CRÍTICA DE PELÍCULA: “La Boca del Diablo” (2026)
CRÍTICA DE FILME: “A Boca do Diabo” (2001)
Rating: 15/100
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- Movie · on The Devil's Mouth 15MOVIE REVIEW: “The Devil's Mouth” (2026)
**Sinopsis**: *Cinco amigos deciden explorar Tailandia de una manera diferente: visitando la “boca del diablo”. Este complejo de cuevas acuáticas es un destino turístico muy famoso por sus bellezas naturales, pero lo que nadie esperaba encontrar allí era una criatura marina silenciosa, veloz y extremadamente hambrienta*. Este año ha sido “curiosamente” interesante cuando hablamos de películas de suspenso/horror que involucran a un villano ya muy conocido dentro del subgénero *slasher*: los **tiburones**. Seguramente ya habrás visto alguna de ellas a lo largo de los años, o al menos habrás oído hablar de alguna. Sin embargo, precisamente ahora está ocurriendo una especie de “rescate” inesperado, devolviendo a estas criaturas a la cresta de la ola. No obstante, aquí el error es brutal. Reuniendo a un grupo de amigos como personajes principales, la trama gira en torno a su aventura en Tailandia. Un lugar paradisíaco, lleno de bellezas naturales. Cuando deciden explorar la “boca del diablo”, lo que encontrarán allí será mucho más que una simple inmersión guiada... Será literalmente una lucha por la supervivencia. Bajo el agua, no tienen idea de que un tiburón toro (también conocido como tiburón de hocico chato) los está “espiando”. Sobre el papel, la trama de la película tiene un potencial relativamente interesante al intentar explorar todo el lado claustrofóbico de este tipo de aventura. En la práctica, lo que esta película ofrece es una construcción vergonzosa (tanto en lo que respecta a la narrativa como a sus personajes), y que se vuelve aún peor por intentar tomarse demasiado en serio. El enfoque del guion se presenta como algo primordialmente malo desde sus primeros minutos, como si “anticipara” su baja calidad. Los clichés relacionados con los personajes “gritan” incluso antes de que la película tenga la oportunidad de presentarlos oficialmente, y lo que ocurre después es un montón de escenas en las que todos los vamos conociendo no por sus nombres, sino por sus respectivas actitudes. Eso automáticamente se convierte en un demérito, porque los clichés, fácilmente reconocibles en pocos segundos, muestran toda la fragilidad de un guion mal escrito, perezoso y bastante oportunista. Todo el potencial creativo de la narrativa se desperdicia, porque el guion hace que todos los personajes enfrenten la principal amenaza de las maneras más estúpidas posibles. Literalmente, es un “festival” de malas decisiones que convierte (casi) toda la película en una extraña comedia involuntaria (y de muy mal gusto, por cierto). No es posible sentir ninguna empatía por ninguno de ellos (que son insoportables), e irónicamente, puedo decir que es bastante fácil apoyar al villano. No sería ninguna exageración decir que el mayor *clickbait* de este proyecto, quizá, sea el hecho de venderse como una película violenta (o al menos intentarlo; y fracasar con honores), porque simultáneamente quiere asustar al público al otro lado de la pantalla teniendo una clasificación por edades considerablemente ligera. En otras palabras, la violencia física es muy moderada (así como el aspecto naturalmente sanguinario y “estratégico” del tiburón) en relación con el peso de la trama. **Kathryn Newton** lidera un elenco inexpresivo, con interpretaciones que oscilan entre lo apático y lo caricaturesco. El drama detrás de la exploración de las cuevas es muy superficial y funciona únicamente como un recurso burdo para que el guion tenga una excusa para “encerrar” a todos los personajes en el mismo lugar (y en circunstancias aterradoras, dentro de un contexto más realista). Apostando por escenarios oscuros, el guion escatima en iluminación para crear su tensión. Dirigida por **Jeff Wadlow** con un ritmo aburrido e inconsistente, resulta evidente que (al menos para el público más exigente, diría yo) ***La Boca del Diablo*** es ese tipo de película técnicamente mala (los malos efectos especiales y una edición desordenada son solo dos buenos ejemplos de ello), incoherente con su propuesta principal y que, a pesar de su esfuerzo visual por mantenerse en pie, termina siendo “devorada” por su desarrollo *nonsense* (especialmente a lo largo de todo su tercer acto). --- **Sinopse**: *Cinco amigos decidem explorar a Tailândia de um jeito diferente: visitando a “boca do diabo”. Esse complexo de cavernas aquáticas é ponto turístico muito famoso por suas belezas naturais, mas o que ninguém estava esperando encontrar lá, era uma criatura marinha silenciosa, veloz e extremamente faminta*. Este ano tem sido “curiosamente” interessante quando falamos sobre filmes de suspense / horror envolvendo um vilão já muito conhecido dentro do subgênero *slasher*: os **tubarões**. Você certamente já deve ter assistido a algum deles ao longo dos anos, ou sequer ter ouvido falar sobre algum deles. No entanto, precisamente agora está acontecendo uma espécie “resgate” inesperado, trazendo de volta essas criaturas para a crista da onda. No entanto, aqui, o erro é brutal. Reunindo um grupo de amigos como personagens principais, a trama gira em torno da aventura deles na Tailândia. Um local paradisíaco, cheio de belezas naturais. Quando eles decidem explorar a “boca do diabo”, o que eles irão encontrar lá é muito mais do que um simples mergulho guiado... Será literalmente uma luta pela sobrevivência. Embaixo da água, eles não fazem ideia de que um tubarão-touro (também conhecido como tubarão-cabeça-chata) os está “espionando”. No papel, à trama do filme tem um potencial relativamente interessante por tentar explorar todo o lado claustrofóbico desse tipo de aventura. Na prática, o que esse filme entrega é uma construção vergonhosa (tanto em relação a narrativa quanto aos seus personagens), e que se torna ainda pior por tentar se levar muito a sério. A abordagem do roteiro se apresenta como algo primariamente ruim desde os seus primeiros minutos, como se “antecipasse” a sua má qualidade. Os clichês em relação aos personagens “gritam” antes mesmo do filme ter uma chance de apresentá-los oficialmente, e o que acontece em seguida, é um amontado de cenas onde todos nós vamos conhecendo eles não pelos nomes, mas sim por suas respectivas atitudes. Isso automaticamente se torna um demérito, porque os clichês que são facilmente reconhecíveis em poucos segundos mostram toda fragilidade de um roteiro mal escrito, preguiçoso e bem oportunista. Todo o potencial criativo dentro da narrativa é desperdiçado, porque o roteiro faz com que todos os personagens lidem com a principal ameaça das maneiras mais estúpidas possíveis. Literalmente, é um “festival” de más decisões que torna (quase) o filme inteiro em uma estranha comédia involuntária (e de péssimo gosto, aliás). Não é possível criar nenhuma empatia por nenhum eles (que são insuportáveis), e ironicamente, eu posso dizer que é bastante fácil torcer pelo vilão. Não seria exagero nenhum dizer que o maior *clickbait* desse projeto, talvez, seja o fato dele se vender como um filme violento (ou ao menos tentar; e falhar com honra ao mérito), porque simultaneamente, ele quer assustar o público do outro lado da tela tendo uma classificação etária consideravelmente leve. Em outras palavras, a violência física é muito moderada (assim como o aspecto naturalmente sanguinário e “estratégico” do tubarão) em relação ao peso da trama. **Kathryn Newton** lidera um elenco inexpressivo, com performances que oscilam entre o apático e o cartunesco. O drama por trás da exploração das cavernas é muito superficial, e funciona apenas como um artifício rasteiro para que o roteiro tenha uma desculpa para “aprisionar” todos os personagens no mesmo lugar (e em circunstâncias assustadores, dentro de um contexto mais realista). Apostando em cenário escuros, o roteiro economiza na iluminação para criar sua tensão. Dirigido por **Jeff Wadlow** com um ritmo chato e inconsistente, é nítido que (ao menos para o público mais exigente, eu diria) ***A Boca do Diabo*** é aquele tipo de filme tecnicamente ruim (efeitos especiais ruins e edição bagunçada são apenas dois bons exemplos disso), incoerente com à sua principal proposta, e que apesar do seu esforço visual para se manter de pé, acaba sendo “devorado” pelo seu desenvolvimento *nonsense* (em especial, ao longo de todo o seu terceiro ato). 
