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I really enjoyed the first part of Inside Out. That first part was something different at the time, which managed to connect with many people, including me, of course, as we all waited for a second movie where the antics of the emotions would make us laugh nonstop.
That wait ended a couple of years ago, but it wasn’t until today that it ended for me. And I’m not lying—children’s movies are no longer my preference, but every now and then I embrace that child who still lives inside me.
Now, I did have fun with Inside Out 2, but I won’t deny that I noticed some flaws in its execution. Of course, I understand it’s an animated film aimed at children, but we also have to keep in mind that the rest of the family enjoys these movies too. Not to mention that kids and teenagers are capable of teaching us lessons in areas where we adults think we know it all.
The movie begins with Riley just entering adolescence and almost instantly experiencing all the emotional and physical changes typical of this stage of life. I get that time is limited, and they needed to make it clear to the audience: Riley has changed.
Then there’s Joy, who seems to have learned nothing from the past, once again dismissing Riley’s bad experiences, even though they are just as important as the good ones in shaping the person we will become. I think they could have given more prominence to the other emotions from the first film.
However, they introduce new ones like Envy, Embarrassment, and the rockstar of the moment: Anxiety. I don’t think they should have been presented as brand-new emotions, but rather as evolved ones, since as children, most of us feel these at different times throughout the day.
I also think these new emotions were exaggerated. Not all teenagers feel like Riley, or at least they don’t express it with such explosiveness. That could have been handled better, even with the limited screen time. And let’s not forget that in just one weekend, Riley managed to resolve her emotional struggles as a teenager all on her own.
Maybe they could have included a nod to the addiction to mobile devices and the internet, which has become a very common problem in recent years, and from which parents could have drawn a valuable lesson. Commercial appeal matters, but the messages that endure also define a movie.
I believe the creators simply tried to capitalize on the fame of the first film, and ended up delivering a somewhat empty product with the same clichés as other movies. As entertainment, it fulfills its purpose—I didn’t take my eyes off the screen.
But summarizing, as I already said, they could have made better use of the story to raise awareness among the audience about the real problems that are harming teenagers today.
English isn't my native language. Text translated with DeepL
This post was originally written in Dutch. You’ll find the original Dutch version below. 👇
The English translation was made using the free version of DeepL.com. 😊
There are some films you simply have to see because they evoke a sense of nostalgia.
And ‘Amsterdamned II’ is exactly the sort of film I simply had to see.
It must be about forty years after the original that this sequel was unexpectedly released – what a surprise.
I didn’t quite end up rushing to the cinema.
And I had fairly high expectations for a sequel to such a Dutch classic.
And what made it extra special for me was that my two boys were old enough to watch it with me.
As far as I’m concerned, the story gets off to a great start.
Amsterdam is once again faced with a series of gruesome murders, and the investigation brings former detective Eric Visser back into the picture.
This time, he’s working alongside the young detective Tara Lee, played by Holly Mae Brood.
Huub Stapel returns as Eric Visser, immediately establishing a clear link to the original.
I thought the build-up of the story was good.
There was still enough mystery left to keep me wondering who or what was behind the murders.
I also thought the cast was well chosen, and the pairing of Holly Mae Brood and Huub Stapel in particular worked really well for me.
There were moments when I thought: OK, this could well turn out to be a good thriller.
But unfortunately, I began to lose that feeling more and more as the story progressed.
Especially towards the end.
Spoiler
The moment the plot started veering more and more towards some sort of monster or supernatural creature, it became a bit too far-fetched for me.
I realise that Amsterdamned has always had that typical, slightly over-the-top Dick Maas vibe, but for me, the ending went just a little too far from suspenseful to implausible.
And I thought that was a shame, because the build-up was actually quite good.
The subplot involving Detective Tara Lee’s sister didn’t really work for me either.
I kept wondering what exactly the purpose of this storyline was and what it ultimately added to the main story.
For me, this subplot was actually completely unnecessary and mainly served to distract from the investigation that the story was really about.
That said, I did enjoy watching the film.
The film has that typical Dutch atmosphere, features plenty of action, and includes enough references to the original to really feel like a sequel rather than just a film using the same title.
It’s certainly not a bad film.
I’d just expected a bit more from it.
Perhaps that’s precisely the problem with sequels to classics.
The original sets certain expectations, and nearly forty years later, it’s naturally difficult to recreate exactly that same feeling.
So if you’re a fan of the original Amsterdamned, it’s certainly worth watching this film to see where the story goes after all these years.
Just don’t expect it to quite measure up to the original.
Director: Dick Maas
Release date: 1 December 2025
Genre: Thriller / horror / action
Running time: 110 minutes
Language: Dutch
Age rating: 12 and over due to violence, fear, drugs, alcohol and smoking, strong language and discrimination
Cast:
Holly Mae Brood – Tara Lee
Huub Stapel – Eric Visser
Bas Keijzer – Jozef Visbeen
Tatum Dagelet – Anneke Visser
Ruben Brinkman – Dicke van Dongen
Trailer:
🍿 My final score:
🍿 Couch potato factor: ⭐⭐⭐☆☆
😱 “Oh no, don’t do that!” moments: ⭐⭐⭐☆☆
🔎 Mystery factor: ⭐⭐⭐☆☆
🎬 Nostalgia factor: ⭐⭐⭐⭐☆
📱 Reached for my phone: ☆☆☆☆☆
😴 Fell asleep: ☆☆☆☆☆
🎬 Would I watch it again?: ⭐☆☆☆☆
My rating: 69/100
Thank you for reading my blog! ❤️
I hope you enjoyed reading my take on Amsterdamned II.
Sommige films moet je gewoon gezien hebben omdat ze een beetje nostalgie met zich meebrengen.
En Amsterdamned II is precies zo'n film die ik gewoon gezien moest hebben.
Het zal ongeveer veertig jaar na het origineel zijn dat onverwacht dit vervolg uitgebracht werd, wat een verrassing.
Nog net niet ging ik rennend naar de bioscoop.
En had redelijk hoge verwachtingen voor een vervolg op zo'n Nederlandse klassieker.
En wat het voor mij extra leuk maakte was dat mijn twee jongens oud genoeg waren om deze samen met mij te bekijken.
Het verhaal begint wat mij betreft prima.
Amsterdam wordt opnieuw geconfronteerd met een reeks gruwelijke moorden en het onderzoek brengt oud-rechercheur Eric Visser weer terug in beeld.
Dit keer werkt hij samen met de jonge rechercheur Tara Lee, gespeeld door Holly Mae Brood.
Huub Stapel keert opnieuw terug als Eric Visser, waardoor er meteen een duidelijke link met het origineel ontstaat.
De opbouw van het verhaal vond ik goed.
Er bleef genoeg mysterie over om mij af te vragen wie of wat er achter de moorden zat.
Ook de cast vond ik goed gekozen en vooral de combinatie van Holly Mae Brood en Huub Stapel werkte voor mij prima.
Er waren dan ook momenten waarop ik dacht: Oké, dit kan best een goede thriller gaan worden.
Maar helaas begon ik dat gevoel steeds meer kwijt te raken naarmate het verhaal vorderde.
Vooral tegen het einde.
Spoiler
Op het moment dat het spoor steeds meer richting een soort monster of bovennatuurlijk wezen ging, werd het voor mij toch een beetje te ver gezocht.
Ik snap dat Amsterdamned altijd al dat typische, ietwat overdreven Dick Maas-sfeertje heeft gehad, maar voor mij ging het einde net iets te ver van spannend naar ongeloofwaardig.
En dat vond ik jammer, want de opbouw was juist best goed.
Ook het zijspoor rondom de zus van rechercheur Tara Lee werkte voor mij niet echt.
Ik bleef me afvragen wat precies het doel van deze verhaallijn was en wat het uiteindelijk toevoegde aan het hoofdverhaal.
Voor mij was dit zijspoor eigenlijk totaal overbodig en leidde het vooral af van het onderzoek waar het verhaal eigenlijk om draaide.
Dat neemt niet weg dat ik de film wel leuk vond om te kijken.
De film heeft die typische Nederlandse sfeer, bevat genoeg actie en er zitten voldoende verwijzingen naar het origineel in om echt als een vervolg te voelen en niet alleen als een film die dezelfde titel gebruikt.
Het is zeker geen slechte film.
Ik had er alleen wat meer van verwacht.
Misschien is dat ook meteen het probleem met vervolgen op klassiekers.
