Morbius

Biochemist Michael Morbius tries to cure himself of a rare blood disease that has rendered him handicapped his entire life, but he inadvertently infects himself with a form of vampirism instead and must fight for control of himself.

After lots of delays and unconvincing trailers, Morbius pulls off the impossible — it’s even worse than expected. It’s one of the worst superhero films to date and one of the worst films I’ve ever seen in a movie theater. Academy Award winner Jared Leto continues a streak of subpar acting choices with a miscast, creepy turn as Michael Morbius, who’s supposed to be a social outcast doctor turned hero the way Benedict Cumberbatch so convincingly was in Doctor Strange, but Leto brings forth no charm or charisma and actually comes off as an unlikable hero who’s distant from the audience for the whole runtime. Matt Smith also delivers a horrible performance with a character you can’t stand and whose every move is predictable. Adria Arjona and Jared Harris try their best but are stuck with poor writing that doesn’t serve their skills or characters any well. Speaking of which, the characters’ morals, decisions, and conflicts feel so hollow they’re almost non-existent and simply there to check off boxes on the list of superhero origin clichés.

The movie attempts to be darker than the Marvel Cinematic Universe films in the main Tom Holland Spider-Man continuity, but unlike The Batman, another dark superhero film this year, Morbius has no energy, tone or clear objective to exist. The CGI makes the fights hard to watch, especially the vampire look and powers which look like images from a video game. The action is done in a way where it’s impossible to tell what’s going on and the lighting and score are dark and gloomy, sucking any life out of this sad movie that feels more like a first-draft concept idea than an actual movie made for an audience’s entertainment. But it’s not only embarrassingly bad to watch — it commits the unforgivable sin of being boring. Although at 1 hour and 44 minutes, it’s one of Marvel’s shortest movies ever, it feels so much slower than any other superhero film and I was begging for it to end. There comes a point where even when you find yourself drifting off and the movie has become beyond saving, it still finds a way to outdo itself and become simply unbearable and laughable in the final act. Even the bland Venom movies (which are set in the same universe as Morbius) have had aspects to offer some fans of the source material, but to any fans of comic-book movies, vampire movies, or just good movies, please spare yourself — the only thing you’ll get out of this movie is the desire to forget it immediately after you watch it.

The Lost City

A reclusive romance novelist on a book tour with her cover model gets swept up in a kidnapping attempt that lands them both in a cutthroat jungle adventure.

Sandra Bullock and Channing Tatum make a fun pair in this romantic action-adventure comedy that had me laughing out loud. The leads have great chemistry and they both get to exercise their comedic skills to this wide-appealing genre film. Da’Vine Joy Randolph also steals the show as Bullock’s best friend and Brad Pitt makes an outstandingly thrilling appearance. Though the story is very similar to other recent films like Jungle Cruise and Uncharted, the silly, almost self-aware touch is what makes it a delightful, harmless time. It’s easy to tell where the ride is going, but it’s also very tempting to go along with the ride due to Bullock and Tatum’s chemistry, enough to go to the theater and enjoy with others.

The Batman

This reboot of one of the most beloved movie characters focuses on a dark, crime-ridden Gotham City. When the Riddler, a sadistic serial killer, begins murdering key political figures in Gotham, Batman is forced to investigate the city’s hidden corruption and question his family’s involvement.

Despite already having a magnificent trilogy for the character in the Nolan Dark Knight films, Matt Reeves’ reboot is unpredictable, fascinating, and masterful — even reaching the heights of Nolan’s films. Robert Pattinson delivers an incredible performance as a man who fights crime but also finds himself as Batman due to his own misery and demons, and the film explores Batman as a sign of fear towards criminals, as well as a detective and antihero. But gone is the glamor of Bruce Wayne’s rich life — Pattinson portrays a lonely, depressed man who can only find meaning for himself by going out and finding a fight. He gives off the vibe of Ryan Gosling’s reserved, morally ambiguous performance in Drive, and I’d also compare this most to Pattinson’s role in The Lighthouse. Zoe Kravitz surpasses past portrayals of Catwoman from actresses like Anne Hathaway and Michelle Pfeiffer by making Selina Kyle feel incredibly human and as interesting of a character as Batman, instead of being part of the story just for him. Paul Dano is menacing and terrifying as the Riddler, but Colin Farrell is unrecognizable as the Penguin, under so much convincing makeup but still delivering a scene-stealing performance. Andy Serkis is also great as Alfred and Jeffrey Wright is another standout, wonderfully cast as Gordon and his relationship with Batman is very interesting to watch grow.

