Summer is traditionally a lighthearted season for blockbusters (this year, Top Gun: Maverick, Jurassic World: Reign, and Thor: Love and Thunder all broke box office records). But summer is also for students to relax and let experts write my paper with WritePaper to find time for film festivals and films that attract more than special effects and action sequences.

Over the past three months, you could see new films by Ron Howard, George Miller, Baz Luhrmann, David Cronenberg, and Alex Garland. There are a lot of new movies, so we advise you to contact the write my essay service not to lose school grades, but have time to see all the films in our selection.

“13 Lives”

Ron Howard is associated with tear-jerking Oscar dramas (“Mind Games”) and action blockbusters (“The Da Vinci Code and its two sequels). When it became known that he would be the one to direct the story of the rescue of Thai children trapped in the Thamluang Cave for three weeks in the summer of 2018, there were fears that the film would become Hollywood-style sprawling and melodramatic. Fortunately, Howard holds his own. Clearly out of respect for all the famous events that made the world go through the screens four years ago, Howard chronicles the rescue operation in detail and without manipulative digressions.

“3000 Years of Longing”

An adaptation of a story written in 1994 by Antonia Susan Byatt is different from 99% of the movies coming out now. Djinn is not the most popular character outside of children’s fairy tales, and literary figures don’t often become the heroines of $60 million pictures. Idris Elba with his elf ears and Tilda Swinton talk for nearly two hours about science, loneliness, love and the skill of storytelling in a single Istanbul hotel room. Sure, there’s action in the film, but not at all like a modern blockbuster – more like an adaptation of “1001 Nights”.

“Bullet Train”

The hitman (Brad Pitt) has a very simple mission–to steal a ransom case from two mercenaries who have taken the son of Japan’s chief gangster from the Yakuza. But the train is packed with a whole bunch of savory character assassins of different nationalities and specialties, all with different motives and professional manners. So “Bullet Train” is packed with spectacular scenes that, unfortunately, lack the substance that glues these vivid episodes into a complete whole.

“The Spy Who Never Was”

Bartender and car salesman Robert Freegard seduced and robbed five women, the 2005 documentary “The Spy Who Stole My Life” was made about him, and earlier this year he became the subject of an entire Netflix documentary series. Both ask the logical question, “How did adult modern women fall prey to a passé?” The play “The Spy Who Wasn’t There” answers it with James Norton in the title role -charm, plus total immorality.


In the 35 years since the first Predator with Arnold Schwarzenegger was released, there have been five more films about the confrontation between humans and the nearly invincible hunter from outer space (including two sequels in collaboration with the Alien universe), one worse than the other. All the more satisfying because the first Predator prequel, Dan Trachtenberg’s Cloverfield 10, Prey, was a very interesting film with a whole new approach to the old story and a knack for keeping the tension going until the finale.

“Love on Demand”

There are three ways to make a movie about a 55-year-old teacher who, after her husband dies, hires a young gigolo to satisfy her love needs. Screenwriter Kathy Brand and director Sophie Hyde, apparently tired of the way men show the sexuality of women of a certain age on screen, have taken the third route – combining light comedy with serious drama with a strong bias toward the latter. A film about the emancipation of a representative of the generation over 50 turns into a re-education of an older woman.

“Mrs. Harris Goes to Paris”

If you ignore the fabulous nonsense of one of the plot branches (an English cleaning lady who saves up for a Dior dress saves the entire haute couture industry in Paris), this movie is likely to appeal to anyone who appreciates well-written and acted-out old-fashioned stories. One might even treat Mrs. Harris as an alternate superheroine whose secret superpower is the soulful kindness, easy-going character, and wit of an elderly, un-aged lady.

“Crimes of the Future”

David Cronenberg’s first feature film in eight years can be seen as a metaphor for cancer as a major threat to human life. Cronenberg is clearly fascinated by the body’s uncanny ability, under the influence of stress, environment and age, to grow mutations in its depths. For protagonist Saul Tenser (Viggo Mortensen), the organs artificially growing in his body become objects of art, which his collaborator Caprice (Lea Seydoux) covers with tattoos and then removes during public shows for fans of such body art. Saul, in this case, is both a canvas, an artist, a clay artist, and a sculptor. The pain doesn’t make Saul and Caprice suffer – on the contrary, it makes them feel alive.


After her divorce, sweet girl Harper Marlowe (Jesse Buckley) rents an old, 500-year-old house for two weeks in the picturesque British woodlands. Harper wants to be alone and heal her wounds. But there’s no such thing.


Baz Luhrmann believes that Elvis Presley’s tragedy was that he could not put his career in perspective and break up in time with the people who were slowing it down. Beginning as a protestor, Presley became the personification of Las Vegas–a lazy, pill-popping, fat, shiny ghost of a once-great musician. Luhrmann shows this transformation objectively, but with an obvious love for the hero of his film.

Author: Mary Hayes

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