Het origineel zorgt voor bepaalde verwachtingen en bijna veertig jaar later is het natuurlijk moeilijk om precies datzelfde gevoel opnieuw te creëren.
Dus ben je fan van het originele Amsterdamned, dan is het zeker leuk om deze film te kijken en te zien waar het verhaal na al die jaren naartoe gaat.
Verwacht alleen niet dat hij helemaal aan het origineel kan tippen.
Regiseur: Dick Maas
Premiere: 1 december 2025
Genre: Thriller / horror / actie
Speelduur: 110 minuten
Taal: Nederlands
Kijkwijzer: 12 jaar en ouder wegens geweld, angst, drugs, alcohol en roken, grof taalgebruik en discriminatie
Cast:
Holly Mae Brood - Tara Lee
Huub Stapel - Eric Visser
Bas Keijzer - Jozef Visbeen
Tatum Dagelet - Anneke Visser
Ruben Brinkman - Dicke van Dongen
**Trailer: **
🍿 Mijn eindscore:
🍿 Bankhangfactor: ⭐⭐⭐☆☆
😱 "Oh nee, doe dat nou niet!"-momenten: ⭐⭐⭐☆☆
🔎 Mysteriegehalte: ⭐⭐⭐☆☆
🎬 Nostalgiefactor: ⭐⭐⭐⭐☆
📱 Telefoon erbij gepakt: ☆☆☆☆☆
😴 In slaap gevallen: ☆☆☆☆☆
🎬 Zou ik hem nog een keer kijken?: ⭐☆☆☆☆
Mijn beoordeling: 69/100
Bedankt voor het lezen van mijn blog! ❤️
Hopelijk vond je het leuk om mijn kijk op Amsterdamned II te lezen.
I watched the trailer for " Last House " on Netflix and got hyped about the sci-fi environment of the movie. I got hyped because the story looked original, and it had Wagner Moura as a main actor. Wagner Moura is a Brazilian actor who, once in a while he does some American productions like "Narcos". But I admit that my feeling in the end was disappointment at the end of the movie. Why? Maybe I expected too much from it? I even shared the trailer of the movie with some friends.
So what the trailer brings and what moves makes the movie interesting until probably half of it is that people get stuck in their homes after a storm starts to pour rain, how? For some reason, the water from the rain started to seal the houses and made it impossible to open them from the inside. And the mystery about the origin of the rain is something that moves the movie well. Wagner Moura (as Jason) is the father of this family of 4 that lives a regular life with regular problems, dealing with bills and a house with foundation problems. And they get locked.
What they thought was going to last maybe just days, it lasted weeks, months, even years. They start to find ways to get resources like water and food from inside of the house, including farming vegetables inside and using a trap sent through the chimney of the house to get little animals. The movie takes some time to reveal more info about who is behind the rain, until they spot some creatures and even realise that these creatures outside can come inside. So they decided to cover the windows so the creatures can't check them.
There is a time lapse, and kids of the family grow a bit, turning into young adults and still locked in the house. I think that is where the creativity of the producers just went down the drain like the rain from the sky. It becomes a horror B-type movie with the creatures and the happy ending is so normal and cliché that it made me remember a bit of the movie "Signs" with Mel Gibson, where the initial mystery becomes an action/horror with the alien creatures pursuing the humans.
So I would recommend the movie? Well, yes, if you don't create too many expectations about it. It has some type of mystery that, for sure, if you watch the trailer, you will become curious, and it is worth satisfying a bit of our curiosity with the movie, but still you probably will get disappointed a bit with the middle and end of the movie. Maybe it is going to be difficult to beat "Project Hail Mary" from the top of sci-fi releases this year.
Banner created in canva
Assisti ao trailer de "Last House" na Netflix e fiquei empolgado com o ambiente de ficção científica do filme. Fiquei empolgado porque a história parecia original e tinha Wagner Moura como um dos atores principais. Wagner Moura é um ator brasileiro que, de vez em quando, participa de algumas produções americanas, como "Narcos". Mas admito que, no final, meu sentimento foi de decepção com o final do filme. Por quê? Talvez eu tenha esperado demais dele? Eu até compartilhei o trailer do filme com alguns amigos.
Então, o que o trailer apresenta e o que faz o filme ser interessante até provavelmente a metade dele é que as pessoas ficam presas dentro de suas casas depois que uma tempestade começa a despejar chuva, mas como? Por algum motivo, a água da chuva começou a selar as casas e tornou impossível abri-las por dentro. E o mistério sobre a origem da chuva é algo que conduz bem o filme. Wagner Moura (como Jason) é o pai dessa família de 4 pessoas que vive uma vida normal, com problemas normais, lidando com contas e uma casa com problemas na fundação. E eles ficam presos.
O que eles pensavam que duraria talvez apenas alguns dias durou semanas, meses, até mesmo anos. Eles começam a encontrar maneiras de conseguir recursos como água e comida de dentro da casa, incluindo cultivar vegetais dentro de casa e usar uma armadilha enviada pela chaminé da casa para capturar pequenos animais. O filme leva algum tempo para revelar mais informações sobre quem está por trás da chuva, até que eles avistam algumas criaturas e até percebem que essas criaturas do lado de fora podem entrar. Então eles decidem cobrir as janelas para que as criaturas não possam vê-los.
Há uma passagem de tempo, e as crianças da família crescem um pouco, tornando-se jovens adultos e ainda presos dentro de casa. Acho que é aí que a criatividade dos produtores simplesmente foi por água abaixo, assim como a chuva que cai do céu. O filme se transforma em um filme de terror B com as criaturas, e o final feliz é tão normal e clichê que me fez lembrar um pouco do filme "Sinais", com Mel Gibson, onde o mistério inicial se transforma em um filme de ação/terror com as criaturas alienígenas perseguindo os humanos.
Então eu recomendaria o filme? Bem, sim, se você não criar expectativas demais sobre ele. Ele tem algum tipo de mistério que, com certeza, se você assistir ao trailer, vai deixá-lo curioso, e vale a pena satisfazer um pouco da nossa curiosidade com o filme, mas ainda assim você provavelmente ficará um pouco decepcionado com o meio e o final do filme. Talvez seja difícil tirar "Project Hail Mary" do topo dos lançamentos de ficção científica deste ano.
If there is no clue or evidence behind a perfect crime, what can be the mental state of a police officer? If the criminal cannot be caught even with the naked eye, can that crime haunt a person for the rest of his life?
Korean director Bong Joon-ho, who won the world with the movie 'Parasite' in 2019, made 'Memories of Murder' in 2003. Based on the true story of a real serial killing that took place in the village of Haesong, South Korea between 1986 and 1991, this movie is considered one of the best crime-investigation thrillers in the history of cinema.
একটি নিখুঁত অপরাধের পেছনে যদি কোনো ক্লু বা প্রমাণ না থাকে, তবে একজন পুলিশের মানসিক অবস্থা কেমন হতে পারে? অপরাধীকে চোখ দিয়ে দেখেও যদি ধরা না যায়, তবে সেই অপরাধ কি সারা জীবন একজন মানুষকে তাড়া করে বেড়াতে পারে?
২০১৯ সালে 'প্যারাসাইট' সিনেমা দিয়ে বিশ্বজয় করা কোরিয়ান পরিচালক বং জুন-হো ২০০৩ সালে বানিয়েছিলেন 'মেমোরিজ অফ মার্ডার'। ১৯৮৬ থেকে ১৯৯১ সালের মধ্যে দক্ষিণ কোরিয়ার হাওসং নামক গ্রামে ঘটে যাওয়া আসল সিরিয়াল কিলিংয়ের সত্য ঘটনা অবলম্বনে নির্মিত এই সিনেমাটিকে চলচ্চিত্রের ইতিহাসের অন্যতম সেরা ক্রাইম-ইনভেস্টিগেশন থ্রিলার হিসেবে গণ্য করা হয়।
1. The beginning of the story: Clumsy police and a rural village
The year is 1986, in a remote and quiet village in South Korea. Suddenly, the bodies of young women are found one after another. Each one is bound with their own clothes and the women are being targeted in red dresses on a rainy night.
Image Source
Local detective Park Doo-man (Song Kang-ho) is in charge of investigating the incident. At that time, the village had no forensic lab, DNA testing facilities, or modern technology. As a result, the local police resorted to the primitive method of directly picking up the suspects, beating them, and extracting confessions.