I am a certified teacher in Nigeria. A blogger and Dog grooming enthusiasts.
7dMovie · on Carry-On 90Carry-On (2024) Review: A Thriller That Kept Me At The Edge Until The End.I have watched a lot of action thriller and one thing I noticed is that many of them rely on loud explosions and over the top fight scenes to keep viewers entertained. Carry-On didn't need any of that, Instead it created high suspense by putting an ordinary man into an impossible situation, and for me that made the story feel far more intensed.
The movie followsEthan Kopek (Taron Egerton), a TSA officer working los Angeles international airport on Christmas Eve. Like everyone else he was expecting a routine shift before going home to enjoy the holiday with his pregnant girlfriend Nora Parisi (Sofia Carson).
But everything changed when a mysterious stranger only known as The Traveler (Jason Bateman), contacted him with a terrifying ultimatum. Ethan must allow a dangerous package through the airport security, or people around him will loose their lives starting from Nora.
From that moment every decision Ethan made driven not only by duty but by also his determination to protect his pregnant girlfriend.
What I loved most about this movie is that, it immediately makes you to ask yourself "what would I do if I were in Ethan's position?", it easier to say we'd do the right thing but when the safety of the ones we love is on line, the answer becomes difficult. That dilemma, kept me emotionally invested through out the movie.
Ethan (Taron Egerton) gave a performance that was incredibly believable.He wasn't presented as the fearless hero who knows what to do. He looked scared and confused as an ordinary person would be. Watching him struggle with every decision made me sympathize with him.
I was also impressed with the traveler (Jason Bateman) performance. I'm used to seeing him in a different role, so watching him play such a calm and calculating villain was refreshing. He didn't make dramatic speeches to be intimidating, but his quiet confidence and ability to stay one step ahead created that feeling of unease that lingered throughout the movie.
The Airport also was another beautiful setting I loved. The Airport was very busy and Carry-On took that everyday environment and turned it into a place filled with tension. Knowing that hundreds of innocent passengers had no idea what was going on behind the scene made every moment feel even more intensed.
I also love the pacing, it didn't waste much time. Each scene introduced a new obstacle making it difficult to predict how Ethan will escape without sacrificing another life.
Beyond the suspense, I think the movie also explored themes of responsibility, sacrifice and courage.
If I had my criticism, it would be that few moments made me to suspend my disbelief. Some twists a little too convenient but they weren't enough to take away the overall experience.
If you're looking for a thriller that will keep your heart racing while also making you think about the choice people make under extraordinary pressure, then Carry-On is definitely worth watching.
My Rating: 90/100
Rating: 90/100
Movie · on Love Comes Softly 85When Grief Meets Second Chances: "Love Comes Softly" ReviewI found another old gem with a pure story of love, loss, family and drama. I was looking for a movie with a good love story, I didn't expect to watch one love die and another begins in one storyline. To be fair, the first didn't die by feelings, it died a physical death. A lady lose her husband to death.
It's an old movie released in 2003 directed by one of the writers, Michael Landon Jr. in the genre of family and romance drama. I had a good time rewatching this movie, yeah, I actually had to see it again before making this review. It made the review come from recent and unbiased thoughts.
"Love Comes Softly" is starred by Katherine Heigl as Marty Claridge and Dale Midkiff as Clark Davis. A story that explores the lives of a widow and a widower who have to live together for a set time before the widow leaves to her hometown. They have to navigate a through a new feeling.
The story begins with a beautiful couple exploring a new life in the 1800s but suddenly loses her husband and becomes a widow. To survive the winter season before the wagon that will take her back to her land comes, she has to marry and live with a widower and his daughter. Marty, the widow didn't get along well with Missie, the daughter of the widower at first but slowly, they begin to open their hearts towards each other and Clark Davis who falls in love too.
The sweetest part of this story is the transformation of the main characters, from heartbroken to finding love in the most unusual ways... Slowly. I think the title of story fits it so well because of how the love in the story was expressed especially between the widow and the widower, who confirmed their love after a note.
It's an old movie but I love the cinematography, because it was shot at a beautiful scenery. I enjoyed my time watching Marty and little Missie bickering over everything until the transformation began. Although, I wasn't settled with how Clark Davis held back his love until he saw her note.
But that made the 5-second moment of the story more memorable, I guess. It was a good movie and I'll recommend if you're interested in romantic and family drama. "Love Comes Softly" is a movie worth seeing and I'll give it a 8.5/10 for the beautiful love story with the twist that was well played even though it kinda got predictable.
Images used are from Imdb.
Rating: 85/100
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7dMovie · on Pillion 75PillionWhat do I do with you?
This film received excellent reviews upon its release. I saw a flood of praise from prominent critics. That kept me intrigued and eager to see it. It wasn't until a few weeks ago that I finally watched it, and I must say I was captivated by the way the director tells the story. But I think the film's magic lies in the protagonists, Alexander Skarsgård and Harry Melling, who are as physically opposite in real life as they are in the fictional world where they play Ray and Colin.
Ray is a biker with a physique that drives any woman (in this case, any man) wild; he's the epitome of ideal male beauty for many. Colin, on the other hand, is the typical unlucky-in-love, somewhat nerdy, and shy guy. The story explores the relationship that develops between these two characters, a homosexual relationship. Some critics say it's a great love story, but I see it differently. Pillion is undoubtedly a bold work, where both actors, without reservation, film some quite intense scenes. I appreciate that aspect; perhaps that's why it's been so well-received, because this story needed to be told this way, without prudishness. It's an adaptation of the novel by British writer Adam Mars-Jones, titled Box Hill. I haven't read the novel, but I did some research and I think it has a darker and more somber tone, and there are also significant changes compared to the original material: the time period, the characters' ages, the ending, etc. Many things have been modified.
The director in charge of this adaptation is Harry Lighton, and it's also his feature film debut. After having only made short films, he embarked on this feature, which has been a great success, as it premiered at Cannes and, as I mentioned at the beginning, received very favorable reviews. After finishing the film, I felt good, I liked it, although I was left thinking for a while, and that's when I started asking myself some questions that made me question certain things the film raises.
The first thing that made me wonder was what would have happened if this story weren't about homosexuals. I wondered what would have happened if the protagonists were a man and a woman, or if they were in a heterosexual relationship. And that's when the alarm bells started ringing. I'm almost certain the film wouldn't have even secured funding, nor would it have premiered at Cannes, and even if it had, the avalanche of negative reviews would have been immense, destroying the filmmaker's career and even the careers of the actors who made the film possible with the changes that caught my attention.
