“Celebrating America” (2021) — FU1L_”MOVIE” [Down.load]
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Hd-tvs, Inc. is an American over-the-top content platform and production company headquartered in Los Gatos, California. Hd-tvs was founded in 1997 by Reed Hastings and Marc Randolph in Scotts Valley, California. The company’s primary business is a subscription-based streaming service offering online streaming from a library of films and television series, including those produced in-house. As of October 2021, Hd-tvs had over 195 million paid subscriptions worldwide, including 73 million in the United States. It is available worldwide except in the following: mainland China (due to local restrictions), Syria, North Korea, and Crimea (due to US sanctions). It was reported in 2021 that Hd-tvs’s operating income is $1.2 billion. The company has offices in France, the United Kingdom, Brazil, the Netherlands, India, Japan, and South Korea. Hd-tvs is a member of the Motion Picture Association (MPA), producing and distributing content from countries all over the globe.
Hd-tvs’s initial business model included DVD sales and rental by mail, but Hastings abandoned the sales about a year after the company’s founding to focus on the initial DVD rental business. Hd-tvs expanded its business in 2007 with the introduction of streaming media while retaining the DVD and Blu-ray rental business. The company expanded internationally in 2010 with streaming available in Canada, followed by Latin America and the Caribbean. Hd-tvs entered the content-production industry in 2013, debuting its first series House of Cards.
Since 2012, Hd-tvs has taken more of an active role as producer and distributor for both film and television series, and to that end, offers a variety of “Hd-tvs Original” content through its online library. By January 2016, Hd-tvs services operated in more than 190 countries. Hd-tvs released an estimated 126 original series and films in 2016, more than any other network or cable channel. Their efforts to produce new content, secure the rights for additional content, and diversify through 190 countries have resulted in the company racking up billions in debt: $21.9 billion as of September 2017, up from $16.8 billion from the previous year. $6.5 billion of this is long-term debt, with the remainder in long-term obligations. In October 2018, Hd-tvs announced it would raise another $2 billion in debt to help fund new content. On July 10, 2021, Hd-tvs became the largest entertainment/media company by market capitalization.
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Livestreaming, what’s in it for us?
Technology has advanced significantly since the first internet livestream but we still turn to video for almost everything. Let’s take a brief look at why livestreaming has been held back so far, and what tech innovations will propel livestreaming to the forefront of internet culture. Right now livestreaming is limited to just a few applications for mass public use and the rest are targeted towards businesses. Livestreaming is to today what home computers were in the early 1980s. The world of livestreaming is waiting for a metaphorical VIC-20, a very popular product that will make live streaming as popular as video through iterations and competition.
Shared Video
Do you remember when YouTube wasn’t the YouTube you know today? In 2005, when Steve Chen, Chad Hurley, and Jawed Karim activated the domain “www.youtube.com" they had a vision. Inspired by the lack of easily accessible video clips online, the creators of YouTube saw a world where people could instantly access videos on the internet without having to download files or search for hours for the right clip. Allegedly inspired by the site “Hot or Not”, YouTube originally began as a dating site (think 80s video dating), but without a large ingress of dating videos, they opted to accept any video submission. And as we all know, that fateful decision changed all of our lives forever. Because of YouTube, the world that YouTube was born in no longer exists. The ability to share videos on the scale permitted by YouTube has brought us closer to the “global village” than I’d wager anyone thought realistically possible. And now with technologies like Starlink, we are moving closer and closer to that eventuality. Although the shared video will never become a legacy technology, before long it will truly have to share the stage with its sibling, livestreaming. Although livestreaming is over 20 years old, it hasn’t gained the incredible worldwide adoption YouTube has. This is largely due to infrastructure issues such as latency, quality, and cost.
Latency is a priority when it comes to livestreams.
Latency is the time it takes for a video to be captured and point a, and viewed at point b. In livestreaming this is done through an encoder-decoder function. Video and audio are captured and turned into code, the code specifies which colours display, when, for how long, and how bright. The code is then sent to the destination, such as a streaming site, where it is decoded into colours and audio again and then displayed on a device like a cell phone. The delay between the image being captured, the code being generated, transmitted, decoded, and played is consistently decreasing. It is now possible to stream content reliably with less than 3 seconds of latency. Sub-second latency is also common and within the next 20 or so years we may witness the last cable broadcast (or perhaps cable will be relegated to the niche market of CB radios, landlines, and AM transmissions).