১. গল্পের শুরু: আনাড়ি পুলিশ ও একটি গ্রামীণ গ্রাম
১৯৮৬ সাল, দক্ষিণ কোরিয়ার এক প্রত্যন্ত শান্ত গ্রাম। হঠাৎ করেই সেখানে একের পর এক তরুণীর লাশ পাওয়া যেতে থাকে। প্রত্যেকের হাত-পা তাদের নিজেদের পরনের কাপড় দিয়ে বাঁধা এবং বৃষ্টির রাতে লাল পোশাক পরা নারীদের টার্গেট করা হচ্ছে।
ঘটনা তদন্তের দায়িত্বে আসে স্থানীয় গোয়েন্দা পার্ক দু-মান (সং কাং-হো)। সে সময় ওই গ্রামে কোনো ফরেনসিক ল্যাব, ডিএনএ টেস্টের সুবিধা বা আধুনিক প্রযুক্তি ছিল না। ফলে স্থানীয় পুলিশ ডিরেক্ট সন্দেহভাজনকে তুলে এনে পিটিয়ে স্বীকারোক্তি নেওয়ার আদিম পদ্ধতি ব্যবহার করতে থাকে।
2. New Officer from Seoul and Contrast
Young and experienced detective Soo Ryong is sent from Seoul to handle the situation. Soo Ryong believes that "documents and evidence never lie."
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This is where the main attraction of the movie is created - the conflict between two officers with completely different thinking. One believes in his 'ability to recognize criminals by looking at their eye expressions', while the other believes in scientific data and evidence. But the killer is so clever and cold-hearted that, as time goes by, all the mental patience and logic of the two police officers begin to collapse.
২. সিউল থেকে আসা নতুন অফিসার ও বৈপরীত্য
পরিস্থিতি সামাল দিতে সিউল থেকে পাঠানো হয় তরুণ ও অভিজ্ঞ গোয়েন্দা সু রিওং-কে। সু রিওং বিশ্বাস করে-"নথিপত্র এবং প্রমাণ কখনো মিথ্যা বলে না।"
এখানেই মুভির মূল আকর্ষণ তৈরি হয়-দুই সম্পূর্ণ ভিন্ন চিন্তাধারার অফিসারের মধ্যে দ্বন্দ্বে। একজন বিশ্বাস করে তার 'চোখের এক্সপ্রেশন দেখে অপরাধী চেনার ক্ষমতা'র ওপর, আর অন্যজন বিশ্বাস করে বৈজ্ঞানিক তথ্য ও প্রমাণের ওপর। কিন্তু খুনি এতটাই চতুর ও ঠাণ্ডা মাথার যে, সময় যত গড়ায়, দুই পুলিশ অফিসারের সমস্ত মানসিক ধৈর্য ও যুক্তিবোধ ভেঙে পড়তে শুরু করে।
3. Rain, Mysterious Song, and a Suspicious Face
The mystery deepens when they learn that on the day of each murder, an unknown person would send a letter to a local radio station requesting that a particular song be played!
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After much searching, they found a young man named Park Hyun-gyu, who had unusually smooth hands and was the one who sent the request for the song. The police were almost certain that this was the killer. But since there was no lab in South Korea at the time to test the DNA sample, it had to be sent to America. The time spent waiting for that report made the audience's heart pound.
৩. বৃষ্টি, রহস্যময় গান এবং একটি সন্দেহভাজন মুখ
রহস্য ঘনীভূত হয় যখন তারা জানতে পারে-প্রতিটি হত্যাকাণ্ডের দিন স্থানীয় একটি রেডিও স্টেশনে এক অজ্ঞাত ব্যক্তি বিশেষ একটি গান বাজানোর অনুরোধ জানিয়ে চিঠি পাঠাত!
অনেক খোঁজাখুঁজির পর তারা পাক হিয়ন-গ্যু নামের এক তরুণের সন্ধান পায়, যার হাত দুটি অতিরিক্ত মসৃণ এবং যে সেই গানটির অনুরোধ পাঠাত। পুলিশ প্রায় নিশ্চিত হয়ে যায় যে এটিই সেই খুনি। কিন্তু ডিএনএ নমুনা টেস্ট করার জন্য তৎকালীন দক্ষিণ কোরিয়ায় কোনো ল্যাব না থাকায় তা আমেরিকায় পাঠাতে হয়। সেই রিপোর্টের অপেক্ষায় কাটানো সময়টুকু দর্শকের বুক ধুকপুকানি বাড়িয়ে দেয়।
The final scene of the movie is an unforgettable moment in the history of world cinema. Many years after the events, in 2003, Detective Park quit his police job and started his regular business.
Image Source
One day, while passing by the old drain or crime scene, he spoke to a little girl. The girl told him that a few days ago, another man was looking at this drain in the same way. When Park asked her what the man looked like? The girl replied: "Very ordinary, just like ten other ordinary people."Image Source
As soon as Park (actor Song Kang-ho) realizes that the killer is not a monster, but could be an ordinary person around us, he looks directly into the camera, that is, into the eyes of the audience. Director Bong Joon-ho placed this shot so that if the real-life murderer watches the movie in the theater, he would know that the police are still looking for him!
৪. সেই আইকনিক শেষ দৃশ্য
মুভির শেষ দৃশ্যটি বিশ্ব চলচ্চিত্রের ইতিহাসে এক অবিস্মরণীয় মুহূর্ত। ঘটনা ঘটনার বহু বছর পর, ২০০৩ সালে গোয়েন্দা পার্ক পুলিশি চাকরি ছেড়ে দিয়ে সাধারণ ব্যবসা শুরু করে।
এক দিন সে পুরোনো সেই ড্রেন বা ক্রাইম সিনের পাশ দিয়ে যাওয়ার সময় একটি ছোট্ট মেয়ের সাথে কথা বলে। মেয়েটি তাকে জানায়-কিছুদিন আগে আরেকজন লোক ঠিক একইভাবে এই ড্রেনের দিকে তাকিয়ে ছিল। পার্ক যখন তাকে জিজ্ঞেস করে লোকটিকে দেখতে কেমন ছিল? মেয়েটি উত্তর দেয়: "খুব সাধারণ, একদম আর দশটা সাধারণ মানুষের মতো।"
খুনি কোনো দানব নয়, আমাদের আশেপাশেরই কোনো সাধারণ মানুষ হতে পারে-এই সত্যটা উপলব্ধি করার সাথে সাথে পার্ক (অভিনেতা সং কাং-হো) সরাসরি ক্যামেরার দিকে অর্থাৎ দর্শকের চোখের দিকে তাকায়। পরিচালক বং জুন-হো এই শটটি রেখেছিলেন যাতে রিয়েল-লাইফ খুনি যদি সিনেমাটি হলে বসে দেখে, তবে সে যেন জানতে পারে পুলিশ এখনো তাকে খুঁজছে!
5. Real Criminal Identified in 2019 (Lee Choon-jae)
Solved 30 Years Later: This real-life case was still unsolved when the movie was released. But the amazing thing is—16 years after the movie was released, in 2019, police were able to identify the real-life killer, Lee Chun-jae, using modern DNA technology! Lee was already in prison for another crime and admitted that he watched the movie while in jail.
৫. ২০১৯ সালে আসল অপরাধী শনাক্ত
৩০ বছর পর সমাধান: সিনেমাটি মুক্তির সময়ও বাস্তবের এই কেসটি অমিমাংসিত ছিল। কিন্তু চমকপ্রদ তথ্য হলো—সিনেমাটি মুক্তির ১৬ বছর পর, ২০১৯ সালে আধুনিক ডিএনএ প্রযুক্তির সাহায্যে পুলিশ বাস্তবের সেই আসল খুনি লি চুন-জাই -কে শনাক্ত করতে সক্ষম হয়! লি ইতিমধ্যে অন্য এক অপরাধে কারাগারে বন্দি ছিল এবং সে স্বীকার করে যে সে সিনেমাটি জেলেও বসে দেখেছিল।
6. Budget, Box Office and Recognition
A huge success on a low budget: Made with a budget of just 2.8 million dollars, this film was enjoyed by more than 5 million viewers after its release in South Korea and became a huge blockbuster at the box office.
Critics' No. 1 Choice: Famous director Quentin Tarantino has included this film in the list of the 20 best films of all time.
Rotten Tomatoes: It has a rating of 95% on the famous review site Rotten Tomatoes.