It's a film where emotional dependence, submission, sadomasochistic, and humiliating relationships are part of the dynamic. Tay is a perfect alpha male who, because of all the attributes he possesses, is superior to Colin. He takes advantage of that attraction, of the power he wields over the other, to drag him down to the lowest point. A relationship where one of the parties is practically a slave who submits to the whims of their master. Of course, they're adults, and every woman is free to sleep with whomever she wants and be humiliated, if there's consent; I don't dispute that, especially knowing how messed up society is these days. But what if Colin's character were a woman? What would the reaction have been?
I'm sick of listening to podcasts, debates, social media posts, etc., where radical feminists say that men take advantage of women. That men in positions of power (of any kind) exploit their position to have sex, etc. Well, that's exactly what I saw in this film. Oh, but since it's about a homosexual relationship, the same progressive and feminist film critics praise it. This is where I see the moral hypocrisy in all of this, and of course I liked the film, but many praise it because it follows the dominant ideological narrative.
Colin's character is quite troubling. A person with very low self-esteem. He lacks love, he has a sad life. What he calls love could be a distortion of his reality. There's probably a term coined by psychiatrists for this kind of thing; I don't know it right now, and I'm not going to look it up. I wish someone would have the courage to make a similar story, but worse, one where the relationship is between a dominant man and a submissive woman, so I could see all those progressive critics crying and trying to demonize whoever does it.
Anyway, it's a film I liked enough to recommend. You can draw your own conclusions and tell me your opinion about that relationship and, especially, about Colin's character. I think it's an ideal film for a psychology student or professional to watch.
If you see it, please tell me your opinion.
Esta película recibió muy buenas críticas tras su estreno. Vi un aluvión de importantes críticos que la elogiaban. Eso me mantuvo intrigado y con muchas ganas de verla. No fue hasta hace unas semanas que finalmente la vi, y debo decir que me cautivó la forma en que el director narra la historia. Pero creo que la magia de la película reside en los protagonistas, Alexander Skarsgård y Harry Melling, tan opuestos físicamente en la vida real como en el mundo ficticio donde interpretan a Ray y Colin.
Ray es un motero con un físico que vuelve loca a cualquier mujer (en este caso, a cualquier hombre); es el prototipo de la belleza masculina ideal para muchos. Colin, por otro lado, es el típico chico con poca suerte en el amor y en el sexo, con cara de tonto, algo nerd y tímido. La historia explora la relación que se forma entre estos dos personajes, una relación homosexual. Algunos críticos dicen que es una gran historia de amor, pero yo la veo de otra manera. Pillion es, sin duda, una obra audaz, donde ambos actores, sin reservas, filman escenas bastante intensas. Aprecio ese aspecto; quizás por eso ha gustado tanto, porque esta historia debía contarse así, sin mojigatería. Es una adaptación de la novela del escritor británico Adam Mars-Jones, titulada Box Hill. No he leído la novela, pero investigué un poco y creo que tiene un tono más oscuro y sombrío, y también hay cambios significativos con respecto al material original: época, edades de los personajes, final, etc. Se han modificado muchas cosas.
El director a cargo de esta adaptación es Harry Lighton, y también es su debut en largometrajes. Después de haber realizado solo cortometrajes, se embarcó en este largometraje, que ha sido un gran éxito, ya que se estrenó en Cannes y, como mencioné al principio, recibió críticas muy favorables. Al terminar de ver la película, me sentí bien, me gustó, aunque me quedé pensando un rato y fue entonces cuando empecé a hacerme algunas preguntas que me hicieron cuestionar ciertas cosas que la película plantea.
Lo primero que me hizo preguntarme fue qué habría pasado si esta historia no tratara sobre homosexuales. Me pregunté qué habría pasado si los protagonistas fueran un hombre y una mujer, o si estuvieran en una relación heterosexual. Y ahí fue cuando saltó la alarma. Estoy casi seguro de que la película ni siquiera habría conseguido financiación, ni se habría estrenado en Cannes, e incluso si lo hubiera hecho, la avalancha de críticas negativas habría sido inmensa, además de destruir la carrera del cineasta e incluso la de los actores que habían hecho posible esa obra con los cambios que me llamaron la atención.
Es una película donde la dependencia emocional, la sumisión, las relaciones sadomasoquistas y humillantes forman parte de esta dinámica. Tay es perfectamente un macho alfa, quien, debido a todos los atributos que posee, es superior a Colin. Se aprovecha de esa atracción, del poder que ejerce sobre el otro, para hundirlo en lo más bajo. Una relación donde una de las partes es casi una esclava que se somete a los caprichos de su amo. Claro, son adultos, y toda mujer es libre de acostarse con quien quiera y ser humillada, si hay consentimiento; no lo discuto, sobre todo sabiendo lo mal que está la sociedad hoy en día. ¿Y si el personaje de Colin fuera mujer? ¿Cuál habría sido la reacción?
Estoy harta de escuchar podcasts, debates, opiniones en redes sociales, etc., donde feministas radicales dicen que los hombres se aprovechan de las mujeres. Que los hombres con poder (de cualquier tipo) se aprovechan de su posición para tener sexo, etc. Pues bien, eso es exactamente lo que vi en esta película. Ah, pero como se trata de una relación homosexual, los mismos críticos de cine progresistas y feministas la alaban. Aquí es donde veo la hipocresía moral en todo esto, y claro que me gustó la película, pero muchos la alaban porque sigue la narrativa ideológica dominante.
El personaje de Colin es bastante preocupante. Un ser con muy baja autoestima. Carece de amor, tiene una vida triste. Lo que él llama amor podría ser una distorsión de su realidad. Seguramente existe un término acuñado por los psiquiatras para estas cosas; ahora mismo no lo sé, y no voy a buscarlo. Ojalá alguien tuviera el valor de hacer una historia similar, pero peor, una donde la relación fuera entre un hombre dominante y una mujer sumisa, para ver a todos esos críticos progresistas llorando y queriendo demonizar a quien lo haga.
En fin, es una película que me gustó lo suficiente como para recomendarla. Pueden sacar sus propias conclusiones y decirme su opinión sobre esa relación y, en especial, sobre el personaje de Colin. Creo que es una película ideal para que la vea un estudiante o un profesional de la psicología.
Si lo ves, por favor dime tu opinión.
Gifs and separators made by me in photoshop. Translation with Deepl
Rating: 75/100
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7dMovie · on The Birds 84The Birds: It's like zombies but with Birds 🐦⬛🐦⬛, Hitchcock ReviewWhat class and mastery Hitchcock displays in giving you the full picture of a film’s concept—and in the process, immersing you in his unique style. He doesn’t give anything away; he interacts with you, speaking to you on a first-name basis to put you at ease and break down that barrier that freezes the viewer when they don’t yet feel comfortable or familiar with something.... He achieves all of this in a simple trailer while chatting about Birds 🐦⬛🐦⬛
The Birds, the classic 1960s version, is a film I perceived as spontaneous and natural Terror, despite the inevitable initial thought I had—that I’d be watching a movie featuring zombies, but with Birds instead, hahaha 😅😅
I’m watching it six decades after its release; it’s clear that many things already influence and “contaminate” me—like zombies, which have become a whole niche in the world of cinema—but Hitchcock, with his subtlety and elegance, manages to transport me to his realm, to his era, to those phones with a dial to make calls.... This isn’t an ordinary film; it’s more like a movie with a “Silk Glove.”
