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Erika Mendoza
@erigm (73)
📍 Argentina
196 followers
196 following
Libros, películas y series, videojuegos, música y mucho más. Acá van a encontrar reseñas de todo lo que me gusta y les quiera compartir.
112d
Movie · on Sarah's Oil
🎬 Movie Review: Sarah's Oil [ES/EN]
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¡Hola amigos! Hoy me paso por acá para traerles mi reseña acerca de una película basada en hechos reales llamada El petróleo de Sarah.

Hi, everyone! I'm stopping by today to share my review of a movie based on a true story called Sarah's Oil.

Trama - Plot

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La historia gira en torno a una niña de 11 años afroamericana que vive en Oklahoma y que heredó unas tierras aparentemente improductivas, pero que un día paseando con su perra siente un llamado que la hace confiar que en aquellas tierras hay petróleo. Así comienza la lucha para ser escuchada y tenida en cuenta en su creencia. Pero lo complicado viene cuando una compañía decide trabajar en sus tierras dando cuenta de que el lugar es rico de verdad y hace todo lo posible para obtener las escrituras y sacarle el derecho a la niña bajo amenazas y violencia. Está es la historia de como una niña se convierte en millonaria por seguir su instinto.

The story revolves around an 11-year-old African American girl living in Oklahoma who inherited some seemingly barren land, but one day, while walking her dog, she feels a calling that leads her to believe there is oil beneath that land. Thus begins her struggle to be heard and taken seriously regarding her belief. But things get complicated when a company decides to drill on her land, realizing that the site is indeed rich in oil, and does everything in its power to obtain the deeds and strip the girl of her rights through threats and violence. This is the story of how a girl becomes a millionaire by following her instincts.

Reseña - Review

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Es una historia que empecé a ver sin muchas expectativas, pero que me encantó. La pequeña Sarah es una niña muy adorable, pero sobre todo, es inteligente. Es bien educada, sabe leer y escribir, y de verdad entiende el valor del dinero y de lo que implica todo lo que le toca vivir a pesar de ser tan pequeña.

It’s a story I started watching without high expectations, but I ended up loving it. Little Sarah is a very adorable girl, but above all, she’s smart. She’s well-mannered, she can read and write, and she truly understands the value of money and what it means to go through everything she has to, even though she’s so young.

La película también nos muestra la discriminación y el odio racial que hay en la época para las personas de color. Desde sitios a los que tienen prohibido entrar, hasta odio real que les cuesta la vida. Hay algunas partes que son tristes aunque no están explícitas. También sentí odio hacia los que querían quedarse con sus tierras solo porque se dieron cuenta que son muy ricas, cuando antes ni la querían. Esta es una reflexión muy acertada que hace la niña durante la trama.

The film also shows us the discrimination and racial hatred that people of color faced during that era. From places they were barred from entering to outright hatred that cost them their lives. There are some parts that are sad, even though they aren’t explicit. I also felt hatred toward those who wanted to take their land just because they realized it was very rich, when before they didn’t even want it. This is a very insightful observation the girl makes during the story.

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Claro, porque cuando eran tierras improductivas a nadie le importaba que una niña las tuviera, pero cuando se comprobó su riqueza, se le demando a un juez tener de tutor a una persona blanca, más allá de que Sarah tenía padres, pero eran negros como ella y se los consideraba incompetentes. También corrió riesgo su vida, al ver que no podían obtener las tierras de manera legal estaban dispuestos a quitarle la vida. Una atrocidad.

Of course, because when the land was unproductive, no one cared that a young girl owned it, but once its value was discovered, a judge was ordered to appoint a white person as her guardian—even though Sarah had parents, but they were Black like her and were deemed unfit. Her life was also in danger; seeing that they couldn’t obtain the land legally, they were willing to take her life. An atrocity.

Es una película tierna y divertida a pesar de esto, parece cruel y lo es, pero tiene sus momentos emotivos y reflexivos. Y aunque pasen algunas tragedias, es una película que nos relata un hecho real y al final todo termina de la mejor manera posible. Es impresionante todo el tema de la herencia de las tierras, aunque debo admitir que no comprendí mucho esa parte. No está explicada de la mejor manera y hace que uno tengo que buscar información aparte de cómo se dio este hecho en la realidad.

It’s a heartwarming and funny movie; despite this, it seems cruel—and it is—but it has its emotional and thought-provoking moments. And even though some tragedies occur, it’s a film that tells a true story, and in the end, everything turns out for the best. The whole issue of land inheritance is fascinating, though I must admit I didn’t quite understand that part. It isn’t explained very well, which makes you have to look up information elsewhere to understand how this actually happened in real life.

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De todos modos, es una buena película para ver. Creo que les va a sorprender. A mí me encanta cruzarme con este tipo de historias que no conocía pero que logran ganarse un espacio en mi corazón. Es una historia que trata sobre las oportunidades de la vida, el seguir tu intuición, y de luchar por tus derechos. Muy recomendable.

In any case, it’s a great movie to watch. I think you’ll be surprised by it. I love coming across stories like this—ones I didn’t know about but that manage to win a place in my heart. It’s a story about life’s opportunities, following your intuition, and fighting for your rights. Highly recommended.

Bueno amigos, hasta acá mi opinión acerca de la película. Espero que les haya gustado y los animo a verla si les llama la atención. Si ya lo hicieron me encantaría saber qué les pareció. Gracias por llegar hasta acá y apoyar mi contenido. ¡Hasta la próxima!

Well, friends, that’s my take on the movie. I hope you enjoyed it, and I encourage you to watch it if it piques your interest. If you’ve already seen it, I’d love to hear what you thought. Thanks for sticking around and supporting my content. See you next time!

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The Fed
@thefed (69)
📍 The Fed (Not The Real Fed:)
89 followers
218 following
My Names Matt & I Mostly Talk Movies & Television! #Movies #Film #Freedom
112d
Movie · on Mallrats
Mallrats (1995) Is One Of The Most Rewatchable Comedies Of The Nineties And A Perfect Kevin Smith Cult Classic. It Takes A Simple Day At The Mall And Turns It Into Pure Comedy Chaos.
Released in 1995 and directed by Kevin Smith, Mallrats followed the success of Clerks but went in a much louder and more colorful direction. While Clerks felt small and grounded, Mallrats leaned fully into comic book humor, ridiculous conversations, and over the top situations. At first it was divisive, but over time it became one of Smith’s most loved cult films.

The story centers around Brodie Bruce and T.S. Quint, two best friends who both get dumped by their girlfriends and end up spending the day wandering the local mall. What sounds like a simple setup becomes a nonstop series of strange encounters, bad advice, sabotage plans, and endless debates about comics and relationships.

Jason Lee is fantastic as Brodie, delivering one of the best performances in Kevin Smith’s entire filmography. Brodie is sarcastic, lazy, strangely confident, and full of nonstop commentary about everything around him. Lee makes him impossible not to watch, and it is hard to imagine anyone else in the role.

Jeremy London plays T.S., the more anxious and frustrated half of the duo, trying desperately to win back his girlfriend Brandi. His straight man energy balances Brodie’s chaos well, giving the movie a center while everything else gets increasingly ridiculous.

Shannen Doherty plays Brandi, while Claire Forlani plays Rene, and both relationships drive the emotional side of the story. Even with all the comedy, the film is still about growing up, communication, and realizing when you are the problem.

Ben Affleck appears as Shannon Hamilton, one of the great comedy jerks of the nineties. Loud, smug, and endlessly punchable, he fits the role perfectly. Watching him get under everyone’s skin is part of the fun.

Then there is Jason Mewes and Kevin Smith as Jay and Silent Bob, who by this point were becoming iconic. Their side mission to help Brodie and T.S. adds even more absurdity to an already ridiculous day, and their scenes are some of the most memorable in the movie.

Director Kevin Smith fills the script with the kind of dialogue that became his signature. Endless conversations about superhero anatomy, dating, television, and pop culture should not work this well, but they do because the characters feel like real people talking the way actual friends talk.

One of the best things about Mallrats is how it captures a very specific nineties mall culture that barely exists now. The mall is not just a location. It is a social world where everyone hangs out, causes trouble, and wastes entire afternoons. That atmosphere gives the movie a nostalgic energy.

The supporting cast is stacked with memorable performances. Michael Rooker as Brandi’s overprotective father, Joey Lauren Adams, Ethan Suplee, and even Stan Lee himself all add to the film’s strange charm. Stan Lee’s cameo especially became one of the most unexpectedly heartfelt moments.

That scene with Stan Lee works because underneath all the jokes, Mallrats actually has heart. It is about relationships, insecurity, and figuring out how to stop sabotaging yourself. The comedy lands harder because there is something real underneath it.

