Community Reviews

What is ghosting?, a new fashion, trend, something that has become so monotonous, so common, where many people apply it, whether with or without intention, but they do it, sad reality of this new world.

¿Qué es el ghosting?, una nueva moda, tendencia, algo que se ha vuelto tan monótono, tan común, donde muchas personas lo aplican, ya sean con o sin intención, pero lo hacen, triste realidad de este nuevo mundo.

And you may wonder, why I start this post, with this topic, well my dear cinephile friends, that's what this movie is a bit about, although it does not revolve around this topic, certainly the beginning is really controversial, and assertive, in many aspects, with respect to ghosting.

Here we will see how a young and handsome man, decides to leave his comfort zone, and in a few words, go in search of his girl, without knowing what he could find in this encounter; in the same way, he took the courage, he dared, he ventured, this is something that we will only see in these stories of the cinematic world.

Action, adventure, romance, is what we will see in this enigmatic movie, starring the sexiest and most handsome man of all time (sorry I had to say it 😁) the famous Chris Evans, along with the talented Ana de Armas, both show us this love story, a little out of the conventional, with the name of Ghosted or Ghosting.

What is known as leaving a message on hold, as I said, with or without intention, or disappearing, for no reason whatsoever.

Now to talk a little about the movie, I must confess, that I felt it too overacted, some scenes were exaggerated, senseless and incredulous; although I love Chris, the role he played, on the one hand, I liked it, but on the other hand not so much, as a man, the reaction he had to meet this brand new woman, and the action he took, to see her, I think it is the desire and dream of any woman, but that's why I comment, we only see this in the movies, real life, is another story.

But at an acceptable level, not so exaggerated, because yes, there are many who exaggerate, and intensify; now as an actor, the role of a fragile, cowardly man, depending on the woman, there if I felt that they exaggerated a little, but well, in itself, the film had many holes, and although it had great actors, like the two of them, the plot, the story, the scenes as such, were too much.

In the case of Chris, he wanted to try something different in this story, a less tense side, more comical, dynamic; well, I can only say that those eyes, that little face, in itself, make you fall in love, but my love, continue with what you do best, don't start inventing, or in that case, look for another story not as exaggerated as this one😄.

Hay algunos actores que son reconocidos por su estilo, que resaltan con sus facetas, con los roles que representan, en el caso de Chris, quiso probar algo diferente en esta historia, un lado menos tenso, más cómico, dinámico; bueno solo puedo decir, que esos ojitos, esa carita, de por sí enamoran, pero mi amor, continua con lo que mejor que se te da, no te pongas a inventar, o de tal caso, busca otro historia no tan exagerada como esta...😄

Synopsis: Seeking revenge against all the conspirators who destroyed his family, Paul Atreides joins Chani and the Fremen to also try to prevent a terrible future that only he can predict from becoming reality.

Anyone who follows the world of cinema a little more closely knows that one of the most difficult things for studios is to create good sequels (especially when the first movie is already bad or average). In general, creative changes cause conflicts, which in turn end up impacting previously developed plans for a new project and when this causes more substantial changes (like a change of director, for example), everything can get even worse. Going against the grain of these facts that generally destroy sequences, here we have an admirable work of art. I'm actually quite impressed, and positively surprised, with absolutely everything I watched yesterday.

After a first part that was extremely boring and controversial in broad senses (the main one being that it fails to honor the legacy left by the book, as the movie is an adaptation of it), we are faced with a simply appalling sequel. The “biblical mission” atmosphere is still latent, but this time the script builds its protagonist with new layers, adding more complexity to him and what he represents not only for himself as a human being, but also what he represents for the people who believe in their life mission. If in the previous movie things seemed very inert and sleepy, now everything changes drastically and brings new tones.

Due to his adaptation as a Fremen (since he is learning to become one), Paul finds himself in the middle of his social tasks to feel part of the environment in which he wants to fit in. As such, he needs to learn his Fremen duties to be seen as such. This part of the narrative paves the protagonist's path very well, creating more credible elements so that his mission is respected as something great by the public (which ends up working very well, because the narrative construction here is very efficient). A great textual and visual approach that ends up being quite different from the first movie due to the way in which all the ideas are carefully executed.