Que Categoria y Maestria la de Hitchcock para darte todo el panorama en cuanto a concepto de un film y en el proceso culturizarte con su estilo unico, el no spoilea, el interactua, tutea contigo para que entres en confianza y se derribe esa barrera que congela al espectador cuando aun no se siente en confianza o familiarizado con algo.... todo lo anterior lo logra en un simple Trailer charlando sobre pajaros 🐦⬛🐦⬛
The Birds la version clasica de los sesenta es un film que percibi como un Terror espontaneo y natural a pesar de la inevitable inicial idea que tuve en mi mente de ver la pelicula como si fuesen zombies pero con aves jajaja 😅😅
La estoy viendo seis decadas despues de su estreno, es evidente que muchas cosas ya me influencian y contaminan como los zombis que se han convertido en todo un nicho en el mundo del cine pero Hitchcock con su sutileza y elegancia me logra trasladar a sus dominios, a su epoca, a esos telefonos con radial para poder llamar.... este no es un film ordinario, es mas bien como una pelicula con Guante de Seda
Before I go on, my top recommendation—if the movie has already caught your attention—is to watch it and then check out the trailer. That’s what I did, and boy, was it a truly positive and unforgettable experience as a movie lover 🤩🤩
I’m sharing the trailer with you—it’s by far the best trailer I’ve ever seen in my life. I was expecting to see scenes from the movie, but instead I saw Mr. Hitchcock on the screen as if it were a remote class or a video conference, haha 😅😅. I was surprised and, at the same time, felt like I was back in a classroom from my school days and listening to a great Teacher.
I watched the film first, and I was left with a big mystery: why do the birds behave the way they do in the story? The movie presents its hypotheses and theories, and through one of its characters, it makes a major effort to find logic in the situation.
In the end, I like that it easily avoids trying to find logic in the “witch hunt” typical of religions and beliefs in a higher power that explains everything and saves us from the Apocalypse.
The real answer to the Birds’ behavior is in the trailer 🐦⬛🐦⬛
Antes de continuar mi mayor recomendacion si ya te llamo la atencion el film, es que lo veas y luego chequees el Trailer, en mi caso fue asi y vaya que fue una experiencia muy positiva e inolvidable como cinefilo 🤩🤩
Les comparto el Trailer, es de lejos el mejor Trailer que he visto en mi existencia. Me esperaba ver escenas de la pelicula pero en cambio vi al Sr Hitchcock en la oantalla como si de una clase por distancia o video conferencia se tratara jaja 😅😅, me senti sorprendido y a la vez como si estuviera en una clase de cuando estaba en la escuela escuchando a un gran profesor.
Vi el film primero y me quedo una gran incognita, por que las Aves se comportan de la forma que lo hacen en la historia, la pelicula plantea sus hipotesis, teorias que a traves de uno de sus personajes se hace el mayor esfuerzo por buscar logica a la situacion.
A la final me agrada que facilmente se oasa de tratar de buscar la logica a La Cazeria de Brujas tipica de las religiones y creencias en un ser superior que lo explique todo y nos salve del Apocalipsis.
La Repuesta real de ese comportamiento de Las Aves esta en el Trailer 🐦⬛🐦⬛
The reason the terror in this film feels spontaneous and natural is that it takes a significant amount of screen time to build it up through very everyday situations—even lighthearted and comical ones—that are executed very well.
“The Conquest,” “The Courtship,” and “The Two Lovers” serve as the bridge connecting the mundane aspects of daily life with the film’s winged terror.
If I have one criticism, it’s that Hitchcock is, I think, too subtle with his horror—which is fine—but there are two scenes where at least one of them practically screams for a more visceral approach, to show just how lethal and menacing these Birds can be. I saw the bodies, but I wanted to see how those bodies—or at least one of them—ended up that way 🫤🫤
Tippi Hedren mesmerizes with her elegant and refined beauty; Hitchcock knows this and captures some camera shots that, in my case, I had to rewatch again and again because I loved her expressions so much 😍😍
Both in the everyday, natural moments and in the traumatic climax involving the protagonist and the birds 🐦⬛🐦⬛
La razon de ser de que El Terror de esta pelicula es espontaneo y natural es porque toma un largo tiempo de metraje para establecerlo a traves de situaciones muy cotidianas, hasta ligeras y comicas muy bien hechas.
La Conquista, El Cortejo, Los Dos Amantes son el puente que unen lo cotidiano de un dia a dia con el Terror Alado de la pelicula.
Si tengo una critica, Hitchcock pienso es sutil con su Terror y esta bien pero hay dos escenas donde al menos una de ellas pide a gritos ser mas visceral, mostrar todo lo letal y turbias que pueden ser estas aves, vi los cuerpos pero como quise ver el como se llego al desenlace de esos cuerpos o al menos uno de ellos.
Tippi Hedren hipnotiza con su Belleza Elegante y Refinada, Hitchcok lo sabe y hace unas tomas de camara que en mi caso tuve que volverlas a ver una y otra vez porque las expresiones de ella me gustaron mucho 😍😍
Tanto en los momentos cotidianos y naturales asi como en el ClimaX Traumatico de la protagonista y los Pajaros 🐦⬛🐦⬛
I dedicate each and every one of my posts and videos to my little dog named princess, we called her chiquito, she is no longer with us but from heaven she will see that her existence was valuable and the most beautiful thing that will exist in my heart and soul.
Resources used in this post in sequence:
Thumbnail is a Photo of Me taked with my Tecno Pova Nova 2 combined with Source of TMDB Image 1 Source of TMDB Image 2 and AI Gemini of Google Edited with CapCut
Source of TMDB Image Edited with Telegram
Photo of Me Taked with my Tecno Pova Nova 2
Poster of TMDB Edited with Telegram
My Social Networks: promeX
Translated with DeepL Translate (Free Version)
Rating: 84/100
Creo en el máximo potencial de las ideas. Por eso voy a dar todo de mí para hacerme a la idea de que todo es posible.
7dMovie · on Mickey 17 67MICKEY 17 (2025) | REVIEW 🎬We have all felt replaceable at some point, whether in a relationship or at work. That feeling of not being accepted, desired, or welcome manifests in many ways. Having only one life, we convince ourselves that we are indispensable, but if you knew that someone exactly like you would take your place once you disappear, you would become completely dispensable.
After the spectacular success of "Parasite" (2019), everyone had high expectations for the next film by South Korean director Bong Joon-ho. "Mickey 17" (2025) is an adaptation of a novel written by Edward Ashton, and the best way to describe it is as a science fiction satire that shows us a vision of humanity’s future.
It is a space journey that somehow mixes black comedy with existential drama. From my point of view, I see it as quite a gamble; I imagine the director took creative risks by working outside his usual element.
The story shows the harsh life of Mickey (Robert Pattinson), an employee labeled as "expendable" on a special expedition sent to colonize a cold and mysterious planet. His job is to undertake suicide missions. Every time he dies (which happens many times), a new clone is printed with his memories, ready to endure death over and over again. The real conflict comes when, by a twist of fate, Mickey survives an incident and ends up face to face with his own replacement.
On the ship, everyone treats Mickey as a worthless object because he is completely replaceable; no one cares how he feels as long as his life serves a purpose, whether for experiments as a lab rat or to take risks no one else wants to face. By cloning him repeatedly, they turned him into an autonomous tool. Although he remains a human being, he has been completely dehumanized by his own species.