When it first released, the film was not embraced the way it is now. Critics were mixed, and some audiences did not know what to make of it. But cult classics often work that way. Time usually favors personality over polish.

Over the years, Mallrats became a favorite for people who connected with its humor and its unapologetic weirdness. It is endlessly quotable, highly rewatchable, and still feels fresh because it was never trying to be mainstream.

In the end, Mallrats is an excellent film because it knows exactly what it is. It is weird, loud, funny, and proudly nerdy without apology. It turned everyday aimlessness into something memorable.

More than anything, it proves that sometimes the best movie adventures happen when you are doing absolutely nothing important at all.
Sucet Marchán
@kiutvariedades (74)
📍 Barquisimeto - Venezuela
477 followers
178 following
Venezolana 💕 | Psicóloga 🤓 | Costura 🧵 | Maquillaje 💄 | Estilo de Vida y Más ✨
112d
TV · on XO, Kitty
💖🎥 Mi Opinión Sobre: Besos, Kitty (Temporada 3) 💋🇰🇷 || 💖🎥 My Opinion About: XO, Kitty (Season 3) 💋🇰🇷
¡Hola queridos usuarios de Hive ✨💕!
Hi dear Hive users ✨💕!

¡Hola hola Comunidad! ✨, luego de decidir sumergirme de nuevo en el universo de Lara Jean, o mejor dicho, en el caos de Kitty 🤣, al fin he llegado a la temporada que despertó nuevamente mi interés por ésta serie. No lo voy a endulzar, yo quería ver la relación entre Kitty y Min Ho, y aunque tenía temor de lo que pudiesen hacer con dicha relación, es de mi agrado decir que la llevaron de una forma honesta e interesante de ver, pero no quiero entrar en detalles, así que vamos con mis opiniones sobre Besos, Kitty (Temporada 3) 💋🇰🇷.

Hello, hello, everyone! ✨, After deciding to dive back into Lara Jean’s world—or rather, into Kitty’s chaos 🤣—I’ve finally reached the season that reignited my interest in this series. I won’t sugarcoat it: I wanted to see the relationship between Kitty and Min Ho, and although I was worried about what they might do with it, I’m pleased to say they handled it in an honest and interesting way. But I don’t want to go into too much detail, so let’s get on with my thoughts on XO, Kitty (Season 3) 💋🇰🇷.

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💖 SINOPSIS || SYNOPSIS 💖

Kitty Song Covey ya no es la misma que llegó a KISS con una maleta llena de ilusiones románticas y planes perfectamente armados. Esta vez, volver a Seúl no se trata solo de estudiar o de descubrir secretos familiares… se trata de encontrar su lugar en un mundo que, aunque siente suyo, todavía le queda un poco grande. Y en medio de ese intento constante por encajar, hay un nombre que deja de ser una simple coincidencia en su vida: Min Ho. Porque cuando lo que empezó como una rivalidad incómoda se transforma en algo mucho más difícil de ignorar, Kitty se ve obligada a enfrentarse a sentimientos que ya no puede disfrazar de casualidad.

Pero crecer nunca es sencillo, y mucho menos cuando las emociones empiezan a sentirse más reales que nunca. Entre decisiones que ya no pueden tomarse a la ligera, relaciones que evolucionan (o se rompen) y despedidas que comienzan a asomarse en el horizonte, Kitty y quienes la rodean tendrán que aprender que no todo se resuelve con impulsos del momento. Porque, cuando dejar de ser adolescente empieza a ser una realidad… también lo es aceptar que amar, a veces, implica enfrentarte a tus propias inseguridades.

Kitty Song Covey is no longer the same person who arrived at KISS with a suitcase full of romantic dreams and carefully laid plans. This time, returning to Seoul isn’t just about studying or uncovering family secrets… it’s about finding her place in a world that, although she feels is hers, still feels a little too big for her. And amidst that constant struggle to fit in, there is one name that ceases to be a mere coincidence in her life: Min Ho. Because when what began as an awkward rivalry turns into something far harder to ignore, Kitty is forced to confront feelings she can no longer dismiss as mere chance.

But growing up is never easy, and even less so when emotions start to feel more real than ever. Amidst decisions that can no longer be taken lightly, relationships that evolve (or break down) and goodbyes that begin to loom on the horizon, Kitty and those around her will have to learn that not everything is resolved by spur-of-the-moment impulses. Because, when growing out of adolescence starts to become a reality… so does accepting that loving someone sometimes means facing your own insecurities.

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💋 Una temporada que, por fin, sabe hacia dónde va || A season that finally knows where it’s heading 🇰🇷

Voy a decirlo sin rodeos: de las tres temporadas, esta es la mejor. Y no porque de repente la serie se haya convertido en algo completamente distinto, sino porque por fin da la sensación de que sabe lo que quiere contar. Eso sí, Kitty sigue siendo… Kitty 🤣. Probablemente en su versión más intensa hasta ahora, incluso un poco más insoportable en ciertos momentos, pero curiosamente aquí es donde más sentido tiene.

Toda esa necesidad constante de encajar, de sentirse parte de algo, especialmente en el mundo de Min Ho, hace que su comportamiento se entienda desde un lugar mucho más emocional. Ya no es solo caos adolescente por ser caos, sino una inseguridad bastante clara que guía muchas de sus decisiones. Y creo que eso es lo que hace que esta temporada se sienta diferente: hay una intención más clara detrás de lo que viven los personajes, incluso cuando se equivocan

I’ll put it bluntly: of the three seasons, this is the best. And not because the series has suddenly become something completely different, but because it finally feels as though it knows what story it wants to tell. That said, Kitty is still… Kitty 🤣. Probably at her most intense yet, even a bit more unbearable at times, but curiously, this is where she makes the most sense.

All that constant need to fit in, to feel part of something, especially in Min Ho’s world, makes her behaviour understandable from a much more emotional perspective. It’s no longer just teenage chaos for chaos’ sake, but a fairly clear insecurity that guides many of her decisions. And I think that’s what makes this season feel different: there’s a clearer intention behind what the characters are going through, even when they get it wrong

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💋 Un romance que ya no necesita construirse || A romance that no longer needs to be built 🇰🇷

Si hay algo que esta temporada hace muy bien es el manejo del romance principal. Y es que, por fin, la serie entendió que no necesitaba seguir construyéndolo desde cero. La relación entre Kitty y Min Ho no empieza aquí, viene arrastrándose desde hace dos temporadas: pasaron de ser prácticamente enemigos, a amigos, a cómplices… y ahora finalmente a algo mucho más evidente. Por eso se agradece muchísimo que no hayan caído en el típico recurso de alargar la tensión romántica hasta el último episodio. Aquí el romance se vive, no se pospone.

Y eso permite algo mucho más interesante: ver qué pasa después. Ver las inseguridades de Kitty, los conflictos que surgen cuando los sentimientos ya están sobre la mesa, las dudas, los malentendidos, las diferencias. Es una dinámica que, dentro del tono juvenil de la serie, se siente sorprendentemente honesta. Porque más allá del drama, lo que muestran es algo bastante reconocible: lo complicado que puede ser sostener una relación cuando todavía estás intentando entenderte a ti misma.

If there’s one thing this season does exceptionally well, it’s the handling of the main romance. The series has finally realised that it didn’t need to keep building it from scratch. The relationship between Kitty and Min Ho doesn’t start here; it’s been developing for two seasons now: they’ve gone from being practically enemies, to friends, to confidants… and now, finally, to something much more obvious. That’s why it’s so refreshing that they haven’t fallen into the typical trap of dragging out the romantic tension until the very last episode. **Here, the romance is lived, not put on hold.**
And that allows for something far more interesting: seeing what happens next. Seeing Kitty’s insecurities, the conflicts that arise once feelings are out in the open, the doubts, the misunderstandings, the differences. It’s a dynamic that, within the show’s youthful tone, feels surprisingly honest. Because beyond the drama, what they show is something quite relatable: just how complicated it can be to maintain a relationship when you’re still trying to understand yourself.

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💋 Crecer (aunque sea con tropiezos) || Growing up (even if it’s not without a few stumbles) 🇰🇷

Otro punto que me gustó bastante es que hay un crecimiento general en los personajes. Se nota que están en esa etapa de transición, despidiéndose de la secundaria y empezando a mirar hacia lo que viene después. Dentro de todo ese proceso, la evolución que más me gustó fue la de Yuri. Venía de ser ese personaje casi intocable, la típica “princesita” en su pedestal, y verla caer —y más importante aún, reconstruirse— fue de lo más interesante de la temporada.