The guide on how to make an epic movie is now followed to the letter. The production relies on lush settings, which at the same time are “weird” due to the very nature of the dystopian story in the middle of a desert of vibrant colors and full of dangers (some of them unknown). Also betting on a “graphic eccentricity” that is rarely seen in science fiction movies (especially the more modern ones), the movie also gets all its technical aspects right, with special effects work of impeccable quality, beautiful photography and a scenography with instant impact. Not to mention the most elaborate costumes and a soundtrack that is efficient, punctual and agile.

In fact, I need to mention here that a large part of the success of this movie is how the scale and technical visual professionals knew how to work with the most different size dimensions to bring credibility to what was being seen. Everything came together so well that it is practically impossible to question work done in such a meticulous manner that it flirts with perfectionism. Denis Villeneuve, despite being a great director (and here he delivers much more mature and focused work), would not have been able to do what he did without the help of this extremely competent team. The technical level of this sequence is truly surreal, so incredible and so mesmerizing.

Going a little further, the other big difference in the script for this sequence is some grand action scenes, which bring more complex ingenuity to the machinery, as well as the presence of famous creatures from the book that now gain a little more space in the plot. The creative level here is much higher, more intense and more meaningful than in the previous part. Although the slower moments still exist (both in terms of action and in terms of textual development that embraces the plot and its characters), now everything is justified as part of something more visceral. This time, there is a more visible balance between all the weights of the plot and it flows well.

The narrative conflicts also deliver a less verbose and more functional drama, making the protagonist question between the love of his life and the survival of the universe without being maudlin. Timothée Chalamet and Zendaya are much more committed to their characters (which are now much more developed and even a little more “human”, although Zendaya is still on the “luxury accessory” shelf because of her dramatic relevance), creating a chemistry most natural among them. Other big names like Austin Butler (who is the psychotic villain of this sequence) and Rebecca Ferguson (a more striking female presence) “pave” the way for the other names in the cast.

Dune: Part Two is much more than just a science fiction movie, it is an experience, which in its most reflective moments, feeds the audience's mind with somewhat unexpected philosophical elements. Anyone who really loves cinema will certainly leave the movie theater as impressed as I was (especially if they have the opportunity to watch it in IMAX), because the impact of this project will be something that will resonate within the cinema industry forever. An epic is born right before our eyes and another surprising thing here is the breaking of the “sequel curse”, because what the second part does is, without a shadow of a doubt, a true cinematic lesson.

Sinopsis: Buscando venganza contra todos los conspiradores que destruyeron a su familia, Paul Atreides se une a Chani y los Fremen para intentar también evitar que un futuro terrible que sólo él puede predecir se haga realidad.

Cualquiera que siga un poco más de cerca el mundo del cine sabe que una de las cosas más difíciles para los estudios es crear buenas secuelas (sobre todo cuando la primera película ya es mala o mediocre). Por lo general, los cambios creativos provocan conflictos, que a su vez acaban impactando los planes previamente desarrollados para un nuevo proyecto y cuando esto provoca cambios más sustanciales (como un cambio de director, por ejemplo), todo puede empeorar aún más. A contrapelo de estos hechos que generalmente destruyen las secuencias, aquí tenemos una obra de arte admirable. De hecho, estoy bastante impressionado, y positivamente sorprendido, con absolutamente todo lo que vi ayer.

Después de una primera parte sumamente aburrida y controvertida en sentido amplio (la principal es que no honra el legado dejado por el libro, al ser la película una adaptación del mismo), nos encontramos ante una secuela simplemente espantosa. La atmósfera de “misión bíblica” aún está latente, pero esta vez el guión construye a su protagonista con nuevas capas, sumándole más complejidad a él y a lo que representa no sólo para sí mismo como ser humano, sino también para las personas que creen. en su misión de vida. Si en la película anterior la cosa parecía muy inerte y adormilada, ahora todo cambia drásticamente y aporta nuevos tonos.