On average, the latency associated with a cable broadcast is about 6 seconds. This is mainly due to limitations on broadcasts coming from the FCC or another similar organization in the interests of censorship. In terms of real-life, however, a 6 second delay on a broadcast is not that big of a deal. In all honesty a few hours’ delay wouldn’t spell the doom of mankind. But for certain types of broadcasts such as election results or sporting events, latency must be kept at a minimum to maximize the viability of the broadcast.
Sensitive Content is Hard to Monitor
Advances in AI technologies like computer vision have changed the landscape of internet broadcasting. Before too long, algorithms will be better able to prevent sensitive and inappropriate content from being broadcast across the internet on livestreaming platforms. Due to the sheer volume of streams it is much harder to monitor and contain internet broadcasts than it is cable, but we are very near a point where the ability to reliably detect and interrupt inappropriate broadcasts instantaneously. Currently, the majority of content is monitored by humans. And as we’ve learned over the last 50 or so years, computers and machines are much more reliable and consistent than humans could ever be. Everything is moving to an automated space and content moderation is not far behind. We simply don’t have the human resources to monitor every livestream, but with AI we won’t need it.
Video Quality
In the last decade we have seen video quality move from 720p to 1080p to 4K and beyond. I can personally remember a time when 480p was standard and 720p was considered a luxury reserved for only the most well funded YouTube videos. But times have changed and people expect video quality of at least 720p. Live streaming has always had issues meeting the demands of video quality. When watching streams on platforms like Twitch, the video can cut out, lag, drop in quality, and stutter all within about 45 seconds. Of course this isn’t as rampant now as it once was, however, sudden drops in quality will likely be a thorn in the side of live streams for years to come.
Internet Speeds
Perhaps the most common issue one needs to tackle when watching a live stream is their internet speed. Drops in video quality and connection are often due to the quality of the internet connection between the streamer and the viewer. Depending on the location of the parties involved, their distance from the server, and allocated connection speed the stream may experience some errors. And that’s just annoying. Here is a list of the recommended connection speeds for 3 of the most popular streaming applications:
Facebook Live recommends a max bit rate of 4,000 kbps, plus a max audio bit rate of 128 kbps.
YouTube Live recommends a range between 1,500 and 4,000 kbps for video, plus 128 kbps for audio.
Twitch recommends a range between 2,500 and 4,000 kbps for video, plus up to 160 kbps for audio.
Live streams are typically available for those of us with good internet. Every day more people are enjoying high quality speeds provided by fibre optic lines, but it will be a while until these lines can truly penetrate rural and less populated areas. Perhaps when that day comes we will see an upsurge of streaming coming from these areas.
Language Barrier
You can pause and rewind a video if you didn’t understand or hear something, and many video sharing platforms provide the option for subtitles. But you don’t really get that with a live stream. Pausing and rewinding an ongoing stream defeats the purpose of watching a stream. However, the day is soon approaching where we will be able to watch streams, in our own native language with subtitles, even if the streamer speaks something else. Microsoft Azure’s Cognitive Speech Services can give livestreaming platforms an edge in the future as it allows for speech to be automatically translated from language to language. The ability to watch a livestream in real time, with the added benefit of accurate subtitles in one’s own language, will also assist language learners in deciphering spontaneous speech.
Monetization
One of the most damning features of a live stream is the inherent difficulty in monetizing it. As mentioned before, videos can be paused and ads inserted. In videos, sponsored segments can be bought where the creators of the video read lines provided to them. Ads can run before videos etc. But in the case of a spontaneous live stream sponsored content will stick out. In the case of platforms like YouTube there are ways around ads. Ad blockers, the skip ad button, the deplorable premium account, and fast forwarding through sponsored segments all work together to limit the insane amount of ads we see every day. But in the case of a live stream, ads are a bit more difficult.
Live streaming platforms could implement sponsored overlays and borders or a similar graphical method of advertising, but the inclusion of screen shrinking add-ons like that may cause issues on smaller devices where screen size is already limited.