Hay algo muy atractivo en verla enfrentarse a una realidad completamente distinta, sin privilegios que la sostengan, teniendo que redefinirse. Es de esos arcos que, sin hacer demasiado ruido, aportan bastante a la historia. Claro, no todo es perfecto. Siguen existiendo varias conveniencias de guión y situaciones que si te pones a analizarlas demasiado probablemente no tengan mucho sentido… pero sinceramente, tampoco es el tipo de serie al que le voy a exigir ese nivel de coherencia 🤣.

Another aspect I really liked is that the characters have generally grown. You can tell they’re in that transitional phase, saying goodbye to secondary school and starting to look ahead to what comes next. Out of that whole process, the development I liked best was Yuri’s. She used to be that almost untouchable character, the typical ‘little princess’ on her pedestal, and seeing her fall — and, more importantly, rebuild herself — was one of the most interesting aspects of the season.

There’s something very compelling about seeing her face a completely different reality, without the privileges to sustain her, having to redefine herself. It’s one of those story arcs that, without making too much noise, adds a lot to the story. Of course, not everything is perfect. There are still several plot conveniences and situations that, if you analyse them too closely, probably don’t make much sense… but honestly, it’s not the sort of series I’m going to demand that level of consistency from 🤣.

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💋 El desastre innecesario de Q || The Unnecessary Disaster of Q 🇰🇷

Y ahora sí, tengo que hablar de lo que no me gustó en absoluto, porque hay un personaje que esta temporada maltrató bastante: Q (Quincy). Todo el tema de la infidelidad me pareció completamente fuera de lugar para su personaje. No encaja con la construcción que venían haciendo de él, y lo peor es que tampoco está bien desarrollado como conflicto. Se siente más como un recurso dramático forzado que como una evolución natural.

Y si a eso le sumamos el triángulo amoroso con Marius… peor todavía. Porque si vas a meter un tercero en la ecuación, mínimo necesitas que ese personaje genere algo: empatía, interés, conflicto real. Pero aquí no pasa. Marius es un personaje que cae mal prácticamente desde el inicio, y eso hace que toda la trama pierda fuerza. Lo más decepcionante, sin embargo, es cómo Q maneja la situación cuando todo sale a la luz. Su reacción, sus decisiones posteriores… nada de eso se siente acorde con quien era el personaje. Y ahí es donde realmente se rompe la conexión, porque ya no parece él.

And now, I really must talk about what I didn’t like at all, because there’s one character who was treated rather badly this season: Q (Quincy). The whole infidelity storyline struck me as completely out of place for his character. It doesn’t fit with the way they’d been developing him, and what’s worse is that it isn’t well developed as a conflict either. It feels more like a forced dramatic device than a natural evolution.

And if we add the love triangle with Marius to that… it’s even worse. Because if you’re going to bring a third party into the equation, you at least need that character to generate something: empathy, interest, real conflict. But that doesn’t happen here. Marius is a character you dislike practically from the start, and that makes the whole plot lose its impact. The most disappointing thing, however, is how Q handles the situation when everything comes to light. His reaction, his subsequent decisions… none of it feels consistent with who the character was. And that’s where the connection really breaks down, because he no longer seems like himself.

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💋 Opiniones finales: quizás para cerrar || Final thoughts: perhaps to wrap up 🇰🇷

Hay varios personajes que pasan a un segundo plano esta temporada, y honestamente… no me molesta. Muchos de ellos nunca terminaron de destacar demasiado en las temporadas anteriores, así que este reajuste de foco se siente hasta necesario. El cameo de Lara Jean, por ejemplo, era algo que tenía que pasar. Era casi obligatorio dentro del universo de la serie. Eso sí, esa mini historia que le dieron… completamente innecesaria. Con su sola aparición era más que suficiente para generar ese momento especial.

No sé si habrá una cuarta temporada, pero claramente la puerta quedó abierta para ello. Aun así, creo que esta perfectamente podría haber sido la temporada final. Es la más sólida de las tres, la más clara en lo que quiere contar y, sobre todo, la más fácil de ver. Se siente menos pesada, más enfocada, y creo que eso tiene mucho que ver con que finalmente puedes empatizar con Kitty desde un lugar más real, más humano.

There are several characters who take a back seat this season, and honestly… it doesn’t bother me. Many of them never really stood out all that much in previous seasons, so this shift in focus actually feels necessary. Lara Jean’s cameo, for example, was something that had to happen. It was almost a must within the series’ universe. That said, that mini-storyline they gave her… completely unnecessary. Her single appearance alone was more than enough to create that special moment.

I don’t know if there’ll be a fourth season, but the door has clearly been left open for one. Even so, I think this could easily have been the final season. It’s the strongest of the three, the clearest in what it wants to tell and, above all, the easiest to watch. It feels less heavy, more focused, and I think that has a lot to do with the fact that you can finally empathise with Kitty from a more real, more human place.

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Sigue sin ser la mejor serie adolescente que existe, pero tampoco pretende serlo. Es entretenida, tiene momentos que funcionan muy bien y, dentro de su propio caos, logra encontrar cierta coherencia emocional. Y a veces, sinceramente… eso es más que suficiente. Si ya viste la temporada completa, cuéntame qué te pareció, porque siento que esta vez hay bastante más de lo que hablar 🤭💖.

It’s still not the best teen series out there, but it doesn’t set out to be either. It’s entertaining, has moments that work really well and, amidst all the chaos, manages to strike a certain emotional balance. And sometimes, honestly… that’s more than enough. If you’ve already watched the whole season, let me know what you thought, because I feel like there’s a lot more to talk about this time 🤭💖

Sígueme en mis redes sociales… || Follow me on my social networks… Instagram Personal:@susijackeline Instagram de Maquillaje:@makeup_sm22 Twitter:@kiut_variedades

^{Information taken from: Sensacine
Translator DeepL}
Ikechukwu
@aikay (62)
📍 Nigeria
11 followers
32 following
Talented
112d
Anime · on Wistoria: Wand and Sword
Wistoria: Wand and Sword.
Wistoria: Wand and Sword is honestly one of those anime that just sneaks up on you, like you don’t expect much at first, then boom, you are hooked before you even realize what’s happening.

Wistoria: Wand and Sword is another anime I like, it’s giving serious Mashle: Magic and Muscles vibes, No magic but strength, and that alone already sets the tone for everything are about to see.

So the story basically follows Will Serfort, a guy living in a world where magic is everything, Like, your value as a person is literally tied to how well you can use magic, School, status, respect everything revolves around it, but here is the twist… Will has zero magic, not small magic, not hidden magic, not it will awaken later kind of thing, Zero.

And normally, that should automatically make him useless in that kind of world, But this guy said no. Instead of magic, he focused on pure physical strength, And not just normal strength o, I am talking insane, ridiculous, how is this even possible? kind of strength, the type that makes you question if he is even human sometimes.

That’s where the Mashle comparison really comes in, because just like Mash, Will is out here surviving in a magic dominated world using only his body, no spells, no tricks, just hard work, discipline, and vibes

But what I actually like about Wistoria is that it doesn’t feel like a complete copy, there is more emotion behind Will’s journey, He’s not just trying to prove a point or be funny, there is a deeper motivation tied to someone important to him, you can feel that drive in the way he fights and pushes himself.

The academy setting is also very interesting, you know how these magic schools usually have ranking systems, elites, and all those you are not good enough kind of people? Yeah, Wistoria has that too, and of course, Will is constantly looked down on because he doesn’t use magic, people underestimate him a lot.

But that’s where the satisfaction comes in.

Because every time they doubt him, he just goes ahead and does something crazy, Like you will just be watching and suddenly he moves at a speed that makes no sense or takes down something that should require magic… and you are just there like okay wait, this guy is actually built different.

The fight scenes are clean too. Not overly complicated, but very impactful, You can feel the weight behind every punch, every movement, It is not just about flashy powers, it is about effort and raw strength, and I like that balance.

Another thing I noticed is that the anime does a good job of building tension, You know those moments where you are just waiting for Will to snap and prove everyone wrong? Yeah, they stretch it just enough to make the payoff feel worth it.

Character wise, Will is very easy to root for, He’s not loud or overly dramatic, but you can tell he carries a lot inside him, and when he finally shows what he can do, it hits differently because you have seen how much he is endured.

Overall, I won’t lie, if you liked Mashle, you are most likely going to enjoy this one too, It is that same strength over magic” concept, but with its own emotional depth and storytelling style.

For me, it is one of those anime you start casually, then before you know it, you’re fully invested and honestly, I am really looking forward to seeing how far Will can go in a world that was not built for people like him.