৬. বাজেট, বক্স অফিস ও স্বীকৃতি
কম বাজেটে বিশাল সফলতা: মাত্র ২.৮ মিলিয়ন ডলার বাজেটে তৈরি এই সিনেমাটি দক্ষিণ কোরিয়ায় মুক্তির পর ৫ মিলিয়নেরও বেশি দর্শক সিনেমা হলে গিয়ে উপভোগ করে এবং এটি বক্স অফিসে বিশাল ব্লকবাস্টার হয়।
সমালোচকদের নম্বর ১ পছন্দ: বিখ্যাত পরিচালক কোয়েন্টিন টারান্টিনো এই সিনেমাটিকে সর্বকালের সেরা ২০টি সিনেমার তালিকায় স্থান দিয়েছেন।
Rotten Tomatoes: বিখ্যাত রিভিউ সাইট রটেন টমেটোসে এর রেটিং ৯৫%।
'Memories of Murder' is not just a crime-thriller; it is a tragic story of human failure, the limitations of the system, and the pursuit of elusive truth. For those who love dark, realistic, and deeply mysterious movies, it is a unique gift from international cinema.
'Memories of Murder' কেবল একটি ক্রাইম-থ্রিলার নয়; এটি মানুষের ব্যর্থতা, সিস্টেমের সীমাবদ্ধতা এবং অধরা সত্যের পেছনে ছোটার এক ট্র্যাজিক গল্প। যারা ডার্ক, রিয়েলিস্টিক এবং গভীর রহস্যধর্মী সিনেমা ভালোবাসেন, তাদের জন্য এটি আন্তর্জাতিক চলচ্চিত্রের এক অনন্য উপহার।
Source:
I have compiled and verified the information for this review, box office reports, and background information from various trusted sources to create this post. The links to the sources are given below:
তথ্যসূত্র:
আমি এই রিভিউটির, বক্স অফিস রিপোর্ট এবং পেছনের অজানা তথ্যগুলো বিভিন্ন বিশ্বস্ত সোর্স থেকে সংগ্রহ করে এবং যাচাই করে এই পোস্টটি তৈরি করেছি। সোর্সগুলোর লিংক নিচে দেওয়া হলো:
I remembered this movie when I saw @afrikens review on woar room though they are not related, but I watched them the same day. So i decide to make a review for courageous.
The movie is a deliberate examination of what fatherhood means when a man is forced to confront the difference between providing for his family and actually being present in his family.
The central conflict of courageous is not really about police work. The police setting is almost a framework used to contrast two kinds of responsibility. These men are trained to protect strangers, face danger and make difficult decisions at work, yet the movie reveal whether they are giving the same seriousness to the people waiting for them at home.
The Kendrick brothers clearly designed the film as both entertainment and a message driven work.
I rate it my hundred because it speaks of how fatherhood requires intentionality in a way that interest me.
The characters have different personalities, different family situations and different weaknesses, but the movie keeps returning to the.
The film also deserves credit for attempting an ensemble structure instead of giving us only one man's journey. Four police officers and Javier, a construction worker, allow the movie to examine fatherhood from different circumstances. Christianity Today noted that this ensemble approach was more ambitious than the filmmakers' earlier work, although it also created a structural problem because there are so many storylines competing for attention.
And yes, that problem is noticeable.
Some characters receive enough development to make their struggles meaningful, while other storylines feel like they are competing for space. The movie wants to discuss fatherhood, marriage, faith, crime, poverty, gangs, responsibility, forgiveness and masculinity almost simultaneously. That ambition gives the film substance, but it also makes the screenplay feel crowded.
I also appreciate that the movie doesn't present fatherhood as simply buying things, paying bills or protecting children from physical danger. It connects fatherhood with attention, guidance, discipline, affection, accountability and moral responsibility. Whether someone agrees with every religious conclusion the film makes or not, that central discussion gives the movie something worth examining.
I quickly remembered courageous when I saw the review of war room by @afrikens because although they are not related but I watched them the same day.
This movie is a deliberate examination of what fatherhood means when a man is forced to confront the difference between providing for his family and actually being present in his family.
What makes courageous unique for me is that the conflict is not really about police work. The police setting is almost a framework used to contrast two kinds of responsibility. These men are trained to protect strangers, face danger and make difficult decisions at work, yet the film reveal whether they are giving the same seriousness to the people waiting for them at home.
Kendrick brothers clearly designed the film as both entertainment and a message driven work. Faith is not simply part of the characters' lives; it is one of the foundations on which the film builds its argument about family and responsibility.
And this is also where the movie becomes divisive.
Some of its dialogue feels more like a sermon than natural conversation.
But I don't think that completely destroys the film. In fact, understanding this weakness also helps explain its strength. It is deliberately confrontational about its subject. It wants fathers to examine themselves.
The film's most effective idea is therefore not that fathers should be perfect. It is that fatherhood requires intentionality.
The characters have different personalities, different family situations and different weaknesses.
The film also deserves credit for attempting an ensemble structure instead of giving us only one man's journey. Four police officers and Javier, a construction worker, allow the movie to examine fatherhood from different circumstances. Christianity Today noted that this ensemble approach was more ambitious than the filmmakers' earlier work, although it also created a structural problem because there are so many storylines competing for attention.
And yes, that problem is noticeable.
Some characters receive enough development to make their struggles meaningful, while other storylines feel like they are competing for space. The movie wants to discuss fatherhood, marriage, faith, crime, poverty, gangs, responsibility, forgiveness and masculinity almost simultaneously. That ambition gives the film substance, but it also makes the screenplay feel crowded.
I also appreciate that the movie doesn't present fatherhood as simply buying things, paying bills or protecting children from physical danger. It connects fatherhood with attention, guidance, discipline, affection, accountability and moral responsibility. Whether someone agrees with every religious conclusion the film makes or not, that central discussion gives the movie something worth examining.
Five episodes into Gossip Girl, and “Dare Devil” feels like one of those episodes where several characters suddenly move a little closer to trouble.
Dan's plans for his first official date with Serena are actually pretty sweet. He wants everything to be perfect, but the more he tries, the more obvious it becomes that Serena doesn't really need anything elaborate. Their relationship works best when they forget about their completely different backgrounds and simply enjoy being together.
But Jenny's night is where things get really interesting.
Being invited to Blair's sleepover sounds like a huge opportunity for her to finally enter that exclusive world she's been watching from the outside. Unfortunately, a simple game of truth or dare becomes something much more intense. I liked seeing Jenny refuse to remain the innocent little outsider everyone expects her to be. She can definitely play the game too.
Meanwhile, Lily searching for Eric brings a more serious emotional layer to the episode, and turning to Rufus for help gives us another glimpse of the history between them. I'm becoming increasingly curious about those two.
⭐ My Rating: 89/100
Probably the most entertaining episode so far. Jenny surprised me, Dan and Serena continue to be charming together, and the Lily/Rufus storyline is quietly becoming one of my favorites.
Five episodes in, Gossip Girl definitely has me hooked.
👩🏫 Docente y tutora de robótica educacional
💻 Apasionada por la tecnología y la enseñanza infantil
💇♀️ Estilista y apasionada del mundo de la belleza
Hello, scrobble.life friends! Today I want to share a song with you that hooks you from the very first second and fills you with incredible energy: "100 Años," masterfully performed by the duo HA-Ash and the talented Prince Royce.
Listening to this track instantly infects you with a positive vibe; it’s one of those melodies that accompanies happy moments and demonstrates how great pop music can seamlessly blend different styles.
Voices that complement each other perfectly
The combination of sisters Nicole and Ashley’s (HA-Ash) vocal harmonies with Prince Royce’s smooth, romantic signature style creates a unique chemistry. From the opening verses, the song establishes a loving dialogue full of connection and freshness, where the voices blend naturally without overshadowing one another, striking a perfect balance between a pop ballad and an upbeat rhythm that makes you want to move.
The lyrics:
A wish for eternal togetherness
Here is a snippet of the lyrics from this beautiful song, which speaks of giving oneself wholeheartedly:
And without asking, you stole my heart, little by little...
I want to spend 100 years with you; life is better with you,
dancing to the same song, held close together.
And may every day spent by your side be a gift of love,
waking up to your laughter in the morning and finding meaning in everything...
The simplicity and depth of these verses make the song a perfect dedication—a reminder that life’s best moments are built alongside the person who makes us smile.
What makes this song special:
The fusion of styles: HA-Ash’s signature acoustic pop blends wonderfully with Prince Royce’s tropical and urban flair.