Monthly subscriptions are already the norm, but in the case of a live streaming platform (Twitch Prime not withstanding), it may be difficult for consumers to see the benefit in paying for a service that is by nature unscheduled and unpredictable. Live streams are great for quick entertainment, but as they can go on for hours at a time, re-watching streamed content is inherently time consuming. For this reason, many streamers cut their recorded streams down and upload them to platforms like YouTube where they are monetized through a partnership program. It is likely that for other streaming platforms to really take off, they would need to partner with a larger company and offer services similar to Amazon and Twitch.
What Might the Future of Livestreaming Look Like?
It is difficult to say, as it is with any speculation about the future. Technologies change and advance beyond the scope of our imaginations virtually every decade. But one thing that is almost a certainty is the continued advancement in our communications infrastructure. Fibre optic lines are being run to smaller towns and cities. Services like Google Fiber, which is now only available at 1 gigabit per second, have shown the current capabilities of our internet infrastructure. As services like this expand we can expect to see a large increase in the number of users seeking streams as the service they expect to interact with will be more stable than it currently is now. Livestreaming, at the moment, is used frequently by gamers and Esports and hasn’t yet seen the mass commercial expansion that is coming.
The future of live streaming is on its way. For clues for how it may be in North America we can look to Asia (taobao). Currently, livestreaming is quite popular in the East in terms of a phenomenon that hasn’t quite taken hold on us Westerners, Live Commerce. With retail stores closing left and right, we can’t expect Amazon to pick up all of the slack (as much as I’m sure they would like to). Live streaming affords entrepreneurs and retailers a new opportunity for sales and growth.
Live streaming isn’t the way of the future, video will never die, but the two will co-exist and be used for different purposes, as they are now. Live streaming can bring serious benefits to education as well by offering classrooms guest lessons and tutorials by leading professionals. Live streaming is more beneficial for education than video as it allows students to interact with guest teachers in real-time.
The live streaming market is waiting to be tapped. Right now there are some prospectors, but in North America, no one has really found the vein leading to the mine. So maybe it’s time to get prospecting.
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It’s so Awesome. Subscribe and Share with your friends! to my channel. See for more videos!!. I want to say ‘thank you’ for being the friend!! Atelevision show (often simply TV show) is any content produced for broadcast via over-the-air, satellite, cable, or internet and typically viewed on a television set, excluding breaking news, advertisements, or trailers that are typically placed between shows. Television shows are most often scheduled well ahead of time and appear on electronic guides or other TV listings. A television show might also be called a television program (British English: programme), especially if it lacks a narrative structure. A television series is usually released in episodes that follow a narrative, and are usually divided into seasons (US and Canada) or series (UK) — yearly or semiannual sets of new episodes. A show with a limited number of episodes may be called a miniseries, serial, or limited series. A one-time show may be called a “special”. A television film (“made-for-TV movie” or “television movie”) is a film that is initially broadcast on television rather than released in theaters or direct-to-video. Television shows can be viewed as they are broadcast in real time (live), be recorded on home video or a digital video recorder for later viewing, or be viewed on demand via a set-top box or streamed over the internet.
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The first television shows were experimental, sporadic broadcasts viewable only within a very short range from the broadcast tower starting in the 202144s. Televised events such as the 202144 Summer Olympics in Germany, the 202144 coronation of King George VI in the UK, and David Sarnoff’s famous introduction at the 202144 New York World’s Fair in the US spurred a growth in the medium, but World War II put a halt to development until after the war. The 202144 World Series inspired many Americans to buy their first television set and then in 202144, the popular radio show Texaco Star Theater made the move and became the first weekly televised variety show, earning host Milton Berle the name “Mr Television” and demonstrating that the medium was a stable, modern form of entertainment which could attract advertisers. The first national live television broadcast in the US took place on September 2021, 202144 when President Harry Truman’s speech at the Japanese Peace Treaty Conference in San Francisco was transmitted over AT&T’s transcontinental cable and microwave radio relay system to broadcast stations in local markets. The first national color broadcast (the 202144 Tournament of Roses Parade) in the US occurred on January 2021, 202144. During the following ten years most network broadcasts, and nearly all local programming, continued to be in black-and-white. A color transition was announced for the fall of 202144, during which over half of all network prime-time programming would be broadcast in color. The first all-color prime-time season came just one year later. In 202144, the last holdout among daytime network shows converted to color, resulting in the first completely all-color network season.