_{Images Gotten from My Movie Box Player}

Aikay👾
Drax
@drax (77)
894 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
112d
Movie · on Phantom Thread 60
Film Review: Phantom Thread (2017)

The world has changed so much that some things that happened only a decade ago now seem like a distant and increasingly difficult to comprehend past. One of the best examples is the decision of Daniel Day-Lewis, the English actor and three-time Oscar winner, to simply end his career. That decision coincided with the premiere of Phantom Thread, Paul Thomas Anderson's film in which Day-Lewis played the lead role. Day-Lewis's long absence from the big screen was, in fact, not so inexplicable given the English actor's habit of taking multi-year breaks between roles. And for that reason, part of the critical community was somewhat disappointed at the thought that Phantom Thread, a film they were not overly enthusiastic about, could have been Day-Lewis's last. However, given the economic and other parameters that have changed so dramatically of late, only few years later, during dark days of COVID pandemic, it seemed likely that, even if he were to change his mind, Phantom Thread could remain his final film.

In the film, Day-Lewis plays the character of Reynolds Woodcock, a London fashion designer who, in the 1950s, creates expensive dresses for the British and neighbouring countries’ aristocracy. Business is excellent, thanks in large part to his sister Cyril (Leslie Manville), who manages the finances and looks after the support staff, including the models with whom Reynolds tends to have short-lived love affairs. After ending one such affair, in an effort to replenish his creative resources, Reynolds travels to his native village where he meets Alma (Vicky Krieps) in a local restaurant – a pretty waitress whose accent betrays foreign origins. Reynolds falls head over heels in love with her and decides to make her his model and new muse. At first, Alma is delighted with life in the luxurious house, but over time Reynolds's perfectionism and sensitivity come to the fore, as does Alma's unwillingness to cater to his every whim. This begins to affect their romantic relationship, but Alma, before becoming Reynolds's ex-lover, decides to prevent that in a rather bizarre way that could very easily give her romantic idyll a tragic ending.

Day-Lewis's fans may have reason to be sad that Phantom Thread is his last film, but they also have reason to be satisfied because the great actor has delivered yet another masterful performance. As many times before, he immerses himself so thoroughly in the role that it is easy for viewers to forget they are watching Daniel Day-Lewis and instead truly see the character of Reynolds Woodcock. The character is brilliantly acted, offering a very good character study of a middle-aged man who has yet to heal the traumas of his childhood and who still cannot reconcile his professional and private life. Day-Lewis is more than ably partnered by the relatively unknown Luxembourgish actress Vicky Krieps, who very effectively shades between the stereotypes of a femme fatale, a cynical manipulator, and a woman prone to potentially self-destructive outbursts. Lesley Manville also did a very good job; her character is initially presented as extremely antipathetic, only gradually becoming something akin to a voice of reason in this bizarre love story.

However, the top-tier cast was not enough for Paul Thomas Anderson to replicate the successes of his early career. The film suffers from a serious problem with pacing and excessive length, so that certain scenes are truly unnecessary, while others – such as the episode with the arrogant client and her "problematic" tycoon husband – are inserted merely as an obligatory reference to the Holocaust, without which many AMPAS voters could not imagine the Oscars. A disappointing impression also comes from Jonny Greenwood's score, which is of rather uneven quality and gives certain scenes an unnecessary and irritating "artsy-snobbish" charge. Nevertheless, when all is said and done, Phantom Thread is still a solid and more than watchable film, and looked even better in times when we were troubled by far more serious problems than no longer being able to see an artist like Daniel Day-Lewis in new works.

RATING: 6/10 (++)

(Note: The text in the original Croatian version is available here.)

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Florence Boens
@florenceboens (68)
📍 Somewhere
887 followers
923 following
Belge, mariée, apprentie écrivain, aimant la nature
113d
TV · on Virgin River
Virgin River (season /saison 7) EN /FR
Hello film lovers, /Bonjour les cinéphiles,

The seventh season, comprising 10 episodes, has been available on Netflix since mid-March. The series is based on the novels of the same name by Robyn Carr.

La 7e saison, composée de 10 épisodes, est arrivée sur Netflix depuis la mi-mars déjà. Cette série est basée sur les romans éponymes de Robyn Carr.

Source Series poster /Affiche de la série

Synopsis :

The previous season ended with Mel and Jack Sheridan’s wedding.

Jack has almost finished building their house; all that remains is the interior finishing touches, such as fitting the kitchen or adding the decorations.

Things are progressing well, although Mel and Jack still want to have a child and, so far, it hasn’t worked out.

Calvin was found dead at Charmaine’s home, but she has disappeared with her twins. She is therefore under suspicion by the police, but her friend Brie Sheridan doesn’t believe it and is determined to help Inspector Mike find Charmaine and her children as soon as possible.

Lizzy is about to give birth to a baby girl who will be Dr Vernon Mullins’ great-granddaughter. Dr Mullins is facing a suspension from practising medicine, which is causing quite a stir in Virgin River.

La saison précédente se terminait par le mariage de Mel et Jack Sheridan.

Jack a quasi terminé la construction de leur maison, plus que les finitions intérieures avec l'installation de la cuisine, par exemple, ou des décorations.

Cela avance bien, même si Mel et Jack souhaitent toujours avoir un enfant et que, jusqu'ici, ça ne marche pas.

Calvin a été retrouvé mort au domicile de Charmaine, mais celle-ci a disparu avec ses jumeaux. Elle est donc suspectée par la police, mais son amie Brie Sheridan n'y croit pas et veut absolument aider l'inspecteur Mike à retrouver Charmaine et ses enfants, au plus vite.

Lizzy va accoucher d'une petite fille qui sera l'arrière-petite-fille du Dr Vernon Mullins. Celui-ci doit d'ailleurs faire face à une suspension de son droit d'exercer, ce qui perturbe beaucoup de choses à Virgin River.

My opinion and a few facts /Mon avis et petites infos :

It’s a series I quite like. It’s as romantic as you could wish for, sometimes a bit too much, but that’s the author’s style.

What I appreciate, I think, is that everything seems to be going very well in these people’s lives, but, just like in real life, there are plenty of obstacles to overcome, moments of self-doubt, changes of heart, and so on. And often, we wouldn’t be able to overcome and get through all that if we were alone, but with a partner or even with several people supporting us, things immediately get much better.

It actually shows how things really are: on the surface, we want everything to look fine, we put on a smile, but behind the scenes, we sometimes struggle a lot to get what we want, to protect what we have, and tears are often shed.

C'est une série que j'aime bien. C'est romantique à souhait, parfois un peu trop, mais c'est le style de l'auteure.

Ce que j'apprécie, je crois, c'est que tout a l'air d'aller très bien dans la vie de ces gens, mais, comme dans la vie réelle, il y a beaucoup d'obstacles à surmonter, de remises en question, de changements d'avis, etc. et, souvent, on ne pourrait pas surmonter et traverser tout cela si on était seul, mais à deux ou même avec plusieurs personnes qui nous soutiennent, cela va tout de suite beaucoup mieux.

Cela montre, en fait, la réalité des choses : en apparence, on veut que tout semble ok, on affiche un sourire, mais derrière, on rame parfois beaucoup pour obtenir ce que l'on veut, protéger ce que l'on a et les larmes coulent régulièrement.

There are no new cast members, but the original cast are still here:

Alexandra Breckenridge: Melinda ‘Mel’ Monroe Martin Henderson: Jack Sheridan Annette O’Toole: Hope McCrea Tim Matheson: Dr Vernon ‘Doc’ Mullins Colin Lawrence: John ‘Preacher’ Middleton Ben Hollingsworth: Dan Brady Grayson Gurnsey: Ricky Sarah Dugdale: Lizzie Zibby Allen: Brie Sheridan Marco Grazzini: Mike Valenzuela Kai Bradbury: Denny Cutler Kandyse McClure: Kaia Bryant Teryl Rothery: Muriel Gwynyth Walsh: Jo Ellen Elise Gatien: Lark Cody Kearsley: Clay

Season 8 has been commissioned by Netflix and will also consist of 10 episodes.

Enjoy your evenings in front of the telly and see you soon,

Il n'y a pas eu de nouveaux acteurs, mais les anciens sont toujours là :

Alexandra Breckenridge : Melinda « Mel » Monroe Martin Henderson : Jack Sheridan Annette O'Toole : Hope McCrea Tim Matheson : Dr Vernon « Doc » Mullins Colin Lawrence : John « Preacher » Middleton Ben Hollingsworth : Dan Brady Grayson Gurnsey : Ricky Sarah Dugdale : Lizzie Zibby Allen : Brie Sheridan Marco Grazzini : Mike Valenzuela Kai Bradbury : Denny Cutler Kandyse McClure : Kaia Bryant Teryl Rothery : Muriel Gwynyth Walsh : Jo Ellen Elise Gatien : Lark Cody Kearsley : Clay

Une saison 8 a été commandée par Netflix et sera aussi composée de 10 épisodes.