But this movie isn’t only packed with great stars. Reeves’ direction, as well as award-worthy cinematography and score (Michael Giacchino — known for The Incredibles, Inside Out, Up, Spider-Man, and more — delivering his best live-action score yet), brings to life a riveting, nail-biting crime mystery noir atmosphere reminiscent of cynical murder mystery thrillers like Se7en and Zodiac — even more grounded than The Dark Knight, which feels like a crime epic but still had a larger scale than this. This dark, mysterious atmosphere makes the film nail-biting and never slow, even at 3 hours. The conspiracies and mysteries that unravel are intriguing and the fights are gritty for a PG-13 superhero movie. By the last hour, it genuinely becomes difficult to tell what is going to happen next, which feels rare for blockbusters of this size today, due to the darkness that envelops the characters and their world.

The Batman is more than up to the task of delivering a mind-blowing reboot that surpasses expectations and earns every minute of its runtime. It’s packed with memorable performances, a meticulous atmosphere, and edge-of-your-seat tension, ultimately making one of the best superhero films of recent years that has to be seen on the big screen.

Uncharted

Street-smart Nathan Drake, is recruited by seasoned treasure hunter, Victor “Sully” Sullivan, to recover a fortune amassed by Ferdinand Magellan, and lost 500 years ago by the House of Moncada.

Video-game movies are always a concerning subject, and with Uncharted being one of my personal favorite video games (not being a huge gamer myself), this film does translate the set pieces and globe-trotting style to the big screen, but much of the wonder is lost in translation. Tom Holland plays a younger version of Drake than seen in the games, and its his charisma and energy that elevate his take on the character, and even when his dialogue feels lacking, it’s Holland’s spirit and star power that do the heavy lifting. Mark Wahlberg shares some good chemistry with Holland, but on its own, his performance as Sully falls short. His character’s writing can’t quite decide what it wants to be, and it feels like a case of less-than-stellar casting with Wahlberg’s delivery. Sophia Ali also does a good job as Chloe, but again, it’s the script that can’t take her character in a satisfying direction. Even famous Oscar nominee Antonio Banderas has an all-in-all boring presence — as if that was even possible for him. The writing also fails to make the origin between Drake and Sully’s meeting feel unique, and ultimately the entire film suffers from being cliché. The editing feels watered down and studio-like, despite some exciting action which feels visually imaginative, but the actual CGI work looks digital and unbelievable. The exposition to explain the adventure can’t quite pull you in and the twists are easy to see from a mile away. Like I said, the scenes they’ve come up with are interesting, whether it’s journeying through ancient underground rooms looking for clues or hanging off planes while fighting bad guys, but the way it’s shot and edited makes any sense of originality or wonder and discovery feel lost. In the hands of a better director and more creative freedom and realistic-looking green screen, this could have been something special. While the action scenes are certainly watchable and bombastic, the delivery feels too fluffy and disposable, without any sort of new creative touch, and fails to differentiate itself from films from the worlds of Indiana Jones and Tomb Raider.

The King’s Man

In the prequel to the Kingsman film series, Orlando Oxford (Ralph Fiennes) forms the Kingsman agency during World War I to stop a huge conspiracy to wipe out millions.

In this large, historically-based prequel, Matthew Vaughn’s unique eye for action and wit remain sharp but he ditches the parodical energy of the last two films for a tonal mess of a WWI action film that takes itself too seriously. Obviously, war is not a joke but the movie already makes fun of the figures behind WWI with its caricatures of Rasputin, Kaiser Wilhelm, King George and Tsar Nicholas (the latter three all being played by the same actor, to make things sillier). So with this Inglorious Basterds-like irreverence the movie plays around with, why not make the entire movie a comedy like the last two movies? The script tries way too hard to teach a somber lesson about violence, but the problem is the movie thrives on the over-the-top carnage seen on screen. The movie is a tonal mess, with the film trying to be both a cartoonish spy comedy and attempting to deconstruct war and lessons around what violence is, as well as having serious, intense scenes on the Western Front that feel like something out of a completely different movie. To make matters worse, the characters all feel flat and the supporting roles, like those of Gemma Arteron and Djimon Honsou, have no agency of their own. Ralph Fiennes is the only actor who gets a fully realized character and he can obviously do no wrong as a performer.