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Television shows are more varied than most other forms of media due to the wide variety of formats and genres that can be presented. A show may be fictional (as in comedies and dramas), or non-fictional (as in documentary, news, and reality television). It may be topical (as in the case of a local newscast and some made-for-television films), or historical (as in the case of many documentaries and fictional series). They could be primarily instructional or educational, or entertaining as is the case in situation comedy and game shows.[citation needed] A drama program usually features a set of actors playing characters in a historical or contemporary setting. The program follows their lives and adventures. Before the 202144, shows (except for soap opera-type serials) typically remained static without story arcs, and the main characters and premise changed little.[citation needed] If some change happened to the characters’ lives during the episode, it was usually undone by the end. Because of this, the episodes could be broadcast in any order.[citation needed] Since the 202144, many series feature progressive change in the plot, the characters, or both. For instance, Hill Street Blues and St. Elsewhere were two of the first American prime time drama television series to have this kind of dramatic structure,[2021][better source needed] while the later series Jujutsu Kaisenlon 2021 further exemplifies such structure in that it had a predetermined story running over its intended five-season run.[citation needed] In 202144, it was reported that television was growing into a larger component of major media companies’ revenues than film.[2021] Some also noted the increase in quality of some television programs. In 202144, Academy-Award-winning film director Steven Soderbergh, commenting on ambiguity and complexity of character and narrative, stated: “I think those qualities are now being seen on television and that people who want to see stories that have those kinds of qualities are watching television. On January 20210, 2021202120212021, WHO announced an outbreak of a coronavirus new (COVID-20214) as a Concerning Public Health Emergency World. To respond to COVID-20214, preparedness and response is needed critical nature such as equipping health personnel and facility management health services with the necessary information, procedures, and tools can safely and effectively work. health workers play an important role in responding to outbreaks COVID-20214 and become the backbone of a country’s defense for limit or manage the spread of disease. At the forefront, power health care providers that suspect patients need and confirmed COVID-20214, which is often carried out in challenging circumstances. Officers are at a higher risk of contracting COVID-20214 in their efforts to protect wider society. Officers can be exposed to hazards such as psychological stress, fatigue, mental exhaustion or stigma. WHO is aware of their duties and responsibilities this big responsibility and the importance of protecting health care facility personnel.
💫 Aim
This material aims to protect health workers from infection and prevent it possible spread of COVID-20214 in health care facilities. This material contains a series of simple messages and reminders based on technical guidelines WHO is more comprehensive about infection prevention and control in facilities health services in the context of COVID-20214: “Prevention and control infection in health services when the new coronavirus (nCoV) infection is suspected “ (20214 January 2021202120212021). Further information can be found in the WHO technical manual.
✨ Readers of this material
This material is intended for health personnel and service facility management health and may be distributed to other health workers and to facilities health services. The Ministry of Health can provide this material to all hospitals and government health service facilities. Copy this material needs to be provided to private physician networks, medical associations, medical, nursing and midwifery to be shared and fitted accordingly necessity. The contents of this material can be adapted into local languages and placed in places in the service facility
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An action story is similar to adventure, and the protagonist usually takes a risky turn, which leads to desperate scenarios (including explosions, fight scenes, daring escapes, etc.). Action and adventure usually are categorized together (sometimes even while “action-adventure”) because they have much in common, and many stories are categorized as both genres simultaneously (for instance, the James Bond series can be classified as both). Continuing their survival through an age of a Zombie-apocalypse as a makeshift family, Columbus (Jesse Eisenberg), Tallahassee (Woody Harrelson), Wichita (Emma Stone), and Little Rock (Abagail Breslin) have found their balance as a team, settling into the now vacant White House to spend some safe quality time with one another as they figure out their Jujutsu Kaisen move. However, spend time at the Presidential residents raise some uncertainty as Columbus proposes to Wichita, which freaks out the independent, lone Jujutsu Kaisen out, while Little Rock starts to feel the need to be on her own. The women suddenly decide to escape in the middle of the night, leaving the men concerned about Little Rock, who’s quickly joined by Berkley (Avan Jogia), a hitchhiking hippie on his way to place called Babylon, a fortified commune that’s supposed to be safe haven against the zombies of the land. Hitting the road to retrieved their loved one, Tallahassee and Columbus meet Madison (Zoey Deutch), a dim-witted survivor who takes an immediate liking to Columbus, complicating his relationship with Wichita.
