Encounter

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Rob M Love Riz hes very good, there wasnt much to to work with here, not bad. Also, Octavia great job, again not s lot here to see. Rated 2.5/5 Stars •  Rated 2.5 out of 5 stars 12/06/21 Full Review Carsten Bo H Not bad at all. Good acting . Riz Ahmed always does a good job. Enjoyed it. Rated 5/5 Stars •  Rated 5 out of 5 stars 03/08/25 Full Review Kyle M Usually in a sci-fi narrative, particularly an invasive scenario, it circumstantially varies over ideas to determine the direction that divulges in visual, subtly expressive depth. Lesser reactivity beneath the radar branches into speculative territory with prophetic edges considered as hypothesized predictions, then going a bit deeper would require exploring the psychological foundation blurring reality. That’s literally the case in Michael Pearce’s continuous psychology in adjacent form as he staged “Encounter” with our troubled minds and how it affects others. Although, it’s debatable on whether or not to disclose the premise’s fogged bridges due to how it progresses in unexpected, smooth deconstruction of the beginning. The experience itself is sort-of akin to speculative cinema before the picture clears upon climax without any lingering settlement that continues its initial compelling proposal. It still promises differential tranquility as ideal departure from the environment, till the stops escalate above the other with characterized precision mistaken as something else related to the given plot. Mainly concerns U.S. Marine Malik Khan, a veteran suffering from PTSD, taking his two sons Bobby and Jay on a sudden road trip, not to mention in the middle of the night. Why? He’s distancing them from an otherworldly parasitic threat that’s provoking worldwide aggressions, delivered through mosquitoes. Even for science fiction, there’s nothing more nonsensical than that perceived plot; but at a length for what it’s worth, it thematically deals through the boys’ benefit when enjoying what’s becoming left of their childhood. The increasingly dangerous directions their father goes through aside from the adventurous pattern of wondrous happiness, the family love in between is on the brink of strain out of concern when Jay confronts the truthful image. The screenplay was penned by Joe Barton ten years prior, whose ranging work is just as explorable and conceptually cautious, before discovered by Pearce six years later and contributed his psychological edge stemmed from his feature debut “Beast”. If enveloped in more of Barton’s works, we’ll probably have a good sense of his original vision before Pearce’s contributive revision. It’s a self-contradicting, though layered screenplay over its psychological transitioning, cleverly aligned in aggressive timeliness that only further provoke its inner speculation whilst under eventual sympathy, and after familiar genre turns. At the end, it treads on one’s own speculative conclusion quite nicely, maybe out of insisted sympathetic pity, even till that was thrown out of the window once it clarifies something more’s realistically at play. Riz Ahmed, who embodies Khan in frantic conviction, done research with the Marine Corps, therefore bringing in credibility over the surrounding realism through portraying his character’s mindset with limited visuals. Based off the scope, despite problematically guided, as it enjoys wondrous momentum occurred on few occasions naturally provided scenic activities as the dutiful peace for the sensual sake of childhood’s innocence aside from the film’s looming impulse, it couldn’t give an intriguing viewpoint over what Khan’s been seeing in one scene besides logical concision in others. Octavia Spencer as Hattie Hayes, whose introduction immediately halts the narrative blur, gives the film twofold humane balance. Both Aditya Geddada and Lucian-River Chauhan, respectively Bobby and Jay, debuted naturally with the latter more experienced, which is how he’s emitted instinctual empathy and protectiveness in critically questioning the confrontational buildup. Chauhan’s Jay accepts growth that builds his protective loyalty giving stellar deliverance, while Geddada shows how Bobby’s youthful naivety and playfulness upholds innocence. Though “Encounter” diverts from potential tranquility in the perceived genre as it rather borderlines psychological thriller, the flawed endeavor is a subjective ponder in its intriguing, yet fearsome observative viewpoint, though without being anything significant. Over the decisive designation, it favors how the familiar genre dynamic help serves the foreground originality and would’ve collapsed without that angle to be more insignificant. As it explores that transitioning, the picture restrains to the minimal output of scientific paranoia without explaining how the nightmare came to mind and how it relates to previous triggers, or not having the creative urge in further teasing to stump the topic more without disrespecting the subject’s supposed extremity. This “Encounter” with the haunted mind appears disjointed, but the decent trip triumphs over unexpected genre deconstruction obscured behind a sort-of misdirecting premise. (B) Rated 3.5/5 Stars •  Rated 3.5 out of 5 stars 09/23/24 Full Review Person 1 Not sci fi. Don't promise sci fi if you're not gonna deliver sci fi. Rated 0.5/5 Stars •  Rated 0.5 out of 5 stars 03/19/24 Full Review Pedro P Mental health issues are a thing. I think this movie really touches on it in a great way. Rated 5/5 Stars •  Rated 5 out of 5 stars 02/25/24 Full Review Hau Lam S Interesting and fun film Rated 5/5 Stars •  Rated 5 out of 5 stars 04/11/23 Full Review Read all reviews

Encounter

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