The action and music shine here — as soon as the action begins, the energy kicks in, with thrilling choreography, score (the Kingsman theme that recurs throughout the franchise can never get old), and set pieces. The action and humor play off each other well in these sequences, and Vaughn is an expert at crafting action scenes that grab your attention but are still unapologetically witty and crazy. If I were ever to watch this movie again, though, I would skip all the boring drama and go straight to the awesome action scenes. Instead of embracing the wild and sharp fun the action brings the film, it’s brought done by serious attempts to be a WWI drama, Unfortunately, in the more serious scenes, it feels detached from its audience, and creates a tonally confused movie that can’t decide what it wants to be. The original Kingsman film spoofed James Bond-like spy films while being a terrific example of one. This one missed an opportunity to lean completely into satirizing the politics of war while having an actually fun and wondrous action adventure, but it lacks the unapologetic confidence, energy, adventurousness and irreverence of the last two.

The King's Man.jpg

The Matrix Resurrections

In a rebooted Matrix — literally — a resurrected Neo, now oblivious to the truth, must once again choose to take the red pill and free his mind, in order join the rebellion against the systems holding the humans prisoner inside of the Matrix.

The Matrix Resurrections picks up decades after the end of the third film, which was supposed to definitively conclude the series. This new sequel manages to suck you back into this marvelous sci-fi world with great visuals and world-building, but fails to justify its existence beyond being a cash-grab that relies way too much on reminding you that the first movie exists. The movie tries to be meta and self-aware about sequels and corporate greed but this commentary becomes laughable in ways that I wasn’t sure it was trying to be, and it ends up becoming the exact thing it attempted to mock and satirize. The irreverence and over-the-top nature this movie was going for that tried to mimic the original film just doesn’t work when at the same time taken this seriously. It’s nice to see Keanu Reeves back in action as Neo, but his performance somehow doesn’t manage to reach the heights of his turn in a more recently launched franchise, John Wick. Carrie-Anne Moss also returns as Trinity, and so does Jada Pinkett-Smith as Niobe from the previous sequels, but Yahya Abdul-Mateen II is here replacing Laurence Fishburne as Morpheus, playing an alternate version of the character inside the Matrix. Wouldn’t have been much more rewarding to see Fishburne return as one of the most iconic movie members and have the talented Abdul-Mateen play a new key character? The only real standout performance-wise is Jessica Henwick, whose part feels like a mix between Morpheus and Trinity’s roles in the original but Henwick gives a lot of personality here, which is saying a lot for this movie. Some of the supporting performances, like Jonathan Groff and Neil Patrick Harris, felt weak as they seemed to be over-acting the whole movie.

Though the music, world-building, and concepts are great, as well as the ideas around AI, choice, and free will, it’s hard to give this movie credit for all that because it’s all derived from the original. This film also makes way too many on-the-nose references to the original, including showing scenes again and having visual nods to the point that the first act is almost the same as that from the 1999 film. As a huge fan of that first movie, it’s cool to see the visuals of that outside robot-infested world done today, speaking of which the CGI in the real world is amazing, but the nostalgia for Matrix fans is all the movie has going for it. What made the original work is the incredible action scenes as well as the simplicity of the story and ideas, and this one ditches all that. The fights within the Matrix have headache-inducing editing, and the cuts make it hard to follow. Also considering the conceptually similar Free Guy, which was partly inspired by the original, came out mere months ago, as well as us getting a CGI-filled blockbuster every couple of weeks, it’s hard for this movie to feel that special, besides Lana Wachowski’s evident ambition. There’s also so much exposition needed to explain the gap between The Matrix Revolutions and now, as well as the rules of the world and action of this movie. These explanations are so excessive, confusing and convoluted that it took my friends and I the ride home to truly grasp all the rules. It felt like the final act ditches any sort of logic to simply go for cool visuals and a safe story structure. If you’re a big fan of 1999’s The Matrix like me, and want to see those visuals and that world how it’d be made today, then that’s the only reason to go see this movie. Otherwise, this feels like a rehash of that magnificent first movie that only seeks to bank on our nostalgia and give us more from what we liked 20 years ago.