Bonnes soirées-tv et à bientôt,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

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DragonQueen
@esther-emmanuel (72)
351 followers
179 following
Creative writer, Poet , An Artist, Movie lover, Book lover, introvert, virgo 😎
113d
TV · on Fatal Attraction
Fatal Attraction (2023 - 2026) || TV Series Review.

^{”Sex, fornication, fucking is a compulsion, a primary urge. Society wants us to believe it's a gateway drug to love, that's a lie. It is an act of desire. And so it can be confusing that something that feels so good can be so bad}

When I was much younger, I thought money was the root of the world's problem. As I've grown older, I have come to see things differently and that is, money, sex, and food are at the center of many conflicts. These three alone can push a person to start a war and I see them depicted in this fascinating South African popular show.

Fatal Attraction is a crime erotic thriller series based on a Mexican Netflix series titled Dark Desire. It's created by Steven Pillemer starring Kgomotso Christopher, Prince Grootboom, Thapelo Mokoena, Nathaniel Ramabulana, Ngelekanyo Ramulondi, Frances Sholto-Douglas, Lunathi Mampofu, Warren Masemola together with other supporting actors.

The plot mainly revolves around Nandi (Kgomotso Christopher), a professor married to Judge Leonardo Mahlati (Thapelo Mokoena), and one of her students, Jacob (Prince Grootboom). Nandi is on a weekend vacation with her best friend, Brenda, when the latter tries to convince her to leave Leonardo since they have suspicions that her husband may be cheating on her.

Then both women see Jacob walking by but didn't make contact. Later that night, Jacob meets Nandi and instantly, the undeniable attraction kicks in and they both have sex. When they return to their normal lives, Nnadi discovers that Jacob is one of her students. Next a shocking news reaches Nandi after her return that Brenda had committed suicide. Nandi’s world is turned upside-down as she could go down for the murder of her best friend. Who killed Brenda? What happens next?

Characters That Pique My Interest

Nathaniel Ramabulana as Vuyo Mahlati : is an amazing character that throws this show into lots of suspense. He is Leonard's brother and a detective who is forcefully retired due to a gunshot injury. He’s neither the antagonist nor the protagonist but in between which kind of ends badly for him. I enjoy his performance. He’s smart, elusive and at the same time, an asshole.

Prince Grootboom as Jacob Tau: He is Nandi's student and her secret lover. Though Jacob is obsessively in love with his professor, he has one goal—to clear his father's name. His performance is so convincing that you think you understand his character, but you don't. He's dynamic and fluid.

Ngelekanyo Ramulondi as Zinhle Mahlati: She's the daughter of Nandi and Leonard Mahlati and the most annoying character for me. She is always confused, immature and too self centered, and behaves as if she lives in fantasy land. She wants what she wants when she wants it. However, since she manages to annoy me, I'll say her performance is quite convincing.

Warren Masemola as Minister Vilakazi : He's a fantastic and worthy villain. He shouldn't have turned into a villain but is later driven by the death of his daughter along with greed, sex and power to become one.

Kgomotso Christopher as Nandi Mahlati: is the wife of Judge Leonard. She’s impulsive, sometimes smart, and resilient. Through every episode, she is the only character that goes through changes such as becoming rugged just to save her daughter's life. I enjoyed her performance. She embodies her role with good charisma.

My Review And Rating.

I'll start my review with the show's aesthetic style and bold cinematography. Nothing makes a movie or show more worth watching than sleek, radiant visuals and Fatal Seduction delivered on these. Apart from the interesting plot and suspense, the camera angles, editing and sound designs tell the beauty of Africa in elegant colours. The scenery is a joy to watch and it's obvious the creators paid much attention to this aspect of the show. Also, the costumes of the actors are quite appealing to the eye.

I applaud the writers for their brilliant and creative work. The plot is interesting, depicting themes that people face daily. It explores what life is like in South Africa for both the poor and rich. The show is twisted like a puzzle that unravels slowly and sometimes in shocking ways. The reverse storytelling technique is done in a manner that nearly all the characters have the potential of being villains.

I love how the crimes depicted start as a tiny lie and quickly blow up into betrayals, injustice, murder, and cheating. Each episode unveils more atrocious acts that are shocking and unexpected. The tension is well built and suspense keeps me on my toes.

The outstanding acting is another top point for this fine show. Kgomotso Christopher, Thapelo Mokoena and Prince Grootboom stand out among other actors to deliver excellent and dramatic performances. Their charisma and talent really elevate this show.

Rating this show, I'll give it 8 stars out of 10. It's full of drama, steamy scenes with twists and turns that keep me on the edge of my seat.

All images above are from the movie screenshots

Poster image source

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Drax
@drax (77)
894 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
113d
TV · on Mad Men 60
Television Review: Maidenform (Mad Men, S2x06, 2008)

Maidenform (S2x06)

Airdate: 31 August 2008

Written by: Matthew Weiner Directed by: Phil Abraham

Running Time: 48 minutes

When a television series establishes itself as a paragon of consistent quality, each instalment is held to an almost impossibly high standard. A singular episode that fails to reach this elevated bar stands out as a conspicuous blemish. This is the peculiar curse of Maidenform, the sixth episode of Mad Men’s second season. Taken in isolation, it is a competently acted, handsomely produced piece of drama. Yet, measured against the series’ own sterling pedigree it emerges as a frustratingly diffuse and occasionally clumsy endeavour. It is the season’s first significant stumble, a piece that prioritises aesthetic provocation and crammed narrative over the disciplined focus that made the show great.

Written by series creator Matthew Weiner, the episode takes its title from the real-life American lingerie manufacturer, the chief competitor to Playtex. The latter is, within the fiction, a client of Sterling Cooper, thus setting the stage for a narrative ostensibly about the brassiere wars of 1962. The plot is situated in the late May heat around Memorial Day, a contrivance that functions primarily as a flimsy excuse to parade the female cast in various states of undress. This agenda is announced with unsubtle clarity in the opening sequence, which cross-cuts between Betty Draper, Joan Holloway, and Peggy Olson dressing in their underwear. While visually striking, the scene feels less like organic character revelation and more like a deliberate, somewhat cynical calculation to engage the viewer’s gaze—a theme the episode will awkwardly attempt to critique within its own diegesis.

The professional catalyst arrives when Duck Phillips informs Don Draper that Playtex, threatened by Maidenform’s advertising, demands a campaign of equal potency. The creative process that follows yields the episode’s central, and most problematic, conceit. Paul Kinsey, ever the pretentious intellectual, posits that all American women desire to be either the refined, patrician Jackie Kennedy or the voluptuous, sensual Marilyn Monroe. The proposed campaign promises that with the right Playtex bra, a woman can embody both archetypes. This is, of course, a blatant dramatisation of the Madonna-Whore complex, presented with a startling lack of the series’ usual subtlety. The concept reduces the nuanced exploration of female identity that the show often championed into a crude, binary marketing pitch. The subsequent casting call leads to one of the episode’s more gratuitous subplots: Pete Campbell engaging in a joyless tryst with a model (Susie Wright) in a room she shares with her mother. The scene’s conclusion, where their coupling is intercut with a televised documentary of US fighter jets accompanied by solemn religious narration, aims for a resonant irony but lands with a thud of pretentious ‘artiness’, feeling like an unnecessary filler that contributes little to Pete’s arc or the episode’s core themes.

Parallel to this, Peggy’s ongoing struggle for recognition within the masculine fortress of Sterling Cooper reaches a new peak of frustration. Cut out of the Playtex campaign by the ‘boys’, she is advised by Joan to shed her girlish attire and adopt the armour of a woman—to infiltrate their circle through socialisation. The episode’s most effective commentary on gender performance arrives when the Playtex executives, though impressed by the dual-identity ad, decide to pass on the campaign. In a desperate move to salvage the account, the Sterling Cooper men take them to an upscale strip club. In a moment of shocking, calculated audacity, Peggy arrives, transformed in a sultry gown, and boldly plants herself in the lap of a Playtex executive. It’s a powerful, desperate act of assimilation, highlighting the extreme lengths to which a woman must go to be considered ‘one of the guys’ in this world. This storyline succeeds precisely because it engages with the series’ strengths: the quiet agony of professional ambition constrained by gender, and the brutal cost of swapping expected roles.

Elsewhere, the narrative sprawls uncontrollably. Roger Sterling) forces a perfunctory lunch between Don and Duck to mend fences after the American Airlines debacle—a subplot that resolves with predictable, hollow cordiality. More weight is given to Duck’s personal unraveling. A visit from his ex-wife and children leaves him custodial of his son’s dog, Chauncey. The beagle’s sad, loyal eyes become a temporary bulwark against Duck’s overwhelming thirst for alcohol. In a moment of quiet tragedy, he leads the dog out of the office and abandons it on the street, presumably returning to succumb to his addiction. It’s a well-acted vignette, but it feels emotionally and narratively disconnected from the episode’s other threads, a symptom of the instalment’s lack of focus.

