relevant to the narrative, but also help move the story forward. Even when we are given some form of exposition, it's craftily delivered with humour. It's definitely an entertaining watch and I can't wait to see what happens next.

The first ever "monster-of-the-week" episode and the precursor of a long line of stand-alone episodes, which mainly focused on subjects that were completely unrelated to the Alien Mythology arch, was successful in introducing "The X-Files" to a more mainstream audience due to its procedural nature and its honest attempt to branch out into the realm of horror. Still, the writing credits wouldn't go to the show's creator, Chris Carter, this time around, but to James Wong and Glen Morgan instead, a pair of writers that would become long-time collaborators on the show. Even though it was meant to be directed by Harry Longstreet, who was mostly recognized for his work on "Alien Nation", this episode had to be completed during post-production by writer James Wong and director Michael Katleman, given the fact that both cast and crew members had reported several issues with the original director during the filming of "Squeeze". Surprisingly enough, the end result was nothing short of remarkable, as this turned out to be one of "The X-Files" most memorable outings to date and managed to deliver a genuinely creepy and exciting story surrounding the hunt for a mutant with a taste for human liver. The episode begins as Special Agent Scully is approached by a former classmate from the FBI Academy at Quantico, Special Agent Tom Colton, played by a young Donal Logue, and asked to convince Special Agent Mulder in assisting with the investigation of a series of ritualistic murders that had been occurring within the Baltimore area. It turned out that the particular circumstances of these serial killings and the lack of an entry point at each crime scene appeared to be very similar to the ones found on an old X-File from the 1960s, so Mulder became very interested in this case. However, as it became clear that their efforts were being vastly ignored, Mulder and Scully eventually decided to conduct an investigation of their own, despite having been instructed to merely assist and observe. In terms of character development, this was the perfect way to show viewers how much Mulder is actually considered to be an embarrassment and a nuisance to the Bureau and how he is scorned and rejected by his peers, not just for his wild ideas, but for his unusual methods too. It also portrayed the politics of careerism quite well, as most agents appear to be more concerned with securing convictions and climbing the ladder, rather than pursuing the truth. Nevertheless, the real treat here is Doug Hutchison's performance as Eugene Victor Toombs, one of the most fascinating and iconic characters ever created for this show, which contributes heavily towards making this one of the best episodes of the season.

The second episode of "The X-Files", which was also written by the show's creator Chris Carter and directed by Daniel Sackheim, marks the first time we get to hear the legendary "X-Files" theme, as well as the first time the show's catchphrase "THE TRUTH IS OUT THERE" is actually displayed on-screen. This is also known to be the second entry in the Alien Mythology arc and it portrays the first contact the main characters have with secret military projects involving the use of UFO technology. During the course of their investigation into the disappearance of a US Air Force test pilot, who seems to have developed strange physical and mental symptoms that could be related to high amounts of stress caused by the use of alien technology, Special Agents Mulder and Scully witness what appears to be aircrafts moving in the night sky in a way that defies the laws of physics. What happens next is but a glimpse of what the United States Department of Defense and the military are willing to do in order to cover up or protect their secrets. The eponymous episode also introduces us to Mulder's informant, a high-ranking government official that goes by the name of "Deep Throat". On another note, most people will be able to recognize Seth Green in an early performance as Emil, a young stoner who occasionally likes to sneak into the air base with his girlfriend to "kick back, listen to some tunes and... watch the air show". Overall, this was a pretty decent episode that deals with the concepts of government conspiracies, paranoia and UFO sightings. Even though they still couldn't get the tactical behavior during a military operation quite right, the plot, acting and dialogue were great and it had some really good moments of tension.

It's impossible to look at the introductory episode of "The X-Files" and not see it for the game changer that it was when it first premiered on television. The "Pilot" episode was brilliantly written by Chris Carter, expertly scored by Mark Snow and competently directed by Robert Mandel. It introduced us to Special Agents Fox Mulder and Dana Scully, as they work on and investigate paranormal cases that were deemed unsolvable or given minimal-priority status by the FBI, along with one of the most mysterious and iconic antagonists in television history, the Cigarette Smoking Man. The series begins when Agent Scully is assigned by Division Chief Scott Blevins to assist in the investigation of the so-called X-Files and tasked with submitting reports from a scientific standpoint as a means to debunk any unusual findings and discredit Agent Mulder in the process. However, throughout the course of their investigation, both Agents experience strange occurrences, while having to deal with constant obstructions of justice and the deliberate destruction of any remaining physical evidence in a flagrant attempt to keep them from uncovering or exposing the truth. I find that this episode was extremely successful in setting the tone of the show from the start. It also succeeded in portraying Mulder as a true believer and Scully as a firm skeptic, which created a perfect balance between these two characters. Furthermore, it benefited greatly from having an interesting plot, a serious tone and a subversive atmosphere. Even the dialogue was extremely well written and delivered, making it sound as fresh now as it was before. The only gripe I have with this episode is the lack of skill that these actors display when handling a firearm, as it makes them look inexperienced as opposed to professionally trained agents. Still, this minor flaw shouldn't be enough to deter you from watching and even enjoying this episode.

Having watched Can Evrenol's brilliant and nightmarish "Baskin" last year, I was really excited to watch "Housewife" this year. Not only that, but the only preview I could find on YouTube was actually quite compelling, so my expectations were at their peak as I entered the movie theater. Alas, as my initial excitement faded, my expectations would soon be laid to waste. While the movie had a promising start, it quickly went astray. The acting was mediocre, at best, but all I kept wondering was why on earth would any studio hire a non-English speaking cast to speak in English for the majority of the time when these events are not even occurring in an English speaking country? It's distracting and adds absolutely nothing to the story. Furthermore, while most of the dialogue focuses on exposing who these characters are, what they do for a living and how they came to know each other, not much of it is truly dedicated to clarifying some of the most meaningful aspects of the story, such as the identity of the old lady in the painting or the importance of the pendant that she wears around her neck. We can try to guess and speculate, but we never really know for sure. Plus, the nudity, sex, blood and gore also feel gratuitous and bear no significance to the story that we're being told. They're just randomly thrown into the mix. The only hint of purpose is only provided at the very end, where all threads are tied together, but the ending itself failed to have much of an impact and I wasn't invested on these any characters to even care about what happened to them. There was simply not enough meat on these skinny bones. In conclusion, the acting was wooden, as there was very little chemistry between the actors themselves, the characters were underdeveloped, the plot was weak, the story was insubstantial and the on-screen violence, even though it was well executed, served little purpose apart from attempting to shock the audience. There are far better movies out there for you to watch, so I suggest that you don't waste your time on this one.