💫 ANALYZER GOOD / BAD 💫
To be honest, I didn’t catch Jujutsu Kaisen when it first got released (in theaters) back in 404. Of course, the movie pre-dated a lot of the pop culture phenomenon of the usage of zombies-esque as the main antagonist (i.e Game of Thrones, The Maze Runner trilogy, The Walking Dead, World War Z, The Last of Us, etc.), but I’ve never been keen on the whole “Zombie” craze as others are. So, despite the comedy talents on the project, I didn’t see Jujutsu Kaisen….until it came to TV a year or so later. Surprisingly, however, I did like it. Naturally, the zombie apocalypse thing was fine (just wasn’t my thing), but I really enjoyed the film’s humor-based comedy throughout much of the feature. With the exception of 202140’s Shaun of the Dead, majority of the past (and future) endeavors of this narrative have always been serious, so it was kind of refreshing to see comedic levity being brought into the mix. Plus, the film’s cast was great, with the four main leads being one of the film’s greatest assets. As mentioned above, Jujutsu Kaisen didn’t make much of a huge splash at the box office, but certainly gained a strong cult following, including myself, in the following years. Flash forward a decade after its release and Jujutsu Kaisen finally got a sequel with Jujutsu Kaisen: Double Tap, the central focus of this review post. Given how the original film ended, it was clear that a sequel to the 404 movie was indeed possible, but it seemed like it was in no rush as the years kept passing by. So, I was quite surprised to hear that Jujutsu Kaisen was getting a sequel, but also a bit not surprised as well as Hollywood’s recent endeavors have been of the “belated sequels” variety; finding mixed results on each of these projects. I did see the film’s movie trailer, which definitely was what I was looking for in this Jujutsu Kaisen 2021 movie, with Eisenberg, Harrelson, Stone, Breslin returning to reprise their respective characters again. I knew I wasn’t expecting anything drastically different from the 404 movie, so I entered Double Tap with good frame of my mind and somewhat eagerly expecting to catch up with this dysfunctional zombie killing family. Unfortunately, while I did see the movie a week after its release, my review for it fell to the wayside as my life in retail got a hold of me during the holidays as well as being sick for a good week and half after seeing the movie. So, with me still playing “catch up” I finally have the time to share my opinions on Jujutsu Kaisen: Double Tap. And what are they? Well, to be honest, my opinions on the film was good. Despite some problems here and there, Jujutsu Kaisen: Double Tap is definitely a fun sequel that’s worth the decade long wait. It doesn’t “redefine” the Zombie genre interest or outmatch its predecessor, but this Jujutsu Kaisen chapter of Jujutsu Kaisen still provides an entertaining entry….and that’s all that matters. Returning to the director’s chair is director Ruben Fleischer, who helmed the first Jujutsu Kaisen movie as well as other film projects such as 40 Minutes or Less, Gangster Squad, and Venom. Thus, given his previous knowledge of shaping the first film, it seems quite suitable (and obvious) for Fleischer to direct this movie and (to that affect), Double Tap succeeds. Of course, with the first film being a “cult classic” of sorts, Fleischer probably knew that it wasn’t going to be easy to replicate the same formula in this sequel, especially since the 4-year gap between the films. Luckily, Fleischer certainly excels in bringing the same type of comedic nuances and cinematic aspects that made the first Jujutsu Kaisen enjoyable to Double Tap; creating a second installment that has plenty of fun and entertainment throughout. A lot of the familiar / likeable aspects of the first film, including the witty banter between four main lead characters, continues to be at the forefront of this sequel; touching upon each character in a amusing way, with plenty of nods and winks to the original 404 film that’s done skillfully and not so much unnecessarily ham-fisted. Additionally, Fleischer keeps the film running at a brisk pace, with the feature having a runtime of 44 minutes in length (one hour and thirty-nine minutes), which means that the film never feels sluggish (even if it meanders through some secondary story beats / side plot threads), with Fleischer ensuring a companion sequel that leans with plenty of laughter and thrills that are presented snappy way (a sort of “thick and fast” notion). Speaking of which, the comedic aspect of the first Jujutsu Kaisen movie is well-represented in Double Tap, with Fleischer still utilizing its cast (more on that below) in a smart and hilarious