This lack of discipline is most glaring in Don Draper’s storyline. Attending a Memorial Day party at the country club with Betty, he departs early to continue his affair with the brash, older Bobbie Barrett. The power dynamics here are intriguing: Don learns Bobbie has adult children, shattering his perception of her, and later, during a sexual encounter, she casually mentions that his prowess is legendary in her social circles. In an instant, Don is revolted. He sees himself reduced to a sexual object, a mirror image of his own predatory behaviour. His response—tying her to the bed under the pretence of kink before coldly departing—is a brutal act of reasserting control by weaponising her expectation of his desire. It’s a compelling idea, but it feels rushed, sandwiched between the party scenes and Betty’s own chaste rejection of an advance from Arthur Case. The episode concludes with Don shaving, staring into the mirror with self-loathing—a potent image, but one that resonates less because the emotional journey to that point has been fragmented.

Matthew Weiner has cited Maidenform as a personal favourite, which may explain certain indulgent details. The name ‘Franklin Reeve’, the man Duck’s ex-wife plans to marry, is a direct homage to Weiner’s college mentor. While a charming insider nod, it underscores an episode that occasionally feels like a creator’s playground rather than a cohesive chapter. Furthermore, the episode’s much-criticised anachronism—the use of The Decemberists’ 2005 song ‘The Infanta’ over the opening montage—is a rare but significant misstep for a series famed for its fastidious period authenticity. It momentarily shatters the carefully constructed illusion of 1962, a year being viewed through rose-tinted glasses of nostalgia and a pivotal moment before the coming storm of social change.

The year was more eventful than 1960, leading to a Season 2 inferior to Season 1 partly because it must engage with iconic images, words and events that define that era. ‘Maidenform’ suffers from this burden, feeling obligated to insert references to Marilyn Monroe’s infamous JFK birthday performance and the Bay of Pigs invasion, the latter via a conversation with the CIA-connected Crab Colson (Matt McKenzie). These feel less like organic historical texture and more like obligatory checkboxes, further contributing to the narrative clutter.

Where the episode truly succeeds is in its visual boldness and its moments of meta-commentary. The Memorial Day party features a fashion show of swimwear; when Betty buys a suit and wishes to swim in it, Don is visibly aghast at the thought of other men seeing his wife. This hypocrisy—the adman who sells desire but cannot stomach his wife being its object—is sharp. It can also be read as the episode’s defensive retort to accusations of its own exploitative content: Look, it seems to say, we are aware of the predatory male gaze, and here is a character who is hypocritically consumed by it. It’s a clever, if somewhat transparent, manoeuvre.

In the end of the day, Maidenform is not a failure. The performances remain superb, and individual scenes crackle with the series’ trademark intelligence. However, it is an episode at war with itself. It tries to be a critique of sexual objectification while luxuriating in imagery that facilitates it; it wants to explore the Jackie/Marilyn dichotomy but does so with uncharacteristic heavy-handedness; it introduces compelling personal crises for Don and Duck but fails to give them the narrative room to breathe. The result is a scattered, often unsatisfying instalment that stands as a testament to what happens when a great show’ ambition outpaces its focus. In a season already grappling with the challenge of following a near-perfect first year, Maidenform is the point where the seams of Mad Men’s impeccable suit become visibly, and disappointingly, frayed.

RATING: 6/10 (++)

==

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New splinderlands plyer, Crypto news, cryptocurrency, crypto lover
113d
Movie · on Michael
Michael, A legendary story, Movie review
How are you all? I hope you are well. Today I am writing about a slightly different kind of movie… “Michael”.

To be honest, I had a strange curiosity inside me even before watching this movie. Because the person we are talking about is not just a singer—he is an era. Just hearing the name Michael Jackson creates a different feeling. So I thought, is it really possible to properly portray this huge life in a movie?

The movie starts with little Michael. This part was quite impactful for me. His family, especially his relationship with his father, I felt a little uncomfortable watching these, I won’t lie. Many times, it seemed like his childhood wasn’t really a childhood. Pressure, expectation, everything seemed to be on his shoulders from a very young age.

I fell silent a little at this point. Because we don't think much about the inner struggles of someone we see from the outside as such a great artist.

The,n when Michael starts growing up, the movie changes a bit. The stage, the performance, the crowd, everything suddenly becomes much bigger. I honestly liked this part. In some scenes, I felt like, “Yes, this is Michael Jackson!” His dance moves, body control, stage presence, everything has been beautifully portrayed.

But here's one thing I noticed, as much as the movie showed his outer side as strongly as it did, the inner side opened up a little bit more slowly.

I mean, after a while, we see that Michael is actually very lonely. There are people around him, but he can't seem to fully connect with anyone. In some scenes, he is shown completely silent… no dialogue, just a feeling. These things kept going through my head.

I remember one scene in particular, he is sitting alone, everything around is quiet, but there is a strange tiredness in his eyes. These little things made the movie real to me.

But not everything was perfect.

In some places, I felt like the movie tried to play it safe. I mean, the controversial or difficult aspects of his life weren't explored too deeply. Maybe it was done intentionally to make it easier for the audience. But I felt like if it had been shown a little more openly, the story would have been stronger.

Talking about the character, the person who played Michael's character tried. it's understandable. At some points, I was getting along very well, and at other times, it seemed a little artificial. But overall, I would say he didn't do it badly.

I can't help but mention one more thing, the music.

Michael Jackson's songs are a different world. When his songs were playing in the movie, there was a sense of nostalgia. It felt like those old times had returned. The movie really did well in this area.

All in all, if I say it my way… "Michael" is not a perfect biopic for me. Not bad at all. I saw it as a tribute, where the bright sides of a legend are shown more, and the dark sides are kept a little hidden.

But one thing this movie made me think, can a man, whom the whole world loves, be so lonely inside?

This question has been on my mind.

Finally, let me say a small thing… If you are a Michael Jackson fan, then you are more likely to like this movie. And if you are just looking for a deep story, then this one will also touch you to some extent.

That's it for today. If you have seen it, don't forget to share your feelings… Did you like it like me, or something completely different?

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Javier Eslava
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Aquí se habla de películas/series, deportes, música y cuando sale la inspiración de fotografía.
113d
Movie · on Apex 65
(ESP-ENG) Apex | A duel that turns into a nightmare - Movie Review!
**

Hola amigos, buenas vibras para todos.
**

Hello friends, good vibes to all.

Source!

Netflix de vez en cuando y de cuando en vez sale con películas que probablemente sin esperar mucho de ellas comienzan a hacerse populares y estar en tendencia. Son films que a nivel de trama son muy predecibles pero que de igual manera te atrapan porque logran captar la esencia del terror por el que pasa el personaje en cuestión y, en este caso en particular, por los protagonistas, por la particularidad de dicha trama y por el entorno en donde se hizo. Como Apex puede que haya varias películas por allí pero al mismo tiempo creo que es bastante diferente en desarrollo y esa es la razón del porque mucha gente está hablando de ella.

Netflix occasionally releases films that, without much fanfare, quickly become popular and trending. These films are often quite predictable in terms of plot, yet they still manage to captivate viewers by capturing the essence of the terror experienced by the characters, and in this particular case, by the protagonists, the unique nature of the story, and the setting. While there may be several films similar to Apex, I believe it stands out for its distinct development, which is why so many people are talking about it.

Basicamente estamos ante un thriller de supervivencia y de acción pura en donde obviamente el que logre mantenerse vivo gana. Tenemos a Sasha (Charlize Theron), una mujer que perdió a su esposo en una aventura de escalada y que está pasando por dicho duelo. Para hacerlo más llevadero ella decide hacer lo que más le gusta, actividades outdoor llenas de adrenalina y para eso se va a la naturaleza pura de Australia. Allí conoce a varios personajes pero uno sobresale, Ben (Taron Egerton), un tipo bastante amable en principio pero que después mostrará quién verdaderamente es. Y quien es? - pues un asesino serial con unos gustos bastantes particulares.

Basically, this is a pure action-survival thriller where, obviously, the one who manages to stay alive wins. We have Sasha (Charlize Theron), a woman who lost her husband in a climbing accident and is going through her grief. To cope, she decides to do what she loves most: adrenaline-pumping outdoor activities. For this, she heads to the Australian outback. There she meets several characters, but one stands out: Ben (Taron Egerton), a seemingly friendly guy at first, but who will later reveal his true colors. And who is he? A serial killer with some rather peculiar tastes.