The Matrix Resurrections.jpg

Spider-Man: No Way Home

Spider-Man: No Way Home leaves off right after the previous movie, Far From Home, in which Mysterio exposed Spider-Man’s identity as Peter Parker to the world, which has repercussions on Peter’s life as well as his loved ones. He goes to Doctor Strange in an attempt to reverse it, but when a spell goes wrong, villains from other universes — and previous Spider-Man films — emerge and wreak havoc across the multiverse.

After the post-credits scene of the last movie, No Way Home by concept already had immense potential. Marvel Studios decided, however, to up the scale for the Spider-Man series and make it the most exciting film led by the web-slinger yet, by bringing in fantastical aspects and past franchises of the character. Jon Watts takes the style and tone of Homecoming and Far From Home and keeps the heart and lovability of the films but also makes this the darkest and most intense Spider-Man movie yet, with genuinely heart-pounding stakes and characters the audience is invested in. The threats span across multiple realities yet some of the internal conflicts have relatable roots, such as applying to college. Tom Holland’s character’s arc takes mature directions but he’s supported by a great ensemble too. Zendaya and especially Jacob Batalon are hilarious as Peter’s girlfriend and best friend, respectively. The three play off each other wonderfully and are a terrific anchor for the trilogy. Benedict Cumberbatch is great as the no-nonsense Doctor Strange and Marisa Tomei has her most substantial role yet as Aunt May. Actors also return from previous Spidey franchises, including Willem Dafoe and Alfred Molina from the Raimi films starring Tobey Maguire, and Jamie Foxx as Electro from the Amazing Spider-Man films with Andrew Garfield. Dafoe is especially a scene stealer as Green Goblin, reprising the role after nearly 20 years, and the return of Doctor Octopus makes for a great action scene as well. The story, action, and execution up themselves and there are plenty of exciting moments that necessitate a theatrical viewing with an audience. There’s also plenty of surprises, so make sure to be careful with spoilers before seeing this one. There are a few iffy moments in terms of CGI and green screen but they’re redeemed by cool character designs and suits, as well as great fantastical visuals including the Mirror Dimension from Doctor Strange. The movie emotionally builds on its predecessors in a rewarding way while promising great potential for the multiverse in future MCU projects. It’s the most rewarding MCU project of 2021 and arguably the best live-action Spider-Man film to date. It could’ve easily felt like a retread of the conceptually similar animated Spider-Man: Into the Spider-Verse, but it’s the characters that Marvel has worked so hard to build that makes a movie like this work so well that it feels like the event of the year. This will be a delightful time for superhero and Spidey fans, even if it’s not always thematically a home run, by the end there are positive messages and emotional weight that feel earned through the execution and cast. As always, stay for two post-credits scenes that will have you on the edge of your seat.

Spider-Man No Way Home poster.jpg

Eternals

7,000 years ago, the Eternals, a group of immortal beings created by Celestial space giants, arrived on Earth to protect us from the Deviants. In the present day, the Eternals reemerge after living among us humans to fight against the Deviants, who have returned, and stop the end of the world.

Eternals has all the right elements there, including a 2-time Oscar winning director in Chloe Zhao, an acclaimed, diverse ensemble cast that includes Oscar nominees and winners like Kumail Nanjiani, Salma Hayek and Angelina Jolie, a compelling concept and premise, and tonal elements of a more intimate yet grand and mystical MCU film. Though all the parts are there, something feels missing that could have made this one of the best films in the franchise but instead falls short. The movie is very bold and feels the least like the rest of the series, mostly because of the slower, more character and emotion-focused story rather than fast-paced fun that dives straight into the conflict. There is big action and humor, but the movie never spends enough time with either tone at once to give us an earned emotional moment or a “classic MCU moment”. Unfortunately the movie doesn’t have neither the humanity nor the fun it wanted to evoke. Though it did keep me engaged throughout its runtime, I never really felt much of a reaction from watching what should’ve been exciting action go down, though the action set pieces do feel like a mess. There’s often too much going on at once during the fights and the finale especially has messy CGI and questionable character placements.