The danceable, optimistic rhythm: Unlike traditional heartbreak ballads, this track celebrates the present and the future as a couple.
The visual and sonic atmosphere: Its concept conveys a sense of freedom, sunshine, and freshness that instantly transports you to an unforgettable journey. An enduring connection: It’s a song that never goes out of style; every time it plays, it reignites that spark of infectious joy.
What memories or emotions does this collaboration bring up for you? Let me know what you think in the comments!
SoucerImages from my gallery
Translated with DeepL.com (free version)
SPANISH
¡Hola, amigos de scrobble.life! Hoy quiero compartir con ustedes una de esas canciones que te atrapan desde el primer segundo y te llenan de una energía increíble: «100 Años», interpretada magistralmente por el dúo HA-Ash y el talentoso Prince Royce.
Escuchar este tema es contagiarse automáticamente de una vibra positiva, de esas melodías que acompañan los momentos felices y que demuestran cómo la buena música pop puede unir estilos de manera impecable.
Voces que se complementan a la perfección
La unión de las armonías vocales de las hermanas Nicole y Ashley (HA-Ash) con el sello romántico y suave de Prince Royce crea una química única. Desde los primeros versos, la canción establece un diálogo amoroso lleno de complicidad y frescura, donde las voces se funden de manera natural sin opacarse, logrando un balance perfecto entre la balada pop y un ritmo alegre que invita a moverse.
La letra: Un deseo de complicidad eterna
A continuación, comparto parte de la letra de esta hermosa canción que nos habla de entregarse sin reservas:
Y sin permiso me has robado el corazón, poco a poquito...
Yo quiero estar 100 años contigo, contigo la vida es mejor,
bailando la misma canción, bien pegaditos.
Y cada día que pase a tu lado sea un regalo de amor,
despertar con tu risa en la mañana y que todo tenga valor...
La sencillez y la profundidad de estos versos convierten al tema en una dedicatoria perfecta, un recordatorio de que los mejores momentos de la vida se construyen al lado de quien nos hace sonreír.
Lo que hace especial a esta canción:
La fusión de estilos: El pop acústico característico de HA-Ash se acopla de maravilla con el toque tropical y urbano de Prince Royce.
El ritmo bailable y optimista: A diferencia de las baladas tradicionales de desamor, este tema apuesta por la celebración del presente y el futuro en pareja.
La atmósfera visual y sonora: Su concepto transmite una sensación de libertad, sol y frescura que te transporta de inmediato a un viaje inolvidable.
Conexión duradera: Es una canción que no pasa de moda; cada vez que suena, revive esa chispa de alegría contagiosa.
¿Qué recuerdos o emociones te trae a ti esta colaboración? ¡Déjame saber tu opinión en los comentarios!
This is a movie I got to know about from reading a review here in this community. It caught my attention for some reason. One reason is basically the fact that it was based on a true story. That alone had my attention to see this movie that doesn't just seek to entertain, but to tell a real-life story. And knowing what the story was about, and how it must have been adapted into a plot was another thing that made me want to see it.
The title of the movie didn't give it away as one of those movies adapted from real-life stories. Maybe it's just a view from my end. However, with the story and the plot, it was clear why the movie was titled The Lost Bus as it revolved around a school bus lost in a wildfire. The movie was a portrayal of the catastrophic and horrific Camp Fire in Paradise, California, in the year 2018, considered the deadliest wildfire in state history.
Directed by Paul Greengrass, the 2025 survival/drama film based on the 2021 book “Paradise” by Lizzie Johnson stars Matthew McConaughey as Kevin McKay, America Ferrera as Mary Ludwig, Yul Vazquez as Ray Martinez, and Ashlie Atkinson as Ruby Bishop. It follows the evacuation of 22 schoolchildren by bus driver, Kevin McKay and school teacher, Mary Ludwig. If only it were just about their evacuation and delivery as expected on a normal day, there wouldn't be the incident and consequently this movie.
November 8, 2018 called for a different service from Kevin; from just a bus driver service to a heroic one. In the morning, around 6:30 am that day, high winds that blew and dryness led to the spark of the 2018 Camp Fire caused by the failure of a Pacific Gas and Electric transmission line. Even when the nearby fire service station was alerted in a considerably good time, they were unable to put it out due to lack of accessibility to the fire scene, which then spread rapidly and became a wildfire that Paradise and the state of California can't forget.
Fire service was up and down, on scene and on the board, trying to curtail the fire spread through the leadership and direction of Fire Service Chief, Ray Martinez. Residents were running helter-skelter for escape and survival. In the midst of it and at the core of the plot is the lost bus in the wildfire driven by Kevin carrying 22 school children together with their teacher, Mary. The children were those whose parents were out of town and were supposed to be taken to the bus depot.
The supposed task of taking the children to the depot, controlled by Ruby Bishop became an ordeal when they reached there only to find nobody with the place on fire as workers had to evacuate the depot. Communication between Ruby and Kevin was lost earlier on the route due to traffic and radio issues, leaving him and Mary stranded with 22 kids with no option but to go to Chico, a nearby safe location. But the wildfire was growing rapidly and their journey to Chico certainly led them through it, even getting stranded within it at a point.
Survival movies evoke some sort of emotions because they make you feel and consider what the characters might be going through. It leaves you asking subconsciously sometimes, what would you do if you were in those shoes? Did The Lost Bus give that? It did. I mean, this is a fictionalised version of a true story, but the acting, visual effects and cinematography have worked well to present the incident, and you can't help but imagine what it was like for Kevin and Mary with the highly distressed 22 kids though that wildfire.
Kevin and Mary had loved ones to get back to, their lives too at stake and other reasons to be fearful, but they did away with all that to make sure the kids remained calm and felt safe with them. Something that got to me from the movie; putting themselves and their fear aside for the sake of the kids. Like Mary leaving the bus in the midst of the fire to find water for the kids and Kevin trying to quench the growing fire around the bus with his jacket while they were stranded.
The incident feels relatable even to a viewer who didn't witness it because of the acting. Kudos to Matthew McConaughey and America Ferrera especially. From an overwhelmed, struggling father and a lovely teacher to heroic tendencies, they did well in presenting this real-life disastrous and catastrophic incident. The 22 kids also portrayed how distressed the kids must have felt in real life. You could feel the tension even in the fire service emergency distress control space, led by Yul Vazquez.
The CGI and visual effects can't go without mention. For a movie about a wildfire incident, effort should be put into these aspects and something to look out for. There was a good level of realism, thereby conveying the story in a way that could be felt. The movie presented a fictionalised version of the real-life story, nonetheless engaging and appealing. The Lost Bus wasn't really about entertainment, but about telling and enlightening viewers about a disastrous, catastrophic event. It was a good watch.
Finally I finished FROM Season 3 and I am excited to share my review about it. I liked it. But I was feeling frustration multiple times, hehe. In every season I think that this time it will put an end to the story and then I get disappointed. Anyway, what else can you expect from a series like "FROM"? hehe 🤣 I just feel that maybe I'm overthinking and the answer may be simple.
This time everything was darker than previous two seasons. I think they keep adding things we shouldn't be watching. First of all I want to discuss about Fatima at first, as her part was one of the weirdest in this season. In the beginning, I felt sad for her condition because having baby is a miracle at places like that town. She said doctors told her she could never become pregnant despite that her pregnancy finally happened. As we know in the town surviving is tough but a baby was coming so everyone would have an opportunity to experience something really beautiful. The problems started when Fatima was craving rotten vegetables and I was like, okay! this was not expected then things were getting much worse! 🥲
Spoilers ahead!
Nicky got shot by a sheriff who was taking Tabitha in an ambulance and Victor's father was injured. They all were going to the hospital but again they found a tree which had fallen on the road. That means Tabitha was going back to the town again. So, in panic a lady Sheriff was trying to survive and accidentally shot Nicky. Then her body was kept in the upstairs there fatima was sad for a while but I noticed she was getting attracted to the blood and she was tasting it with her finger and she kept doing it as if she was having a tasty food. I was like, "Woah! What are you doing?" To be honest, that was really disgusting 😖. I know, I know Fatima isn't like that and she would never want to do such things so I think she was confused herself. Later everyone else discovered that something was wrong with her because in ultrasound there was no baby.