In this film, life and technological advances come together to become a darkly humorous joke about existence: humanity became so advanced as to create genetically perfect clones, but by having control over life and death, they lost respect for these things.
Certainly, the movie has a very promising initial plot, human life is fragile, and joking about that fragility made me wonder, what will it be like?
Robert Pattinson has become that actor you occasionally see; since playing Batman, he has gained much relevance in recent years. Before, I could only see him as the Twilight vampire; now, I see him as someone very capable of taking on other roles.
Bong Joon-ho uses the premise of cloning to deliver sharp critiques of extreme capitalism and labor exploitation, questioning the value of human life when it can simply be replaced by an identical copy.
However, "Mickey 17" is not like "Parasite". The film undergoes a radical tonal shift during its second half.
Mickey 17 is probably an example that not every gem can be a diamond. Its absurd tone may frustrate some viewers (for me, it was uncomfortable at certain moments). Nevertheless, its initial premise is captivating enough to prevent it from becoming tedious.
The first hour of the film is the best and everything I hoped to see; however, when the second Mickey appears, the plot changes completely.
It is an original film. I would say it might have worked better as a short film since the second and third acts have very different approaches from the first. But it offers a fascinating spectacle that will not leave you indifferent.
Rating: 67/100
If its on Tv I'll write about it || If its on Tv they already doing it
7dTV · on tmdb-125988 80Silo (2023): Memory - S03E05 - RECAP
On episode 5 we finally get confirmation of something I was suspecting and gets me very skeptical for when real danger arrives because Robert Sims finally becomes more than the angry enforcer who spent two seasons wanting the power Bernard would never hand him, and only kinda did when they were out of options and turn Sims into his shadow but this was a desperate move that not even the algo took as a close deal, because when the time arrive it was his wife chosen as head of IT. Keeping Bernard alive gives the episode a strong center because its not one clean motive, its resentment, fear, curiosity and worry for Sim's son mixed together, and the episode never pretends one good decision wipes out what he has done. He has hurt people for years telling himself he was protecting the Silo and now Camille has him doing that same dirty work while keeping him in the dark, exactly the position Bernard always kept him in, except now he refuses to stay useful and uninformed. Saving Bernard is still risky, the man has lied to him, killed people and used him for years, but Sims gets that killing the only person who has read the Order just makes him useless to the system and at the same time hands Camille and the algo all the leverage. There is nothing heroic about saving Bernard, Sims always works on this best interest but this time might be noble, he needs Bernard to predict Camille, needs Juliette alive for what she learned in Silo 17 and needs the people he used to hunt down to pull this off. He is not joining hands with everyone asking to be forgiven, he is building a plan with people who hate him because everyone in that room has found something worse to worry about and its not anymore about if they going out of the Silo, its already known there are others so now it seems that the series is pivoting into how we going to get to those other Silo.
- IMDB: https://www.imdb.com/title/tt14688458/
- Platform: PRIME VIDEO
Rottentomatoes Rating
Bernard is now a beacon of knowledge so its just obvious he gets a lot more interesting once the episode leaves him burned, weak and depending on people he gave every reason to hate him, still they take every oportunity they can get a cheap shot. Shirley, Knox, Walker and Carla have zero reason to trust him, especially after he threw Shirley and Knox under the bus over Judge Meadows and turned the Silo against them and this is something I really like because it never feels like they are just this happy team, instead the episode never makes you believe or tells you to forget that just because he now admits he spent years following orders he believed would protect the Silo, all of the sudden this is a pure change of heart. I still do not forgive the guy, you really get to grow at least some dislike of him and I am not really sure how much of his help is regret versus just wanting to survive. He was ready to die before learning Juliette might know how to stop the safeguard, so staying alive gives him a reason to keep going, would he be on this position if he didnt got into the fire?, got to give it to Tim Robbins because the guy sells that uncertainty well. Bernard is in real pain, scared and out of control for once the Silo doesnt rusn around him, but he still knows more than almost anyone living in it, its just all the unconfirm knowledge of the Order that he has, the forgetting drug, the relics and the radio channels gives the group what they need and still he is not the one calling the shots, this drug and the relics now make so much sense why they never wanted them out in the wild on Season 1. Its alsmot like Bernard has to ask for trust after years of making trust him impossible, which is a much better use of the character than just killing him off, they flip the script and it gives his scenes with Sims real weight since both men now understand what it feels like to protect a system.
Juliette finally getting her memory back is the other reason this episode feels like the season moved past its slowest episodes, something that has always hunt this series but same as the relics the missing memory idea had a real point in here, at the end made this five episode so much worth, because the truth is that five episodes of waiting for her to remember the safeguard was starting to hold everything else hostage and this episode gives the answer room to breathe instead of dragging it into another long mystery. Sims and the rest gather relics tied to her life, some bring back pieces of George, her dad, and people she used to know, but at some point it felt useless like trying to solve a math problem they have no clue what the formula means, none of it gets her to remember the thing that matters. The Pez dispenser is what finally breaks through and its not just some random relic, it carries Sims own fear that the forgetting drug could wipe out his son and leave Anthony unable to remember him, such the irony almost like they kept a character alive for this three seasons waiting for this moment, imagine if you would know that realic would make it all the way to this episode and be what triggers her memory. Juliette used that same dispenser against his family once, so there is still anger wrapped up in it, but he gives it back anyway because her memory might save everyone, a real change for both characters, its just like that moment call for a white flag without apologizing to each other. Once Juliette remembers Solo, the poison and the pipe that can be capped, the episode gives the group an actual direction, she does not get every answer back which stop from it feeling too easy, but remembers enough to act. At the same time there are some other key factors like Walker figuring out the radio channels, Bernard knows how the Order responds, Sims built the hidden network and but there is still the missing supplies that even though Bernard does not demand that much, might be related to someone plan on their group.
[Source](https://www.amazon.com/gp/video/ detail/0GKY3CQGOYOPDSE76BWMJN5CK3)
As any other episode it aint perfect and my biggest worry is that the series keeps piling on urgent problems when the safeguard should be the focus so Im not sure if the entire episodes is trying to grasp too many problemsa the same time or will they be able to make the best out of each one. The second most important one aside from Jules getting back her memory is supply, where Billings finally learn why Orla was digging into Critical Supply and this matters a ton because the missing light bulbs are not some small theft, Carla explains the Silo used to have decades worth left and now there may only be enough for two years and the gardens depend on them, so stopping the poison will not mean much if the food system collapses right after. I like that consequence, it makes the theft feel bigger than someone stealing stuff to trade, whoever took those supplies stole years off the future of everyone living down there and Orla probably died getting too close to the answer, but she could have discover they were keeping Bernard so could be that someone fat finger and kill her on the spot. My real problem with it is timing, not the idea, there is already Juliette with the pipe memory, Camille moving against Sims, Bernard hiding below, Lucas and Patrick joining up, Walker testing new radio channels and the before times footage stacking on another mystery; making a pause here did you notice how good the episode was because they focus on the Silo only?, so yeah the supply case risks becoming one more thing that gets a few minutes a week while the show juggles which danger matters most. Billings has felt cut off from the main story for too long, he was key on season 2 and now feels like doing his cop thing in the background tying his murder investigation to the survival of the whole Silo could finally make his part in the season way bigger, I just need the show to commit to it. Two years sounds far off next to poison that can go off any minute, but an underground society running out of the lights it needs to grow food is not some side plot and now it has to keep the theft from getting buried under everything else, I just hope they give it the importance it should.