The cast is great, especially Gemma Chan, Kumail Nanjiani and Brian Tyree Henry. Chan plays an empathetic and strong protagonist and Nanjiani gives the movie its funniest and most entertaining moments, including a Bollywood dance being filmed for a movie his character Kingo directs and stars in. Henry gives the movie lots of charisma as well and an interesting edge due to his character having the most to lose on Earth, having settled down with a husband and son. Richard Madden, Barry Keoghan and Lia McHugh also come to mind with interesting performances of their own, and Lauren Ridloff also gives the movie a lot of heart, even though there’s an extended period of time where she’s not in the movie, which does happen with a few of the film’s best players. The problem is that with there being 10 main Eternals, the movie keeps trying to push them all to center stage and have all of them be the emotional core, which makes the character development very messy, and some of the best characters’ arcs have disappointing or unrewarding resolutions. Avengers: Infinity War managed to balance having over 20 main Avengers by having some beloved characters have more of a supporting presence while a few take the lead in terms of emotional importance, unfortunately the writers here try to shove everyone front and center which hurts the dynamic between the characters and the audience. Hayek’s performance feels especially weird and unnatural at times, and Jolie’s character keeps trying to feel important but the script has no idea what to do with her for the entire second half. Kit Harington needed to be a much bigger part of the film but unfortunately is sidelined in the movie, as he gives the film a lot of charm and humanity.

The movie runs at 2 hours and 37 minutes (even longer than Infinity War!) and though there’s a lot of grand world building including ties to ancient history which makes for interesting sets, the movie definitely slows down with the messy explaining and reexplaining of exposition and dragged out drama between acts 2 and 3 that could’ve been shortened by at least 10 or 15 minutes. If you’ve seen Zhao’s previous film Nomadland, which won Best Picture at the most recent Oscars, you know her style is very intimate and naturalistic, and the movie doesn’t spend enough time with the intimacy and beauty of the scenery to give you much to care about and feel with its characters, as too much is thrown in to really stop and care, despite some great moments between Chan and Madden. On the other hand, though there’s some good humor and lots of big action, the movie never gives you enough epic-ness or fun to feel the stakes and unfortunately, the action and endearing characters going hand-in-hand is always what make these Marvel films resonate. It doesn’t commit to being small-scale or exciting, and this as well as the unrealized pace holds itself back from really gripping you the way Shang-Chi hit the mark earlier this year. It’s a good watch once for MCU fans or those who are interested in the premise and cast, but won’t leave you with that same elation and wonder, and urge to rewatch and treasure the film later, if only the film had been shorter and more focused.

Eternals (film) poster.jpeg

Dune

Paul Atreides, heir to the powerful House Atreides, is to inherit the sand planet of Arrakis, but soon a galactic war begins between Houses and Imperial forces, leading Paul to have to discover his legacy and what kind of leader he wants to be.

One of the most ambitious cinematic projects of the year, Dune merges the styles of mainstream blockbuster and artistic epic, with majestic direction from one of the best filmmakers of our time, Denis Villeneuve. He creates an incredible scope, resonant of the world-building of Star Wars and Lord of the Rings and the grand desert shots of Laurence of Arabia. The visual effects seamlessly combine practical and CGI effects to create an immersive new galaxy, but the action and scenery is defined by the meticulous and grand cinematography, which adds to the gripping, breathtaking nature of the film. The production design and visuals create the ultimate spectacle of the year visually, and the world-building exposition may be slow-moving and slightly hard to follow for some, but mostly done well. The score by Hans Zimmer is destined to be a highlight of his career. The booming sound design combined with Zimmer’s loud, often godly music creates unforgettable moments throughout the movie. The cast is stacked with famous faces so I don’t even know where to start. Chalamet in the lead wonderfully balances Paul’s sense of youth, discovery and uncertainty, though he is good at adapting and looks to embrace his destiny and survive. The heart of the film may rest in the hands of Rebecca Ferguson, who delivers not only the best performance in Dune but the best of her career, as Paul’s mother Lady Jessica. Contrasted to Paul’s father Leto (Oscar Isaac), a noble leader who loves his son but the film mostly focuses on their relationship from the diplomatic lens and the responsibilities Leto will pass down to Paul, we see how Jessica who comes from a lower-ranking society gives Paul new, unique survival instincts and his heart. Other standouts include Josh Brolin and Jason Momoa as warriors from House Atreides who serves as mentors to Paul as well. Sharon Duncan-Brewster is also really great in the film, not to mention other familiar faces show up that will excite audiences — Stellan Skarsgard, Dave Bautista, Zendaya, and Javier Bardem all have small but key roles as well.