Then there is a character Elgin who kept getting on my nerves. I think I was having hatred towards Sara only but Elgin was two steps ahead of her. He was super super annoying in this season. I thought he may have some important role but no, he got the certificate to annoy only. When he started to see things and a woman, he should have told Boyd or anyone. Instead he trusted that Kimono Woman who tried to communicate with him. He was stubborn and did not tell anyone what he knew. He kept it to himself.
Elgin was an innocent guy. He was doing what that woman has been telling.I understand that he thought was helping just like Sara but he knew what had happened to Sara so how could he ignore the facts? He kept everything hidden and also kidnapped Fatima. So the hopeless situation even got worse because of him. On the other hand, he thought he was right to do so. I was thinking that if he told others what he knew then maybe some things would have been different.
After a few episode the situation for Fatima went from bad to worse because her belly was growing rapidly and she started feel pain. When she tried to stab her stomach that Kimono Woman stopped Fatima and told her that the baby was coming and ina while, Fatima gave birth. It looked like a fleshy sack and not a baby and that was uncomfortable to watch. The sack looked like some kind of organism in it. Kimono Woman took it to the tunnels and later Boyd followed them.
That thing started to grow bigger and then we get to see Smiley. I was very confused, trying to process what I just saw because did Boyd not kill this guy already? Seriously how is this possible? I was too shocked to speak, hehe. I would say this was creepier than any other things I have watched so far. Got a new information about the monsters that they can never die and they are mortal even if they die they will eventually come back by reincarnation. Maybe Fatima’s pregnancy was planned by these monsters to punish the people of the town to break their hopes. And here I was thinking finally something good will happen, lol.
So yeah, I have answers now for the questions I had in my mind but it did not feel enough. Like Tabitha and Jade they were not a normal person they are connected to the past of this town. Also, learned that Julie is like a story walker so maybe she can try to change the past. Jim’s death was no expected, he was getting annoying sometimes but I really liked his character as a father. I realized a powerful entity must be doing all of these.
Anyway, I have many questions who made this place and why he choose those people? Why kids are involved? Is victor's dad responsible? Or is Victor dreaming and we all are watching his dreams? And who is the man in yellow suit? I have no clue but I hope that will find out in Season 4. Anyway, writers please don't disappoint us we deserve a good ending. I wish that the characters start sticking together and share every knowledge with each other more openly in next season. I think a story gets complicated if people starts to keep secrets from each other. Anyway, I will start watching season 4 today, let's see what happens next.
I generally watch a lot of films but I never had a platform to share my thoughts as beautifully as scrobble.life allows. So, today I have tried my best to explain Titanic a movie released in 1997 that is a personal favorite of mine.
The story begins many years after the Titanic sank. An old Rose looks back at the journey that changed her entire life. In 1912 she was a young woman from a wealthy family. From the outside her life looked perfect. But inside she felt trapped. Her mother had already decided her future and expected her to marry Cal Hockley. Rose had money and status but she had almost no freedom.
Rose boards the Titanic with her family and Cal. Everyone around her is excited because the ship is considered something extraordinary. But Rose does not feel excited. She feels like she is being pushed into a life she never chose. One night she finally reaches a breaking point and goes alone toward the back of the ship. She thinks about ending her life. Then she meets Jack Dawson.
Jack is completely different from Rose. He has almost nothing but he feels free. He won his third-class ticket in a poker game and is simply happy to be on the ship. When Rose tries to jump Jack talks to her and slowly brings her back from the edge. From that moment their lives become connected. Rose starts spending more time with Jack. She discovers a side of life that she had forgotten existed. Jack makes her laugh. He listens to her. He does not care about her family name or money. For the first time Rose feels like she can simply be herself. Cal becomes increasingly jealous. He sees Jack as a threat and tries to keep Rose away from him. But Rose's feelings have already changed. She begins to understand that the life she has been forced into is not the life she wants.
For a short time it feels like nothing can touch them. But the Titanic is moving toward disaster. The ship strikes an iceberg during the night. At first many passengers do not understand what has happened. But the crew soon realizes the damage is serious. Water begins entering the ship. The great Titanic that everyone believed was almost impossible to destroy is suddenly fighting for its life. Rose and Jack try to stay together while chaos spreads through the ship. Lifeboats are prepared but there are not enough for everyone. The difference between rich and poor becomes painfully clear. Some people are given priority while others struggle just to reach the upper decks.
Rose is placed on a lifeboat but she cannot leave Jack. She jumps back onto the sinking ship. At this point she has already made her choice. She would rather face the disaster with Jack than return to the life she once thought she wanted. The Titanic continues to sink. Jack and Rose eventually reach the stern as the ship rises higher and higher from the water. The huge ship finally breaks apart and disappears into the freezing Atlantic. Rose manages to climb onto a floating piece of wreckage. Jack stays in the water beside her. He knows that the cold is becoming deadly. He keeps telling Rose to survive. He wants her to live even when he knows he may not.
Jack slowly loses his strength. Before he dies he makes Rose promise that she will live a full life. Rose promises him that she will survive. And she does. Years later the old Rose tells the story because Jack was not simply a man she loved for a few days. He was the person who helped her discover who she really was. She eventually lived the life Jack wanted for her. She traveled. She experienced the world. She found happiness. She never forgot him. The ending is emotional because Rose finally returns to the place where everything began. In her memory she becomes young again. Jack is waiting for her and the people who died on the Titanic are there too.
**Synopsis**: *An unlucky deliveryman (unexpectedly) becomes responsible for transporting an important package to a distant hospital. However, it doesn't take long for him to find himself in the middle of a biological outbreak where his main enemies are part of a horde of mutant creatures. Now, he must fight to survive, and deliver the package intact*.
Based on one of the most iconic horror sagas ever released by **Capcom**, this new version (of the same name) arrives in theaters after so many other attempts to deliver a movie that truly does justice to its weight and legacy have failed over the years. Now under the direction of **Zach Cregger** (who not only directed it, but also wrote the entire screenplay alongside **Shay Hatten**), what could have been a great adaptation of the video game became a project that has been very controversial, and even problematic in different aspects, since its inception. I confess that I was quite disappointed, much more than I had already expected I would be. ***Resident Evil*** deserves much more, but so far, without success.
Since the official announcement of this movie (and especially after Cregger was put in charge of this new version), every single piece of news about what was being done regarding this project became uninteresting to me. The reasons are simple: I think this director's short filmography is very bad (and quite overrated), and I don't like his cinematic signature. On the other hand, I am a huge fan of ***Resident Evil*** and decided to give it another chance to see what would happen. Unfortunately, I didn't like almost anything that was done amid this artificial plot, and it had been a while since I had watched a movie adaptation of a game being so heavily deconstructed.
Having as its entire foundation (precisely speaking... at least that was the impression I got) the fourth and seventh chapters that are part of the video game franchise. Here, we follow what will be the worst night of Bryan's life, an organ delivery driver who ends up being hired at the last minute to go to Raccoon City's General Hospital to deliver a special package. Amid harsh low-temperature conditions as he travels through the snow-covered mountainous region, he soon realizes that he is in the middle of a biologically harmful outbreak. Around him, the fight for survival puts him into a frantic rhythm... Where every door “hides” a new mystery.
The danger is real, and immediate. On a large scale, he soon realizes that the horrible (and genetically modified) mutations are part of a more complex branch, but one that he still does not understand (and refuses to believe could be real). Considering all the strange events around him, his only goals are to stay alive and deliver the package before the established deadline. Amid the chaos, he ends up encountering other people, and with their help, he also tries to understand what is happening. The big problem is that no one has an answer. The parade of conveniences within the screenplay creates an even more fragile narrative, where all the density becomes null.
Almost every decision in this movie was wrong. First of all, I need to say that I am writing my entire review based on the games, and not as someone who went to watch the movie randomly (that is... without actually knowing what the plot is about). Why is it important to mention this? Because the opinions of the second group are generally much more positive, since the game's atmosphere within the movie is not considered (or understood), much less the approach or relevance of iconic characters. Therefore... There is no way to argue in its favor here. It is literally impossible to watch this movie believing that the entire essence of the original game was used as a reference.
From beginning to end, this new version has more mistakes than successes. I honestly don't even know how to list everything in this text, but I will try to do my best. The first point is the atmosphere that was chosen, because the excessively uncomfortable comedic tone being completely superimposed in the middle of situations that should be frightening should not even have been considered as an option. I am not against the famous “comic relief” to balance things out a little bit; however, that is not the case here. The greatest proof of this is laughing when some disturbing event happens. The movie loses its strength, which is naturally already quite limited by the tone of the approach that was chosen. I honestly did not recognize the plot.
