- #CLICKBAIT NETFLIX AGE RATING HOW TO#
- #CLICKBAIT NETFLIX AGE RATING TV#
- #CLICKBAIT NETFLIX AGE RATING FREE#
#CLICKBAIT NETFLIX AGE RATING FREE#
– A husband and his wife climb a sheer rock wall and the man jumps across a crevice to attach a safety line the woman fearfully jumps across to the man and they continue to climb, the man reaches into an opening in the rock to attach his safety line and a bird swoops out toward him causing him to lose his grip and fall he dangles from his safety line, it breaks free and he falls to his death as the woman watches in horror.
#CLICKBAIT NETFLIX AGE RATING HOW TO#
Once they reach the top and the ladder to the ground breaks away, they have to figure out how to descend without falling.
#CLICKBAIT NETFLIX AGE RATING TV#
Read our parents’ guide below for details on sexual content, violence & strong language.Īfter her husband (Mason Gooding) dies in a rock climbing accident, a woman (Grace Caroline Currey) is convinced by her best friend (Virginia Gardner) to face her fears by climbing a TV tower that’s over 2,000 feet tall. You are not entirely wrong, but it’s also a way to take the story forward instead of just getting parallel perspectives.Why is “Fall” rated PG-13? The MPAA rating has been assigned for “bloody images, intense peril, and strong language.” The evaluation includes several scenes with a woman’s very deep cleavage visible, discussions of an extra-marital affair, a rock climbing accident that ends in the death of a man, a woman’s death from a fall from a great height, many scenes of two women struggling to survive when they are stranded at the top of a very tall tower for more than two days, and at least 2 F-words and other strong language. You may think it’s the creators’ endeavour to create a kind of Rashomon effect. The eight-part mini-series gives a personality-driven title to seven chapters: The Sister, The Wife, The Detective, The Mistress, The Journalist, The Brother, The Son, before rounding it off with the last one, The Answer. Then there’s a little peek into the world of journalism, giving interesting insights on how a newsroom has to adapt to remain relevant in a time when everyone is a ‘reporter’ or an opinion maker on social media. I don’t want to give away too much, but suffice to know there is a murder, and it becomes an official investigation, integrating family secrets, lies, double lives and a somewhat unconventional process (a hacker as an aid?) to unravel the truth.
Net net, it’s a race against time to track him down before the virality of social media catches up with the death threat.Īlongside, other sides to the story emerge from the woodwork, leading to the question: is Nick really the person everyone thought he is? Does he have a different life on social media? Are the people he surrounded himself with leading only “filtered” lives in real life - and being twisted selves on social media? And therefore, could it be that someone he knows well has plotted something sinister against him? And why? Another video pops up soon enough, where Nick is shown holding up a placard that says ‘At 5 million views, I die’. Nick, meanwhile, goes missing, a case of kidnapping is registered, and the cops try to get on the trail - not very successfully since the ‘footprints’ and leads are all virtual - as to where he’s being held captive. One day, there’s a video uploaded on a social media site, where he appears to be beaten up, and holding a placard that says: “I Abuse Women”. On paper, he’s a loving husband, affectionate dad, dutiful son, and very close to his troubled sister Pia (Zoe Kazan). Nick Brewer (Adrian Grenier) is a “family man” and a popular school sports coach. What adds to the “watchability” is the identifiability this is not some sinister plot unfolding in a sleepy suburb or in dark alleys - this is about technology, and how in our Net-ridden lives, you don’t even need a physical ambience, it’s all happening virtually… and relentlessly. Never mind the small niggles, this is definitely a must-watch and is one of the most binge-worthy serials I have seen of late, being constantly on the edge wanting to know what happens next (I cancelled all my social plans one weekend, to not get sidetracked). On Rotten Tomatoes, the critics’ weightage is 52 per cent, whereas the audience score is close to 70. Here’s one more example of the “critics” getting the wrong end of the stick.
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