Those who have never read the source material will find themselves drawn into these vast new worlds thanks to the beautiful execution, and fans of Frank Herbert’s novel will not be disappointed by the invigoration of the story to the big screen. To add to the intensity and large action, Villeneuve not only likes to immerse the audience in the consequences of violence but often just observe the chaos. Though everything is otherworldly, there’s plenty of moments of stillness felt like the omniscient shots of Sicario, Blade Runner 2049 and Arrival. The film focuses on themes such as legacy, parentage, colonialism and our relationship with the natural world, as well as mentorship, and fate. Though the story is mostly engaging, the third act does fizzle out a little bit in an attempt to set up the sequel. Dune very much feels like the first half of a mega-movie that will be completed and certainly defined by the second part. Unlike other “two-parters” like Avengers: Infinity War which ended on a bang, this feels more like the end of The Fellowship of the Ring or The Hobbit: An Unexpected Journey which ends less on a cliffhanger or large set piece but more on a feeling that the journey has just begun. Many plot points are left deliberately unresolved for that next film to adapt the second half of the book, and the movie has already much story and development to include in its 155-minute runtime. This can be frustrating for some, but for those like me who enjoyed this movie, you’ll be left wanting Part Two ASAP. Dune is a rich experience and a must-see in theaters for sci-fi lovers and fans of Villeneuve’s past efforts as well as the star-studded cast. Supporting this one on the big screen will not only get Warner Bros. to get to work on the next chapter soon, but will have its audience take away some beautiful visuals, scope and action, the kind we only get once in a while, even in the world of fast-paced blockbusters.

Dune (2021 film).jpg

Venom: Let There Be Carnage

Eddie Brock (Tom Hardy) is still learning how to live as a host to alien symbiote Venom, but a visit to an obsessed imprisoned serial killer leads to another symbiote on the loose that the duo must face.

The first Venom movie has a mixed reputation — it’s hated by critics thought it was a box office success and fans enjoyed the relationship between Eddie and Venom. The sequel understands what some fans enjoyed about the first film and leans even more into the silliness of that dynamic. Unfortunately, it carries with it everything that made the first film one of the worst superhero movies in recent years. The dialogue is horrendous — there are a few good jokes here and there but every time every time a plot point needs explaining or the villains open their mouth, you can’t take it seriously at all. And every time the symbiote Venom opens his mouth, his lines are incredibly bland and annoying. For a cast led by four Oscar nominees, nobody does a remotely memorable job, though Hardy looks like he’s enjoying himself more this time. Woody Harrelson as Cletus Kasady could’ve been a darkly hysterical psychopath of a killer, but instead he feels like his character’s twin brother in Now You See Me 2, meaning his performance is truly unbearable. Naomie Harris is also at her worst as Shriek, Kasady’s girlfriend from his teen years who he hasn’t seen in decades but they’re still madly in love. Even the humor often dives from funny into purely cringeworthy territory as the jokes don’t feel more thought out, just Tom Hardy goofing around with 2 different voices.

The action and editing are a mess, with nonstop cuts and dark lighting that prevents you from truly grasping onto the set pieces without laughing at everything that’s going on. The CGI also doesn’t feel so smooth though the design of Carnage is great — the character itself, though, is poorly utilized and we barely get to see him fight Venom or understand what makes him a unique symbiote and fan favorite comic-book villain. There’s no reason viewers would remember him or why he’d strike fear into the audience’s heads like he does with the characters in the film — he’s just a bad symbiote like Riot in the first movie. Considering director Andy Serkis has created some of the most interesting CGI characters of all time, it makes no sense for him to create something as haphazard and painful as this. In terms of conflict, there’s no interesting build of stakes or threat, and in terms of internal conflict for our hero, it’s literally just “Eddie and Venom have to fight less and get along more and Venom needs to eat bad guys but not good guys”.

Visually, script-wise, and tonally, Venom: Let There Be Carnage doesn’t have itself figured out, just like the bro-mance at the center of the film. Though the post-credits scene is worth staying for, the movie as a whole proves why these films can’t latch onto viewers as well as a symbiote like Venom latches onto its host Eddie.

Venom Let There Be Carnage poster.jpg