Episode 5 gets none of the second timeline, just a short scene with Daniel and Helen that says the obvious, but I care a lot less about who is controlling their vehicle than about the present day story moving forward. Their conversation about the people connected to Charlottes mission gets cut off when the vehicle changes direction without them touching anything, which backs up the idea that whatever controlled the before times might be the very same thing controlling the Silo, I wonder if they going to turn this into an Ai overlord story, I hope not and that there is a real group of people pulling the strings. The only purpose of this short scene is to work as a setup and as an ending because it creates danger without over explaining it and the current plot is finally strong enough that I did not need a bigger cliffhanger to close the episode. The best part of this episode is that none of the cooperation erases the damage between these people, Walker can use Bernard and still despise him, Sims can protect Juliette and still remember what she did to his family, Juliette can take help from both men without trusting either one, and even Bernard can explain the pressure Camille is under and might even predict her moves since its all based on a protocol, he has been on that kind of heat before so he knows the role. That is exactly the kind of conflict this show needs, power inside the Silo has never been simple and swapping out whoever sits at the top would not fix what controls everyone underneath. This episode finally lets its characters share what they know and make real choices that makes the story move forward instead of feeling stuck but there are still too many secrets fighting for space, best part is that it moves forward without pretending old enemies becoming useful to each or that they have become friends.
#silo, #memory, #juliette, #sims, #bernard, #camille, #walker, #billings, #orla, #relics, #safeguard, #poison, #pipe, #supplies, #lightbulbs, #gardens, #mayor, #judicial, #order, #radio, #mystery, #survival, #distrust, #rebellion, #television
Rating: 80/100
Originally posted through scrobble.life/tv.
7dMovie · on Minions & Monsters 90Minions & Monsters | Review [ENG-ESP]Animated movies will always be a genre that seeks to try new things and create unique stories—and the best part is that they all make us laugh, because the main thing here is to have fun. That’s why every Minions movie has succeeded in doing just that, exceeding all expectations and always standing out for its humor, the various mishaps, zany moments, and situations that seem nonsensical but ultimately end up making us smile. So this new movie, titled Minions & Monsters, is here to continue expanding the franchise, to make us laugh, and—best of all—to create a new adventure that will show us just how much smarter these little characters are than they seem.
Las películas animadas, siempre será un género que busca probar cosas nuevas, crear una historia distinta y lo mejor es que todos ellas nos harán reír, ya que aquí lo importante es disfrutar. Por eso cada una de las películas de los Minions lo ha conseguido, logrando así poder superar todas las expectativas y siempre se caracterizan por su humor, los distintos accidentes, ocurrencias y situaciones que parecen no tener sentido, pero que al final terminan sacándonos una sonrisa. Así que esta nueva película conocida como Minions & Monsters, llega para seguir ampliando la saga, para hacernos reír y lo mejor para crear una nueva aventura que nos llevará a ver cómo esto pequeños personajes son más inteligente de lo que aparentan.
This story sets out to create a new adventure, but the fun part is that it all starts in Hollywood, which shows just how far these characters have come. It’s really entertaining to see how they’ve grown and become increasingly famous. Plus, the movie takes advantage of these new settings to create even funnier situations that add great value to the film. While the formula—a problem and a solution—might otherwise become repetitive, this new disaster makes the movie feel entertaining, well-paced, and, above all, allows you to appreciate every detail.
Another area that’s improved is the animation; from start to finish, everything is very colorful, every detail makes it feel real, and best of all, the designs for each character—the Minions and the monsters—manage to look eye-catching without being over-the-top, maintaining that family-friendly style that defines the franchise. This proves that for an animated film to reach that level, it requires a tremendous amount of work behind the scenes to overcome every challenge.
Esta historia apuesta por crear una nueva aventura, pero lo divertido es que todo parte desde Hollywood, lo cual demuestra lo lejos que han llegado estos personajes y ver cómo han ido creciendo y cada vez son más famosos es muy divertido, además la película aprovecha esos espacios nuevos para ocasionar situaciones todavía más divertidas y que le aportan un gran valor a la película. Donde la fórmula puede llegar a ser la misma un problema y una solución, sin embargo, con este nuevo desastre la película se sienta divertida, buen ritmo y sobre todo para poder entender cada detalle.
Otras de las cosas que mejoraron fue la animación, ya que desde que comienza hasta que termina todo está muy colorido, cada detalle hace que se sienta real y lo mejor los diseños de cada personaje, de los minions y de los monstruos logran verse llamativos, sin exagerar, manteniendo ese estilo familiar que caracteriza a la franquicia. Demostrando que una película animada, para poder estar a ese nivel se necesita de un gran trabajo detrás de producción para así poder superar todo.
I really liked the result, and it’s amazing that the series continues and that watching each movie still gives you that same feeling of joy—knowing that the next Minions movie will be even better, without having to overdo it or get too creative, because making people laugh is what matters most. That’s why the movie continues to show that there are still many more Minions adventures to come, while also making it an ideal movie for the whole family—and a reminder that, sometimes, a good dose of humor and chaos is always needed.
Me gusto mucho el resultado y es increíble que la saga continúe y que al ver cada película se mantenga esa misma sensación de alegría y saber que la próxima película de los Minions, sea mucho mejor, sin tener que exagerar y sin inventar mucho, ya que con que uno se ría es lo mejor. Por eso la película sigue mostrando que todavía quedan muchas más aventuras de los minions y a la vez se convierte en una película ideal para toda la familia y recordar que, a veces, una buena dosis de humor y caos siempre hará falta.
Rating: 90/100
Bienvenidos a mi espacio de creatividad, vida personal y mucho más!
7dMovie · on Black Hawk Down 80Black Hawk Down. (ESP/ENG)
Saludos, espero se encuentren bien, hoy les comparto la reseña sobre la película La caída del halcón negro del género acción centrada en el conflicto bélico, publicada en el año 2001, me llamó la atención que es basada en hechos reales, realmente siento que es una película para quien les guste, la historia es algo larga y destaca la supervivencia de aquellos militares que hicieron lo imposible por salir con vida.
Greetings, I hope you are all doing well. Today I am sharing a review of the 2001 action-war film Black Hawk Down. What caught my attention is that it is based on true events; I really feel it is a movie for those who enjoy the genre. The story is quite long and highlights the survival of the soldiers who did the impossible to make it out alive.
La película narra la historia sobre un grupo de militares que son enviados a un territorio de África (Somalia) cuando se trata sobre este tipo de películas centradas en la guerra por lo general nos muestran la imágen de militares altamente preparados en todos los aspectos, y que prácticamente salen victoriosos en todas sus misiones, pero en esta ocasión es diferente nos muestra como estuvieron tan vulnerables a pesar de ir bien preparados.
The film tells the story of a group of soldiers sent to a region in Africa (Somalia). War movies of this type usually portray troops who are highly trained in every respect and virtually always emerge victorious from their missions; however, this film is different, showing just how vulnerable they were despite being well-prepared.
Gran parte de la población de esa localidad estaba bien preparada para luchar, tenían muchas armas para defenderse de los soldados, mientras miraba las escenas me parecía que estas personas pasaban por una gran necesidad tanto de alimento, agua, condiciones básicas, y que de alguna u otra forma debido a la pobreza extrema se unían en grupos peligrosos para luchar y obtener el poder. A pesar de que los militares pensaron que la misión sería fácil varios de sus helicópteros cayeron por lo que fueron varios muertos y heridos algo que no dejaba ser sorprenderte para ellos hasta llegar al punto del colapso para muchos de ellos, al ver que no tenían la ayuda suficiente para salir del campo de guerra.