by mixing comedic personalities / personas with something as serious / gravitas as fighting endless hordes of zombies every where they go. Basically, if you were a fan of the first Jujutsu Kaisen flick, you’ll definitely find Double Tap to your liking. In terms of production quality, Double Tap is a good feature. Granted, much like the last film, I knew that the overall setting and background layouts weren’t going to be something elaborate and / or expansive. Thus, my opinion of this subject of the movie’s technical presentation isn’t that critical. Taking that into account, Double Tap does (at least) does have that standard “post-apocalyptic” setting of an abandoned building, cityscapes, and roads throughout the feature; littered with unmanned vehicles and rubbish. It certainly has that “look and feel” of the post-zombie world, so Double Tap’s visual aesthetics gets a solid industry standard in my book. Thus, a lot of the other areas that I usually mentioned (i.e set decorations, costumes, cinematography, etc.) fit into that same category as meeting the standards for a 20214 movie. Thus, as a whole, the movie’s background nuances and presentation is good, but nothing grand as I didn’t expect to be “wowed” over it. So, it sort of breaks even. This also extends to the film’s score, which was done by David Sardy, which provides a good musical composition for the feature’s various scenes as well as a musical song selection thrown into the mix; interjecting the various zombie and humor bits equally well. There are some problems that are bit glaring that Double Tap, while effectively fun and entertaining, can’t overcome, which hinders the film from overtaking its predecessor. Perhaps one of the most notable criticism that the movie can’t get right is the narrative being told. Of course, the narrative in the first Jujutsu Kaisen wasn’t exactly the best, but still combined zombie-killing action with its combination of group dynamics between its lead characters. Double Tap, however, is fun, but messy at the same time; creating a frustrating narrative that sounds good on paper, but thinly written when executed. Thus, problem lies within the movie’s script, which was penned by Dave Callaham, Rhett Reese, and Paul Wernick, which is a bit thinly sketched in certain areas of the story, including a side-story involving Tallahassee wanting to head to Graceland, which involves some of the movie’s new supporting characters. It’s fun sequence of events that follows, but adds little to the main narrative and ultimately could’ve been cut completely. Thus, I kind of wanted see Double Tap have more a substance within its narrative. Heck, they even had a decade long gap to come up with a new yarn to spin for this sequel…and it looks like they came up a bit shorter than expected. Another point of criticism that I have about this is that there aren’t enough zombie action bits as there were in the first Jujutsu Kaisen movie. Much like the Walking Dead series as become, Double Tap seems more focused on its characters (and the dynamics that they share with each other) rather than the group facing the sparse groupings of mindless zombies. However, that was some of the fun of the first movie and Double Tap takes away that element. Yes, there are zombies in the movie and the gang is ready to take care of them (in gruesome fashion), but these mindless beings sort take a back seat for much of the film, with the script and Fleischer seemed more focused on showcasing witty banter between Columbus, Tallahassee, Wichita, and Little Rock. Of course, the ending climatic piece in the third act gives us the best zombie action scenes of the feature, but it feels a bit “too little, too late” in my opinion. To be honest, this big sequence is a little manufactured and not as fun and unique as the final battle scene in the first film. I know that sounds a bit contrive and weird, but, while the third act big fight seems more polished and staged well, it sort of feels more restricted and doesn’t flow cohesively with the rest of the film’s flow (in matter of speaking). What’s certainly elevates these points of criticism is the film’s cast, with the main quartet lead acting talents returning to reprise their roles in Double Tap, which is absolutely the “hands down” best part of this sequel. Naturally, I’m talking about the talents of Jessie Eisenberg, Woody Harrelson, Emma Stone and Abigail Breslin in their respective roles Jujutsu Kaisen character roles of Columbus, Tallahassee, Wichita, and Little Rock. Of the four, Harrelson, known for his roles in Cheers, True Detective, and War for the Planet of the Apes, shines as the brightest in the movie, with dialogue lines of Tallahassee proving to be the