Source!

Source!

Basicamente lo que veremos es el juego del gato y el ratón en medio de una selva montañosa. Ben le propone a Sasha que sea su presa, así de simple. Ella tratará de huir y él, como un tipo que aparentemente se conoce el lugar como la palma de su mano, buscará cazarla. El film es eso, ver todo por lo que esta mujer pasa para no caer en las manos de este psicópata. Por qué la película funciona? - primero porque es corta, dura hora y media lo que hace que no se tenga que extender más de lo debido y que toda la acción, tensión y suspenso se concentre lo más que se pueda y no se diluya como casi siempre termina pasando y segundo porque creo que para ser lo que es, una simple cacería, estuvo entretenida. Nos dieron persecuciones, escaladas, peleas, sadismo por parte de Ben y buenas actuaciones en general de parte de los dos.

Basically, what we see is a cat-and-mouse game in the middle of a mountainous jungle. Ben proposes to Sasha that she be his prey, it's that simple. She'll try to escape, and he, like a guy who apparently knows the place like the back of his hand, will hunt her down. The film is about that: seeing everything this woman goes through to avoid falling into the hands of this psychopath. Why does the film work? First, because it's short, only an hour and a half, which means it doesn't have to drag on unnecessarily and all the action, tension, and suspense are concentrated as much as possible and don't get diluted as so often happens. Second, because I think that for what it is—a simple hunt—it was entertaining. We got chases, climbs, fights, sadism from Ben, and generally good performances from both actors.

Charlize Theron y Taron Egerton estuvieron muy bien acá, no es un film para ganarse un Oscar pero siento que se metieron bien en sus papeles y nos dieron una historia en donde el drama y la tensión se sentía mucho. Se puede decir que a veces la trama es irreal porque en ocasiones Ben es ridículamente más rápido que Sasha en cuestión de llegar de un punto A o un B, él no tiene una moto para llegar tan rápido, pero bueno. Se entiende que para que funcione la trama había que hacerlo de esa manera. Todas las escenas de exteriores estuvieron decentes, la montaña noruega al principio y la escalada al final, son escenas que dentro de lo falsas que son se vieron bastante realistas. Y lo que no fue falso también se vio cool, poco que decir en este departamento.

Charlize Theron and Taron Egerton were very good here. It's not an Oscar-winning film, but I feel they really got into their roles and gave us a story where the drama and tension were palpable. You could say the plot is sometimes unrealistic because Ben is ridiculously faster than Sasha at times when it comes to getting from point A to point B. He doesn't have a motorcycle to get there that fast, but oh well. It's understandable that the plot had to work that way. All the outdoor scenes were decent; the Norwegian mountain at the beginning and the climb at the end, despite being staged, looked quite realistic. And what wasn't staged also looked cool—not much to complain about in that department.

Source!

Source!

Cuando digo que es predecible es porque cuando comienzas a verla sabes lo que va a pasar, no hay cabida para que suceda algo distinto. De igual manera la película se las arregla para que la sigas viendo y ahí está el "éxito". Para pasar el rato está perfecta, esperaba algo peor pero al ver a los actores y cómo se fue desarrollando la trama pues no quedé tan decepcionado. Tensión, desespero, drama y acción; eso es lo que tiene. 6.5/10. Entretenida pero una más del montón al final del día. Les dejo el tráiler por acá abajo. Busquenla en Netflix y si ya la viste, dime que te pareció.

When I say it's predictable, I mean that once you start watching, you know what's going to happen; there's no room for anything different. Even so, the movie manages to keep you watching, and that's where its "success" lies. It's perfect for passing the time. I was expecting something worse, but after seeing the actors and how the plot unfolded, I wasn't too disappointed. Tension, desperation, drama, and action—that's what it has. 6.5/10. Entertaining, but just another one of the bunch at the end of the day. I'll leave the trailer below. Look for it on Netflix, and if you've already seen it, tell me what you thought.

***

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!
***

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!
Yasmarit Pérez
@yasmarit (73)
📍 Venezuela
435 followers
793 following
Ordenada. Ingeniosa. Colaboradora. Creativa.
113d
Anime · on Dead Account
Breve reseña de Cuenta Muerta/Brief review of Dead Account [ESP/ENG]
Hola queridos amigos de @TheAnimeRealm, un gusto pasar por acá y para estar oportunidad hablarles sobre una historia entretenida, aprendiendo un poco de lo que sería exorcizar de manera tecnológica, en lo que cazar cuentas muertas es prioridad ya que pueden dañar mucho más de lo que imaginan, y el grupo preparado para ello debe hacerse cargo, se trata de Dead Account.

Fuente

Enishiro, es un joven que tras la muerte de su hermana queda desolado, ya que dio todo lo que pudo para ayudarla a recuperarse, sin embargo, un día muere dejando a Enishiro solo, pero ocurriendo algo raro su cuenta de telefonía sigue intacta, escribiéndole a su hermano como si estuviera viva, sin entender que pasaba y por no querer aceptar la verdad su muerte Enishiro sigue escribiéndole y creyendo que todo está bien, que está en el país que la enviaría para recuperarse, hasta que un día conoce a Kasubata, un joven con una personalidad algo difícil, creyendo que quería atacarlo a él, descubre que en realidad quería atacar su celular, ya que ahí se encuentra la cuenta muerta.

Fuente

Si, son cuentas de personas que ya no están y que por algún resentimiento, malos pensamientos o pendientes que tuvieran se convierten en espíritus malignos capaces de hacer más daño que lo parecen, es ahí cuando Enishiro descubre la realidad de quien le estaba escribiendo y que hay un grupo de exorcista encargados de hacer desaparecer a estos espíritus, sin embargo, en el proceso también descubre algo, estos exorcista tienen una cantidad espiritual que pueden digitalizar mediante su celular que le permite crear un arma capaz de hacer desaparecer a dichos espíritus, pero para sorpresa de Enishiro también puede hacer ello, aunque en su caso son unas llamas azules, conocida como fuego fausto, un fuego capaz de hacer daño a quien lo toque sea humano o espíritu.

Fuente

Para Enishiro todo este descubrimiento no será sencillo, sobre todo porque duda de que la muerte de su hermana haya sido solo por la enfermedad, tras ser arrastrado con los exorcistas, empezara a descubrir cosas que relacionan a la muerte de su hermana, la raíz de su poder espiritual, y la manera en que deberá utilizar, aunque no será sencillo ya que el grupo que conforma su clase bueno cada uno tiene su toque especial y sobre todo Kubasata y Urusugawa tienen una personalidad retorcida al igual que él, pero será su nuevo grupo que le permitirá entender mejor sus poderes y ayudar de esta manera a batallar con esos espíritus malignos, encontrar al culpable de todo está maldad que está floreciendo con las cuentas muertas, y entender porque su poder es un fuego que dicen que es malo, si de verdad daño como utilizarlo para sobre hacerlo con los espíritus y comprender más ese mundo que desconocía pero que está más en la realidad de lo que parece. Cuenta con su primera temporada de 12 capítulos.

Mangaka Shizumu Watanabe, género acción y sobrenatural, estudio de animación SynergySP.

Muchas gracias por leerlo. Espero sea de su agrado. Cualquier comentario con gusto estaré para responder y si quieren saber más de mi les dejo mis:

ENGLISH

Hello dear friends at @TheAnimeRealm, it's a pleasure to be here and take this opportunity to tell you about an entertaining story, learning a little about what it would be like to exorcise technologically, where hunting down dead accounts is a priority since they can do much more damage than you might imagine, and the group prepared for this must take charge. It's called Dead Account.

Source

Enishiro is a young man who is devastated after the death of his sister, as he did everything he could to help her recover. However, one day she dies, leaving Enishiro alone. But something strange happens: her phone account remains active, and she continues to write to her brother as if she were alive, Not understanding what was happening and unwilling to accept the truth of her death, Enishiro continues to write to her, believing that everything is fine and that she is in the country where she was sent to recover. Until one day, he meets Kasubata, a young man with a somewhat difficult personality. Believing that Kasubata wanted to attack him, he discovers that Kasubata actually wanted to attack his cell phone, as that is where the dead account is located.

Source

Yes, they are accounts of people who are no longer with us and who, due to some resentment, bad thoughts, or unfinished business they had, become evil spirits capable of doing more harm than they appear to. That is when Enishiro discovers the reality of who was writing to him and that there is a group of exorcists in charge of making these spirits disappear. However, in the process, he also discovers something else: these exorcists have a spiritual energy that they can digitize using their cell phones, which allows them to create a weapon capable of making these spirits disappear. But to Enishiro's surprise, he can also do this, although in his case it takes the form of blue flames, known as fausto fire, a fire capable of harming anyone who touches it, whether human or spirit.