A large part of the population of that town was well-prepared to fight; they had many weapons to defend themselves against the soldiers. As I watched the scenes, it seemed to me that these people were suffering greatly from a lack of food, water, and basic necessities, and that somehow, due to extreme poverty, they were joining together in dangerous groups to fight and seize power. Although the military thought the mission would be easy, several of their helicopters crashed, resulting in numerous deaths and injuries. This was a shock to them, and many reached the point of collapse when they realized they didn't have enough support to leave the battlefield.
También noté la unión y compromiso de cada uno de los militares, ellos no dejaban solos a sus compañeros heridos o muertos, para ellos él no abandonar al otro es muy importante, pasan por situaciones extremas dónde no quieren ver morir al resto pero debían resguardarse hasta lograr ser rescatados, las escenas me parecieron muy reales, no tan exageradas como en otras películas así que por esa parte me gustó.
I also noticed the unity and commitment of each of the soldiers; they didn't leave their wounded or dead comrades alone. For them, not abandoning each other was very important. They went through extreme situations where they didn't want to see the rest die, but they had to take cover until they could be rescued. The scenes seemed very realistic to me, not as exaggerated as in other movies, so I liked that aspect.
Realmente es una situación en dónde muchos de nosotros quisiera que no fuese verdad pero estas guerras solo dejan destrucción tanto para ellos como para la población civil en dónde sufren tanto mujeres, hombres, niños, para este tipo de situaciones se necesita la fuerza, valentía y liderazgo. En mi opinión buena película.
It's truly a situation many of us wish weren't real, but these wars only bring destruction, both for the combatants and the civilian population, where women, men, and children suffer. In these kinds of situations, strength, courage, and leadership are essential. In my opinion, it's a good film.
Los separadores y banner fueron realizados en Canva. - The dividers and banner were made in Canva.
Gif creado desde Giphy / Gif created from Giphy
Traducción de: Google traductor - Translation of: Google translator.
Rating: 80/100
Farmacéutica y tejedora. Amante de la ciencia, las agujas y los paisajes de Cuba. Compartiendo mis dos mundos desde Matanzas.
7dMovie · on Voicemails for Isabelle 75Voicemails for Isabelle (2026)-Review by its.ktha [ENG/SPA]Imagen de portada: Póster oficial de la película / Tomada de IMDb
Hey everyone! Grab a coffee and get comfortable, because today we need to talk about a movie that completely caught me off guard and left me staring at the ceiling. If you’ve ever held onto digital pieces of the past because letting go feels too heavy, stick around—this one hits different.¡Hola a todos por aquí! Busquen un buen cafecito y pónganse cómodos, porque hoy toca hablar de una película que me agarró por sorpresa total y me dejó pensando un buen rato. Si alguna vez te has quedado aferrado a recuerdos digitales porque soltar duele demasiado, quédate por aquí, que esta historia nos toca de cerca.
Okay, can we talk about Voicemails for Isabelle for a second? Because this new Netflix drop completely blindsided me and hit way too close to home. Full confession: I’m totally that person who still has old voice notes from years ago buried in some random cloud folder, secretly terrified that hitting delete will somehow erase those people for good. So watching a movie about someone calling a dead sister’s recycled number just to cope didn’t feel like a lazy rom-com gimmick—it felt uncomfortably, painfully real.Oye, ¿podemos hablar un segundo de Mensajes de voz para Isabelle? Porque esta peli que soltó Netflix me cogió por sorpresa y me dio directo en el centro. Confesión total: soy de las que todavía guarda notas de voz y audios viejos de hace años en una carpeta perdida de la nube, con un miedo genuino de que si le doy a borrar, esa gente desaparezca para siempre. Así que ver una historia sobre alguien que llama al número reciclado de su hermana fallecida solo para poder lidiar con el golpe no se sintió para nada como el típico truco flojo de comedia romántica; se sintió incómodo, pero con una verdad bien grande.
Imagen de IMDb
Leah McKendrick wrote and directed it, and honestly, the cast is what makes it work. Zoey Deutch plays Jill, a San Francisco pastry chef, and she brings this crazy mix of charm, razor-sharp comedy, and raw vulnerability. Let’s be real, Jill’s life is an absolute disaster: she’s drowning in grief, stuck working under an unhinged, screaming boss played brilliantly by Nick Offerman, and dealing with brutal workplace sabotage where a jerk coworker steals credit for the baking project she poured her soul into. On the flip side, we have Nick Robinson as Wes over in Austin, the poor guy who accidentally inherits that recycled phone number and turns into an accidental, late-night listener to all her chaotic rants.La escribió y dirigió Leah McKendrick, y la verdad es que el elenco carga con todo el peso. Zoey Deutch hace de Jill, una repostera en San Francisco, y le imprime un encanto tremendo, una gracia fina y una vulnerabilidad que desarma. Seamos claros, la vida de Jill es un desastre de proporciones: está ahogada en el dolor, aguantando a un jefe desquiciado y gritón que interpreta de maravilla Nick Offerman, y tragándose una jugada sucia tremenda en el trabajo donde un compañero vivo le roba el crédito del proyecto al que le dedicó el alma. Por el otro lado tenemos a Nick Robinson como Wes en Austin, el pobre tipo que hereda por casualidad ese número y termina convirtiéndose en el oyente nocturno e involuntario de todos sus enredos y desahogos.
Imagen de IMDb
And McKendrick does an amazing job using these completely different settings—the sensory, frantic chaos of San Francisco versus the quiet isolation of Austin—to mirror where they're both at mentally. It turns what could've been a silly gimmick into a surprisingly grounded look at modern burnout and the weird ways we find connection.Y la directora hace un trabajo fino usando esos dos mundos tan distintos —el caos acelerado y sensorial de San Francisco frente a la quietud aislada de Austin— para reflejar cómo andan por dentro. Logra que lo que pudo ser un capricho tonto se convierta en un retrato bien sincero del cansancio mental de estos tiempos y de cómo uno busca conectarse con otros de las formas más insólitas.
Look, we’ve gotta address the massive plot hole: the whole story requires an Olympic-level suspension of disbelief about how phone companies recycle numbers. If this actually happened in real life, it’d be a true-crime podcast instead of a romance. But McKendrick leans right into that absurdity to make it work. You’ve got Nick Robinson sitting in his apartment at 3 AM, completely stressed out over a stranger's baking disasters and corporate nightmares like it's prestige TV. Underneath all the laughs, though, it taps into that terrifying, universal fear of time slipping away and your brain slowly forgetting the exact sound of a loved one's voice. It shows how grief doesn't just vanish; it mutates into weird little habits and digital ghosts.Ahora bien, hay que hablar del elefante en el cuarto: toda la trama exige que le perdonemos a los guionistas una licencia olímpica sobre cómo las telefónicas reciclan los números. Si esto pasara en la vida real, terminaría en un pódcast de crímenes en vez de en una historia de amor. Pero la película se apoya en ese disparate y lo hace funcionar. Ver a Nick Robinson a las 3 de la mañana en su casa, súper tenso por los desastres de repostería y los rollos de oficina de una desconocida como si estuviera viendo una serie de estreno, tiene su gracia. Y por debajo de las risas, te toca esa fibra delicada y de miedo real al ver cómo pasa el tiempo y te da terror ir perdiendo el tono exacto de la voz de alguien que se fue. Te enseña que el dolor no se esfuma así por así; se transforma en manías raras y en fantasmas digitales.