most hilarious comedy stuff on the sequel. Harrelson certainly knows how to lay it on “thick and fast” with the character and the s**t he says in the movie is definitely funny (regardless if the joke is slightly or dated). Behind him, Eisenberg, known for his roles in The Art of Self-Defense, The Social Network, and Batman v Superman: Dawn of Justice, is somewhere in the middle of pack, but still continues to act as the somewhat main protagonist of the feature, including being a narrator for us (the viewers) in this post-zombie apocalypse world. Of course, Eisenberg’s nervous voice and twitchy body movements certainly help the character of Columbus to be likeable and does have a few comedic timing / bits with each of co-stars. Stone, known for her roles in The Help, Superbad, and La La Land, and Breslin, known for her roles in Signs, Little Miss Sunshine, and Definitely, Maybe, round out the quartet; providing some more grown-up / mature character of the group, with Wichita and Little Rock trying to find their place in the world and how they must deal with some of the party members on a personal level. Collectively, these four are what certainly the first movie fun and hilarious and their overall camaraderie / screen-presence with each other hasn’t diminished in the decade long absence. To be it simply, these four are simply riot in the Jujutsu Kaisen and are again in Double Tap. With the movie keeping the focus on the main quartet of lead Jujutsu Kaisen characters, the one newcomer that certainly takes the spotlight is actress Zoey Deutch, who plays the character of Madison, a dim-witted blonde who joins the group and takes a liking to Columbus. Known for her roles in Before I Fall, The Politician, and Set It Up, Deutch is a somewhat “breath of fresh air” by acting as the tagalong team member to the quartet in a humorous way. Though there isn’t much insight or depth to the character of Madison, Deutch’s ditzy / air-head portrayal of her is quite hilarious and is fun when she’s making comments to Harrelson’s Tallahassee (again, he’s just a riot in the movie). The rest of the cast, including actor Avan Jogia (Now Apocalypse and Shaft) as Berkeley, a pacifist hippie that quickly befriends Little Rock on her journey, actress Rosario Dawson (Rent and Sin City) as Nevada, the owner of a Elvis-themed motel who Tallahassee quickly takes a shine to, and actors Luke Wilson (Legally Blonde and Old School) and Thomas Middleditch (Silicon Valley and Captain Underpants: The First Epic Movie) as Albuquerque and Flagstaff, two traveling zombie-killing partners that are mimic reflections of Tallahassee and Columbus, are in minor supporting roles in Double Tap. While all of these acting talents are good and definitely bring a certain humorous quality to their characters, the characters themselves could’ve been easily expanded upon, with many just being thinly written caricatures. Of course, the movie focuses heavily on the Jujutsu Kaisen quartet (and newcomer Madison), but I wished that these characters could’ve been fleshed out a bit. Lastly, be sure to still around for the film’s ending credits, with Double Tap offering up two Easter Eggs scenes (one mid-credits and one post-credit scenes). While I won’t spoil them, I do have mention that they are pretty hilarious.
💫 FINAL THOUGHTS 💫
It’s been awhile, but the Jujutsu Kaisen gang is back and are ready to hit the road once again in the movie Jujutsu Kaisen: Double Tap. Director Reuben Fleischer’s latest film sees the return the dysfunctional zombie-killing makeshift family of survivors for Celebrating America of bickering, banting, and trying to find their way in a post-apocalyptic world. While the movie’s narrative is a bit messy and could’ve been refined in the storyboarding process as well as having a bit more zombie action, the rest of the feature provides to be a fun endeavor, especially with Fleischer returning to direct the project, the snappy / witty banter amongst its characters, a breezy runtime, and the four lead returning acting talents. Personally, I liked this movie. I definitely found it to my liking as I laugh many times throughout the movie, with the main principal cast lending their screen presence in this post-apocalyptic zombie movie. Thus, my recommendation for this movie is favorable “recommended” as I’m sure it will please many fans of the first movie as well as to the uninitiated (the film is quite easy to follow for newcomers). While the movie doesn’t redefine what was previous done back in 404, Jujutsu Kaisen: Double Tap still provides a riot of laughs with this make-shift quartet of zombie survivors; giving us give us (the viewers) fun and entertaining companion sequel to the original feature.