Source

For Enishiro, this discovery will not be easy, especially because he doubts that his sister's death was solely due to illness. After being dragged away with the exorcists, he will begin to discover things that connect his sister's death, the root of his spiritual power, and how he should use it. However, it will not be easy, as the group that makes up his class each has their own special touch, and above all, Kubasata and Urusugawa have twisted personalities just like him. Nevertheless, it will be his new group that will allow him to better understand his powers and thus help him battle those evil spirits, find the culprit behind all this evil that is flourishing with the dead accounts, and understand why his power is a fire that they say is evil, if it really does harm, how to use it to overcome the spirits, and understand more about this world that he did not know but that is more real than it seems. It has a first season of 12 episodes.

Mangaka Shizumu Watanabe, action and supernatural genre, SynergySP animation studio.

Thank you very much for reading. I hope you enjoy it. I will be happy to respond to any comments, and if you would like to know more about me, here are my details:

Translated Using Deepl
Drax
@drax (77)
894 followers
107 following
Blogger, film critic, columnist (writes in Croatian and English)
113d
TV · on Mad Men 70
Television Review: The New Girl (Mad Men, S2x05, 2008)

The New Girl (S2x05)

Airdate: 24 August 2008

Written by: Robin Veith Directed by: Jennifer Getzinger

Running Time: 48 minutes

The so-called Golden Age of Television established a peculiar and remarkable artistic principle: the most prestigious dramas excelled at making the mundane utterly compelling. They demonstrated that a show need not rely on car chases, gunfights, or high-stakes melodrama to captivate; instead, the quiet dissection of character in everyday scenarios could yield profound dramatic power. Matthew Weiner’s Mad Men stands as a quintessential exemplar of this school, and its second season episode, The New Girl (Season 2, Episode 5), is a great example pof the form. On its surface, the episode is a slow-burning account of office politics and a mid-summer personal misadventure. Yet, through its meticulously observed details and understated performances, it delivers brilliant character exposition, excavates traumatic pasts, and whispers of the profound social tremors just beginning to ripple through the ostensibly stable world of 1962.

The episode’s title operates on a double entendre. It directly refers to Jane Sigel (Peyton List), the young, college-educated woman recently installed as Don Draper’s secretary. It is high summer in New York, and Jane uses the heat as a pretext for a more casual, revealing wardrobe. The male staff’s attention becomes palpably predatory, a silent, leering audience to her daily performance. This provokes one of the episode’s most fascinating power struggles. Joan Holloway, temporarily covering the role and freshly adorned with an engagement ring, swiftly reasserts her matriarchal authority over the office’s feminine ecosystem. Her chastisement of Jane is not merely about professionalism or decorum; it is a brutal lesson in survival. Joan understands the economy of female sexuality in this world—it is a currency to be strategically deployed, not frivolously spent. By demanding “wholesome” costume choices, she is teaching Jane the first rule: to be taken seriously, a woman must first learn to armour herself against the male gaze she is simultaneously expected to attract.

While Jane goes through this initiation, the episode’s central narrative thrust follows Don Draper into a spiral of recklessness that exposes his profound disquiet. He is being aggressively pursued by Bobbie Barrett, the brash wife of comedian Jimmy Barrett, who is intent on continuing their affair. Under the guise of celebrating her husband’s television deal, she lures Don to the upscale Sardi’s restaurant in the middle of a working day. There, in her most glamorous and seductive attire, she embodies a very different model of female agency from Joan’s—one of overt, transactional sexual power. The encounter turns acutely awkward with the arrival of Rachel Menken and her new husband. This chance meeting is a superb piece of writing, forcing Don and Rachel to confront the ghost of their past, deeply felt affair amidst the banal politeness of a restaurant greeting. The shared, unspoken discomfort highlights the lingering emotional truth beneath Don’s carefully constructed façade.

The plot accelerates from discomfort into outright chaos. Fuelled by alcohol and Bobbie’s proposition of a sexual tryst in the sand at Long Beach, Don agrees to drive them out of the city. Their mutual intoxication leads to a loss of control, a car veering off the road, and minor injuries for both. For Don, the physical bruises are inconsequential compared to the social peril: being charged with drunk driving by local police and lacking the $150 cash for the fine. In a moment of sheer desperation, he makes a phone call that defines one of the series’ most crucial relationships: he calls Peggy Olson (Elisabeth Moss). Peggy’s response is a quiet triumph. She arrives with her own money, orchestrates a rental car for Don, and takes the battered Bobbie back to her apartment to hide until facial wounds can be concealed. The subsequent scene between the two women is electric. Bobbie, a veteran of managing men in the entertainment business, offers Peggy unsentimental career advice. She should treat men as equals, but use her femininity as a tool. It’s a cynical, pragmatic credo that stands in stark contrast to both Joan’s strategic armour and Jane’s naïve display, presenting a third path of calculated performance.

The aftermath of this night reverberates through Don’s life. He concocts a lie for Betty about side effects from blood pressure medication, a flimsy cover that underscores the growing chasm in their marriage. Back at the office, his arm in a sling, he is subjected to the grotesque spectacle of Jimmy Barrett arriving with Bobbie to personally thank him for the TV show deal. Don’s palpable anxiety—wondering if the comedian knows the truth—is a masterpiece of silent acting from Jon Hamm. The episode’s most significant character beat, however, comes when Don, with immense embarrassment, reimburses Peggy. Her simple, deliberate use of “Don” instead of “Mr. Draper” as she accepts the money is a seismic shift. It is an unspoken acknowledgement of the debt incurred, a move from hierarchical formality to a fraught, intimate parity forged in crisis.

This bond is further rooted in the episode’s harrowing flashbacks, set in 1960. We see Peggy in the aftermath of giving birth, heavily sedated in St. Mary’s hospital, implying a severe post-partum psychotic episode. The portrayal is unflinching and bleak. When Don visits, making awkward inquiries before realising the truth, he is visibly shaken. In a moment of rare, unguarded connection, he unconsciously sees his own traumatic past—the forged identity, the buried pain—mirrored in her experience. His advice, “You must put this behind you,” is less a corporate mantra and more a survival tactic he himself employs daily. This shared secret becomes the bedrock of their unique, enduring alliance, elevating their professional relationship to a level of unspoken understanding no other character shares.

For all its strengths, The New Girl, written by Robin Veith, is not a flawless piece of television. The episode suffers from a slight lack of narrative focus, primarily due to a subplot involving Pete and Trudy Campbell’s attempts to conceive. The storyline, in which Pete must prove his fertility by providing a sperm sample in the office while perusing erotic magazines, feels tonally adrift. Whether period-accurate or not, it plays like a piece of early-21st-century low-brow comedy awkwardly grafted onto the series’ refined aesthetic. Similarly, the bizarre interlude where Freddy Rumsen interrupts Jane and Ken Cosgrove to perform Mozart’s Eine kleine Nachtmusik with his trousers zipper is pure, absurdist farce. While it might aim to illustrate the juvenile office culture, it risks undermining the episode’s otherwise nuanced atmosphere with a jarring, cartoonish gag.

In the broader context of Mad Men’s second season, as noted in contemporaneous reviews, 1962 is presented as a year on the cusp. The world is still strong, confident and optimistic, yet the show subtly seeds the coming revolutions in gender, race, and social more. The New Girl encapsulates this perfectly. It is an episode about women navigating a man’s world using vastly different strategies—Jane’s naivety, Joan’s governance, Bobbie’s manipulation, Peggy’s quiet competence. It is about Don Draper, the archetypal self-made man, finding himself literally and metaphorically crashed by the forces of desire and indiscretion he believes he controls. By weaving together the mundane—a secretary’s dress, a traffic fine, an office prank—with moments of deep psychological revelation, the episode affirms Mad Men’s central genius: the greatest dramas often unfold not in war rooms or courtrooms, but in the quiet, charged spaces between people, where the future is being nervously, awkwardly, and irrevocably born.

RATING: 7/10 (+++)

==

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¡Hola queridos usuarios de Hive ✨💕!

Hi dear Hive users ✨💕!

💖 SINOPSIS || SYNOPSIS 💖

💋 Una temporada que, por fin, sabe hacia dónde va || A season that finally knows where it’s heading 🇰🇷

💋 Un romance que ya no necesita construirse || A romance that no longer needs to be built 🇰🇷

💋 Crecer (aunque sea con tropiezos) || Growing up (even if it’s not without a few stumbles) 🇰🇷

💋 El desastre innecesario de Q || The Unnecessary Disaster of Q 🇰🇷

💋 Opiniones finales: quizás para cerrar || Final thoughts: perhaps to wrap up 🇰🇷

Characters That Pique My Interest

My Review And Rating.