Right afterward, it is impossible to ignore how shallow and simplistic this screenplay is (in almost every aspect possible). There are no complex elements. There is no depth in the situations that demand a sense of urgency, nor a plausible justification for what is happening (at least not according to how the screenplay delivers it to us, which is limited to a few lines in the script being spoken without the slightest credibility). Everything boils down to an accident inside a laboratory, but without any immersion into the details that created all those metamorphic aberrations. In short, for better or worse... This adaptation is nothing like what the vast majority of people expect to watch.
The specific vision chosen by Cregger (as well as that of the other filmmakers who have already taken risks within this franchise) deserves to be respected, but there are limits to what can be done when we talk about creative freedom. In this adaptation, he basically dismantled the entire essence that keeps the game standing in favor of what his perspectives on the project bring. Yes, the movie has some brief positive moments where there is tension and some *jump scares* (most of them being gratuitous or amplified by a shrill soundtrack), but it does not go beyond that. Even though it bets on a dynamic where there are first-person angles (when weapons are used), the impact is weak.
The characters are almost all disposable. The exception is precisely the protagonist, who is played by **Austin Abrams**. The construction around his character is quite interesting, and he manages to awaken free empathy in the audience due to all the dangers he faces along the way. The rest of the cast is forgettable; very implausible to the point of being caricatured (like the entire Umbrella laboratory team), and they deliver performances that oscillate between mediocre and bad. Technically the movie is well made and emanates a decent visual aesthetic most of the time. On the other hand, the production design work is very limited, and it misses great opportunities to explore excellent settings.
Not ironically, the big joke of this new ***Resident Evil*** adaptation is precisely its title, because in essence, it carries almost nothing from the franchise that it uses as its “source”. Although there are several references to the games (and the coolest part is being able to recognize them throughout the screening) and a rather persistent attempt to reshape the structure of the original material (the insertion of creatures that do not exist in the games, and that were created exclusively for this screenplay makes that clear), it must be admitted that few things within the games' mythology were well explored, and that if a possible sequel ever sees the light of day... It is necessary to rethink the entire structure of what is still to come.
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CRÍTICA DE PELÍCULA: “Resident Evil” (2026)
**Sinopsis**: *Un repartidor desafortunado (inesperadamente) se convierte en el encargado de transportar un paquete importante hasta un hospital lejano. Sin embargo, no tarda en verse en medio de un brote biológico donde sus principales enemigos forman parte de una horda de criaturas mutantes. Ahora, necesita luchar para sobrevivir, y entregar el paquete intacto*.
Basada en una de las sagas de horror más icónicas jamás lanzadas por **Capcom**, esta nueva versión (del mismo nombre) llega a los cines después de tantos otros intentos de entregar una película que realmente haga justicia al peso y al legado que han fracasado a lo largo de los años. Ahora bajo el mando de **Zach Cregger** (quien no solo dirigió, sino que también escribió todo el guion junto a **Shay Hatten**), lo que podría haber sido una gran adaptación del videojuego, se convirtió en un proyecto que desde su inicio es muy controvertido, e incluso problemático en diferentes aspectos. Confieso que quedé bastante decepcionado, mucho más de lo que ya esperaba que quedaría. ***Resident Evil*** merece mucho más, pero hasta ahora, sin éxito.
Desde el anuncio oficial de esta película (y principalmente después de que Cregger fuera puesto al mando de esta nueva versión) toda y cualquier novedad sobre lo que se estaba haciendo en relación con este proyecto se volvió poco interesante para mí. Los motivos son simples: creo que la corta filmografía de este director es algo muy malo (y bastante sobrevalorado), y no me gusta su sello cinematográfico. Por otro lado, soy un gran fan de ***Resident Evil*** y decidí darle otra oportunidad para ver qué iba a suceder. Desafortunadamente, no me gustó casi nada de lo que se hizo en medio de esta trama artificial, y ya hacía tiempo que no veía una adaptación cinematográfica de algún juego siendo fuertemente deconstruida.
Teniendo como toda su base (precisamente hablando... al menos esa fue la impresión que tuve) el cuarto y el séptimo capítulo que forman parte de la franquicia de videojuegos. Aquí, acompañamos a quien tendrá la peor de las noches de su vida, Bryan, un repartidor de órganos que termina siendo contratado a última hora para ir hasta el Hospital General de Raccoon City a entregar un paquete especial. En medio de condiciones bruscas de bajas temperaturas mientras recorre la región montañosa cubierta de nieve, no tarda en darse cuenta de que está en medio de un brote biológicamente dañino. A su alrededor, la lucha por la supervivencia lo coloca dentro de un ritmo frenético... Donde cada puerta “esconde” um nuevo misterio.
El peligro es real, e inmediato. A gran escala, pronto se da cuenta de que las horribles mutaciones (y genéticamente modificadas) forman parte de una ramificación más compleja, pero que todavía no comprende (y se niega a creer que pueda ser real). Considerando todos los extraños eventos a su alrededor, sus únicos objetivos son mantenerse con vida y entregar el paquete antes del plazo establecido. En medio del caos, termina encontrándose con otras personas, y con su ayuda, también intenta entender qué está sucediendo. El gran problema, es que nadie tiene una respuesta. El desfile de conveniencias dentro del guion crea una narrativa aún más frágil, donde toda la densidad se vuelve nula.
Casi todas las decisiones en esta película fueron erróneas. Antes que nada, necesito decir que estoy escribiendo toda mi crítica basándome en los juegos, y no como alguien que fue a ver la película aleatoriamente (es decir... sin conocer realmente de qué trata la trama). ¿Por qué es importante mencionar esto? Porque las opiniones del segundo grupo generalmente son mucho más positivas, ya que no se consideran (o comprenden) la atmósfera del juego dentro de la película, mucho menos el enfoque o la relevancia de personajes icónicos. Siendo así... No hay forma de defender esto. Es literalmente imposible ver esta película creyendo que toda la esencia del juego original fue utilizada como referencia.
De principio a fin, esta nueva versión tiene más errores que aciertos. Sinceramente ni siquiera sé cómo enumerar todo en este texto, pero intentaré hacerlo lo mejor posible. El primer punto es la atmósfera que fue elegida, porque el tono de comedia excesivamente incómodo siendo totalmente superpuesto en medio de situaciones que deberían ser aterradoras ni siquiera debería considerarse como una opción. No estoy en contra de los famosos “alivios cómicos” para equilibrar un poco las cosas; sin embargo, no es el caso aquí. La mayor prueba de ello es reírse cuando ocurre algún evento perturbador. La película pierde fuerza, que naturalmente ya está bastante limitada por el tono del enfoque que fue elegido. Sinceramente no reconocí la trama.
A continuación, es imposible ignorar lo superficial y simplista que es este guion (en casi todos sus aspectos posibles). No hay elementos complejos. No hay profundidad en las situaciones que exigen un sentido de urgencia, ni una justificación plausible para lo que está sucediendo (al menos no de acuerdo con cómo el guion nos lo presenta, que se limita a unas pocas líneas en el guion dichas sin la menor credibilidad). Todo se reduce a un accidente dentro de un laboratorio, pero sin ninguna inmersión en los detalles que crearon todas aquellas aberraciones metamórficas. En síntesis, para bien o para mal... Esta adaptación no es nada de lo que la gran mayoría de las personas espera ver.
La visión específica que fue elegida por Cregger (así como la de los otros cineastas que ya se han arriesgado dentro de esta franquicia) merece ser respetada, pero hay límites dentro de lo que puede hacerse cuando hablamos de libertad creativa. En esta adaptación, básicamente desestructuró toda la esencia que mantiene al juego en pie en detrimento de lo que sus perspectivas sobre el proyecto aportan. Sí, la película tiene algunos breves momentos positivos donde hay tensión y algunos *jump scares* (la mayoría de ellos siendo gratuitos o amplificados por una banda sonora estridente), pero no va más allá de eso. Aunque apuesta por una dinámica donde hay ángulos en primera persona (cuando se utilizan armas), el impacto es débil.