Imagen de IMDb
Without spoiling how all these messy pieces collide, I’m giving it a solid 7.5/10. It’s chaotic and stretches logic to its absolute breaking point, but it has a real beating heart, incredible acting, and a sharp, mature sense of humor. Quick heads-up, though: this definitely isn’t a family movie night pick or suitable for kids. It deals heavily with grief, adult burnout, and office meltdowns, making it much better suited for a solo watch or a night in with friends.Sin spoilear cómo chocan todas estas piezas, le doy un sólido 7.5/10. Es un enredo y estira la lógica hasta el límite, pero tiene un corazón grandísimo, unas actuaciones de primera y un sentido del humor maduro que hace que valga la pena. Eso sí, un detalle importante: no es una película apta para ver en familia ni para niños. Trata temas pesados como el duelo, la crisis laboral y el desgaste de los adultos, así que se disfruta mucho mejor solo, en pareja o con amigos.
Seriously, have you checked it out yet? What did you think of the corporate nightmare scenes, and honestly—would you keep listening if you accidentally inherited a stranger's voicemails? Let me know!Dime, ¿ya la vieron? ¿Qué les pareció todo el drama de la oficina, y hablando con la mano en el corazón: se habrían quedado escuchando los audios de un desconocido por pura curiosidad? ¡Cuéntenme en los comentarios!
Notas adicionales:
- Traducción realizada con la asistencia de DeepL.
- Imágenes tomadas de IMDb.
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Rating: 75/100
Movie · on Warcraft 70Warcraft Review.War Craft ..... this movie is one of those rare kind of movies that tries to do something different and yes I do respect it, even though it did not fully land well for me.
This story follows the first meeting between humans and orcs, and what makes this different from most fantasy movies is that it does not just pick one side and tell the story through them, The orc clan, led by Durotan, is fleeing a dying world through a magic portal, and they end up in Azeroth where the humans, led by Anduin Lothar and a young mage named Khadgar, have to figure out what to do about these new arrivals, Fight them, trust them, or try to understand them first.
What I appreciated the most was how much the movie made me care about Durotan, Usually in these kinds of stories, the invading side gets painted as pure villains, but here, Durotan is a father, a leader trying to protect his people and his unborn child, and honestly some of the most emotional moments in the entire movie belonged to him and his family, i did not expect to feel that much for a CGI orc, but then here we are.
The world building was also something I really liked, you can tell this movie was made by people who understood the game and wanted to honor it, the landscapes felt massive, the magic system had rules, and the politics on both sides, orc and human, felt layered instead of just being background noise for battle scenes.
Now here is where I know I have to be honest to you about this movie ,see here, because the pacing really struggled, there was a lot going on, there's were different factions, different motivations, orc politics, human politics, magic corruption storylines, and these made the movie sometimes felt like it was rushing to fit everything in together , instead of letting each scenes to breathe, Somehow I found myself a little lost trying to keep up with who wanted what and why along the way.
The human part of the story, seriously felt weaker to me compared to the orc storyline, but Lothar and Khadgar were fine, but I did not feel as emotionally invested in them as I did with Durotan's side, it almost felt like the movie knew what its strongest material was with the orcs and did not fully capitalize on that.
Visually though, I can't complain the CGI on the orcs held up really well, they felt like real characters with real weight and presence, not just special effects moving across the screen, the battle sequences were also genuinely exciting, big scale without feeling chaotic or hard to follow.
I think what stopped this movie from being great instead of just good was that it tried to set up so much for future movies that never got made, so certain storylines felt unfinished, like this was episode one of something bigger that got cut short, that somehow is disappointing because there was clearly so much potential here.
I would recommend Warcraft yeah... especially if you are a fan of the games or you enjoy fantasy movies that at least attempt something different with perspective, Is it perfect? No it's not, the pacing and uneven focus hold it back from being as good as it could have been.
But for what it is, an ambitious attempt at adapting a massive game world into a two hour movie, I still think it is worth watching, especially for Durotan's story alone.
Rating: 70/100
Movie · on 72 Hours 8572 Hours [2026] - Not Just Comedy.I finally had time to watch 72 hours and I had a lot more fun than I thought..
Incoming, I was expecting another stereotypical Kevin Hart comedy characterized by loud jokes, wild parties and just plain chaos. I'm still surprised about how much I liked the chemistry between the characters, but it does have all that and more and It's not even an exceptionaly important story, but it's the people in it that make the ride worthwhile.
The film tells the story of Joe (Kevin Hart), 40-year-old advertising executive whose career is in jeopardy but He ends up in a group of guys almost five times his age in a bachelor party chat, and brings himself on a wild weekend in Miami to reconnect with an age younger audience and save his career with a hilarious miscommunication along the way.
I appreciated Joe because he doesn't come off as the hip-hopper of the group. In fact, most of the comedy is derived from the performance of his desperate efforts to fit in with a generation that is pretty unfamiliar to him. Kevin Hart does a wonderful job at this because there's a lot of insecurity going on in Joe's head, but most of the time it will be hidden. He's attempting to remain relevant and to make a point that he has what it takes, but to not appear 'old' in front of a crowd of 20-somethings but I'm not being mean, but there were times I felt bad for him because we all have felt like we don't fit in there at some point. The bachelor party crew was quite a good one too.
The glue that held the group together was Mason Gooding's groom-to-be. He was the most grown up guy in the crew which is weird, because I think Joe is supposed to be the grown up guy. I think my favorite character was the best man of Marcello Hernandez's. His energy was disorganized, uncoordinated, and totally erratic, which led to many of the movie's best moments. The group was full of fresh blood and charm from freshman Kam Patterson and Hunter's emotional vulnerability (Ben Marshall) made him more than just another party guy.
I liked Joe's colleague, Barry (Zach Cherry) too. He always brings a new comedy to Joes' already boulder of a problem. He thought that he was a good guy, but somehow was making it worse....
I'd like to see Jennifer (Teyana Taylor) get more screen time.... She is Joe's old girlfriend, and she is warm and stable for Joe but I felt like the movie could have delved into her relationship with Joe a bit further. It could have been a more emotional plot.
Then, there's the other characters that add to the madness. Andy Garcia's cartel boss was just as hilariously stupid as he could possibly be, and when Jaze (Michael Mando) showed up, he brought some much-needed tension. These characters take the film into even more over-the-top territory when you least expect it, after it seems to be getting a good dose of a basic bachelor-party comedy.
I think the chemistry between the cast was what really drove the film. It's obvious they enjoyed creating it and that that fun shows in the audience. Everything didn't land and some scenes were a bit too much, but I sure laughed a lot.
What makes 72 Hours a perfect comedy? No. Is it Kevin Hart's funniest film ever? Probably not. It's a fun and easy to watch film, though not very serious. It's a film that you watch after a hard day, when you just want to laugh a few times, and "have a weird experience, but don't think too much about it. At the end, I was not about to worry if the plot was all there. I was thinking about friendships, chaos, unexpected bonds that sprung up over one weekend, and how a small mistake in a group chat, totally altered Joe's life.
That's what I found enjoyable about 72 Hours.
Rating: 85/100
