![]() ![]() Then as soon as the plane blew up, everyone's suddenly like "oh, woops hehe j/k go ahead." What's the one dude gonna do once he's butt-naked and getting his cavities searched? The guy is literally asking to be let out, and you can simply arrest him once he's off the plane - instead, you keep him on it because.? He needs to let out the passengers first? Can't just rescue them once the "terrorist" is in cuffs?* Never mind the kid screaming the same thing, and no one even considered there might be a good reason for that. The last act is terrible, and only happened because Graham McTavish and that doctor/translator(?) are terrible at their jobs. ![]() I greatly enjoyed it as a whole, mostly everything until the flashback ended. They could have created a video and uploaded to youtube or Tiktok and had that go viral. Because it would have been easy for someone like Farid to call up someone, anyone and tell them that the plane had been taken hijacked and the whole recording was a force read. The question I have is why didn't anyone on the plane use their cell phone to call up loved ones and to tell them what was going on? I wonder if there was a deleted scene showing someone trying to use a phone and not getting any signal. And what bigger tragedy than a plane taken hostage and slammed into a world capital? The event would have been so incredibly and globally devastating that no one would even think that it would was actually done to cover up a specific hit job.Īgain, the real reason for the crime is up in the air. It could have been something as simple as the person funding the whole thing needed a certain person onboard dead but they had to make look like he or she died in a tragedy. The real reason for the mission could have been anything. Everything else was an up in the air guess. And all the criminals where getting a million each. The only real information we were given was that Berg was getting information and relaying through a satellite walkie-talkie from God knows where. That was the theory some of the passengers ahead. The only reason I can think of to have all those additional men was to have something for Nadja to tear through and make a bigger mess. The only problem I had with the movie is why did they need all those men to crash the plane when the co-pilot and another guy could have pulled it off just as easily? The Co-pilot and Eightball would have done the trick. He would turn himself into a vampire the first chance he could. And then being pissed when they never came. I can imagine him as a kid playing with a ouija board trying to sum up demons. He just came waltzing in with her journal and went, "Yep, a vampire." As if he had been waiting for this scenario, coming across a vampire his entire life. I love how he didn't second guess for a minute that Nadja was a vampire. It has the potential to be a cult hit because of the type of vampires as well as how much fun Eightball is as a psychopathic villain. We haven't had one of those in a dog's age. A solid horror film and even better modern scary vampire film. Joining the ranks of films such as Big Night, Chocolat and Babette's Feast in its joyous depiction of the preparation and love of fine cuisine, DELICIOUS is just that.It was surprisingly better than I had hoped for. and of the creation of France's very first restaurant. ![]() But when a mysterious woman (Carré) arrives and offers to pay to become his apprentice, the stage is set for a wildly enjoyable tale of reignited passion, mentorship and revenge. The wounded Manceron swears off his passion and retreats with his son to a regional inn visited only infrequently by travellers, and where vegetable soup is the common meal. So, when the talented but prideful cook Manceron (Gadebois) serves an unapproved dish of his own creation at a dinner hosted by the self-entitled Duke of Chamfort (C'est La Vie's Benjamin Lavernhe), the repercussions are brutal, and he is promptly dismissed. In 1789 France, just prior to the Revolution, gastronomy is strictly the domain of the aristocrats indeed, the prestige of a noble house is entirely dependent on the quality and reputation of its table. ![]() Writer/director Éric Besnard's mouth-watering new historical comedy indelibly pairs Grégory Gadebois and Isabelle Carré as a gifted chef and his unlikely protégé, who must find the resolve to free themselves from servitude. ![]()
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