Los personajes son casi todos descartables. La excepción queda justamente por cuenta del protagonista, interpretado por **Austin Abrams**. La construcción alrededor de su personaje es bastante interesante, y logra despertar empatía gratuita en el público debido a todos los peligros que enfrenta por el camino. El resto del elenco es olvidable; muy inverosímil hasta el punto de ser caricaturesco (como todo el equipo del laboratorio de Umbrella), y ofrecen actuaciones que oscilan entre mediocres y malas. Técnicamente la película está bien hecha y emana una estética visual decente la mayor parte del tiempo. Por otro lado, el trabajo de escenografía es muy limitado, y pierde grandes oportunidades de explorar excelentes escenarios.
No irónicamente, la gran broma de esta nueva adaptación de ***Resident Evil*** es precisamente su título, porque en esencia, no lleva casi nada de la franquicia que utiliza como “fuente”. Aunque hay diversas referencias a los juegos (y la parte más genial es conseguir reconocerlas a lo largo de la proyección) y un intento bastante persistente de remodelar la estructura del material original (la inserción de criaturas inexistentes en los juegos, y que fueron creadas exclusivamente para este guion deja esto claro), es preciso admitir que pocas cosas dentro de la mitología de los juegos fueron bien exploradas, y que si una posible secuela llega a ver la luz del día... Es preciso replantear toda la estructura de lo que aún está por venir.
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CRÍTICA DE FILME: “Resident Evil” (2026)
**Sinopse**: *Um entregador azarado (inesperadamente) se torna o encarregado de transportar um importante pacote até um hospital distante. Porém, ele não demora a se ver no meio de um surto biológico onde os seus principais inimigos fazem parte de uma horda de criaturas mutantes. Agora, ele precisa lutar para sobreviver, e entregar o pacote intacto*.
Baseada em uma das sagas de horror mais icônicas já lançadas pela **Capcom**, essa nova versão (de mesmo nome) chega aos cinemas após tantas outras tentativas de entregar um filme que realmente faça jus ao peso ao legado terem falhado ao longo dos anos. Agora sob o comando de **Zach Cregger** (que não apenas dirigiu, mas também escreveu todo roteiro ao lado de **Shay Hatten**), o que poderia ter sido uma grande adaptação do vídeo game, se tornou um projeto que desde o seu início é muito controverso, e até problemático em diferentes aspectos. Eu confesso que fiquei bem decepcionado, muito mais do que eu já estava esperando que eu ficaria. ***Resident Evil*** merece muito mais, mas até agora, sem sucesso.
Desde o anúncio oficial desse filme (e principalmente após Cregger ter sido posto no comando dessa nova versão) toda e qualquer novidade sobre o que estava sendo feito em relação a este projeto se tornou desinteressante para mim. Os motivos são simples: eu acho a curta filmografia desse diretor algo muito ruim (e bastante superestimada), e não gosto da assinatura cinematográfica dele. Por outro lado, eu sou um grande fã de ***Resident Evil*** e decidi dar mais uma chance para ver o que iria acontecer. Infelizmente, eu não gostei de quase nada do que foi feito no meio dessa trama artificial, e já fazia um tempo que eu não assistia uma adaptação cinematográfica de algum jogo sendo fortemente descontruída.
Tendo como toda à sua base (precisamente falando... ao menos essa foi a impressão que eu tive) o quarto e o sétimo capítulo que faz parte da franquia de vídeo game. Aqui, nós acompanhamos aquela que será a pior das noites na vida de Bryan, um entregador de órgãos que acaba sendo contratado de última hora para ir até o Hospital Geral de Raccoon City fazer a entrega de um pacote especial. Em meio a condições bruscas de baixas temperaturas enquanto percorre a região montanhosa coberta de neve, ele não demora a perceber que está no meio de um surto biologicamente danoso. Ao seu redor, a luta pela sobrevivência o coloca dentro de um ritmo frenético... Onde cada porta “esconde” um novo mistério.
O perigo é real, e imediato. Em larga escala, ele logo percebe que as mutações horríveis (e geneticamente modificadas) fazem parte de uma ramificação mais complexa, mas que ele ainda não compreende (e se recusa a acreditar que possa ser real). Considerando todos os estranhos eventos ao seu redor, os seus únicos objetivos são se manter vivo e fazer a entrega do pacote antes do prazo estabelecido. No meio do caos, ele acaba sendo encontrando outras pessoas, e com a ajuda delas, tenta também entender o que está acontecendo. O grande problema, é que ninguém tem uma resposta. O desfile de conveniências dentro do roteiro cria uma narrativa ainda mais frágil, onde toda a densidade se torna nula.
Quase todas as decisões neste filme foram erradas. Antes de mais nada, eu preciso dizer que estou escrevendo toda à minha crítica com base nos jogos, e não como alguém que foi assistir ao filme aleatoriamente (ou seja... sem conhecer de fato sobre o que é a trama). Por que é importante mencionar isso? Porque as opiniões do segundo grupo geralmente são muito mais positivas, uma vez que não são consideradas (ou compreendidas) a atmosfera do jogo dentro do filme, muito menos a abordagem ou a relevância de personagens icônicos. Sendo assim... Não há como advogar a favor aqui. É literalmente impossível assistir a este filme acreditando que toda essência do jogo original foi usada como referência.
De ponta a ponta, essa nova versão tem mais erros do que acertos. Eu sinceramente nem sei como elencar tudo neste texto, mas vou tentar fazer o meu melhor. O primeiro ponto é atmosfera que foi escolhida, porque o clima de comédia demasiadamente incômodo sendo totalmente sobreposto no meio de situações que deveriam ser assustadoras sequer deveria ser considerado como opção. Não sou contra os famosos “alívios cômicos” para balancear um pouco as coisas; porém, não é o caso aqui. A maior prova disso é rir quando algum evento perturbador acontece. O filme perde à força, que naturalmente já é bem limitada pelo tom da abordagem que foi escolhida. Eu sinceramente não reconheci a trama.
Logo em seguida, é impossível ignorar o quanto esse roteiro é muito raso e simplista (em quase todos os seus aspectos possíveis). Não há elementos complexos. Não há profundidade nas situações que demandam um senso de urgência, e nem uma justificativa plausível para o que está acontecendo (ao menos não de acordo como o roteiro nos entrega isso, que se limita a poucas linhas no roteiro sendo ditas sem a menor credibilidade). Tudo se resume a um acidento dentro de um laboratório, mas sem qualquer imersão sobre os detalhes que criaram todas aquelas aberrações metamórficas. Em síntese, para o bem ou para o mal... Esta adaptação não é nada do que a grande maioria das pessoas espera assistir.
A visão específica que foi escolhida por Cregger (assim como a dos outros cineastas que já se arriscaram dentro dessa franquia) merece ser respeitada, mas há limites dentro do que pode ser feito quando falamos sobre liberdade criativa. Nesta adaptação, ele basicamente desestruturou toda a essência que mantém do jogo de pé em detrimento do que as perspectivas dele sobre o projeto trazem. Sim, o filme tem alguns breves momentos positivos onde há tensão e alguns *jump scares* (a maioria deles sendo gratuitos ou amplificados por uma trilha sonora estridente), mas não vai além disso. Ainda que aposte numa dinâmica onde há ângulos em primeira pessoa (quando armas são usadas), o impacto é fraco.
Os personagens são quase todos descartáveis. A exceção fica justamente por conta do protagonista, que é interpretado por **Austin Abrams**. A construção em torno do personagem dele é bem interessante, e ele consegue despertar empatia gratuita no público devido a todos os perigos que ele enfrenta pelo caminho. O restante do elenco é esquecível; muito inverossímil a ponto de ser caricato (como toda a equipe do laboratório da Umbrella), e entregam atuações que oscilam entre mediano e ruim. Tecnicamente o filme é bem feito e emana uma estética visual decente na maior parte do tempo. Por outro lado, o trabalho de cenografia é muito limitado, e perde grandes oportunidades de explorar ótimos cenários.
Não ironicamente, a grande piada dessa nova adaptação de ***Resident Evil*** é justamente o seu título, porque na essência, ele não carrega quase nada da franquia ao qual ele usa como “fonte”. Embora haja diversas referências aos jogos (e a parte mais legal é conseguir reconhecê-las ao longo da projeção) e uma tentativa bastante persistente de remodelar a estrutura do material original (a inserção de criaturas inexistentes nos jogos, e que foram criadas exclusivamente para este roteiro deixa isso claro), é preciso admitir que poucas coisas dentro da mitologia dos jogos foram bem exploradas, e que se uma possivelmente sequência vir a luz do dia... É preciso repensar toda a estrutura do que ainda está por vir.