Debido a su adaptación como Fremen (ya que está aprendiendo a serlo), Paul se encuentra en medio de sus tareas sociales para sentirse parte del entorno en el que quiere encajar. Como tal, necesita aprender sus deberes Fremen para ser visto como tal. Esta parte de la narrativa allana muy bien el camino del protagonista, creando elementos más creíbles para que su misión sea respetada como algo grande por el público (lo que termina funcionando muy bien, porque la construcción narrativa aquí es muy eficiente). Un gran planteamiento textual y visual que acaba diferenciándose bastante de la primera película por la forma en la que están cuidadosamente ejecutadas todas las ideas.

La guía sobre cómo hacer una película épica ahora se sigue al pie de la letra. La producción se apoya en escenarios exuberantes, que a la vez resultan “raros” por la propia naturaleza de la historia distópica en medio de un desierto de colores vibrantes y lleno de peligros (algunos de ellos desconocidos). Apostando también por una “excentricidad gráfica” rara vez vista en películas de ciencia ficción (especialmente las más modernas), la película también acierta en todos sus aspectos técnicos, con un trabajo de efectos especiales de impecable calidad, una bella fotografía y una escenografía de impacto instantáneo. . Por no hablar del vestuario más elaborado y de una banda sonora eficaz, puntual y ágil.

De hecho, debo mencionar aquí que gran parte del éxito de esta película es cómo los profesionales de la escala y la técnica visual supieron trabajar con las más diferentes dimensiones para darle credibilidad a lo que se estaba viendo. Todo salió tan bien que es prácticamente imposible cuestionar un trabajo realizado de forma tan minuciosa que coquetea con el perfeccionismo. Denis Villeneuve, a pesar de ser un gran director (y aquí ofrece un trabajo mucho más maduro y centrado), no habría podido hacer lo que hizo sin la ayuda de este equipo extremadamente competente. El nivel técnico de esta secuencia es realmente surrealista, increíble y fascinante.

Yendo un poco más allá, la otra gran diferencia en el guión de esta secuencia son unas grandes escenas de acción, que aportan un ingenio más complejo a la maquinaria, así como la presencia de criaturas famosas del libro que ahora ganan un poco más de espacio en la trama. trama. El nivel creativo aquí es mucho más alto, más intenso y más significativo que en la parte anterior. Si bien los momentos más lentos aún existen (tanto en términos de acción como en términos de desarrollo textual que abraza la trama y sus personajes), ahora todo se justifica como parte de algo más visceral. Esta vez, hay un equilibrio más visible entre todos los pesos de la trama y ésta fluye bien.

Los conflictos narrativos también ofrecen un drama menos detallado y más funcional, haciendo que el protagonista se cuestione entre el amor de su vida y la supervivencia del universo sin ser sensiblero. Timothée Chalamet y Zendaya se comprometen mucho más con sus personajes (que ahora están mucho más desarrollados e incluso un poco más “humanos”, aunque Zendaya sigue en la estantería de los “accesorios de lujo” por su relevancia dramática), creando una química de lo más natural. entre ellos. Otros grandes nombres como Austin Butler (que es el villano psicótico de esta secuencia) y Rebecca Ferguson (una presencia femenina más llamativa) “allanan” el camino para el resto de nombres del reparto.

Duna: Parte Dos es mucho más que una simple película de ciencia ficción, es una experiencia que, en sus momentos más reflexivos, alimenta la mente del público con elementos filosóficos un tanto inesperados. Cualquiera que realmente ame el cine seguramente saldrá de la sala de cine tan impresionado como yo (especialmente si tienen la oportunidad de verlo en IMAX), porque el impacto de este proyecto será algo que resonará en la industria del cine para siempre. Una epopeya nace ante nuestros ojos y otra cosa sorprendente aquí es la ruptura de la “maldición de la secuela”, porque lo que hace la segunda parte es, sin lugar a dudas, una verdadera lección cinematográfica.

Sinopse: Em busca de vingança contra todos os conspiradores que destruíram sua família, Paul Atreides se une a Chani e aos Fremen para também tentar impedir que um futuro terrível que só ele pode prever se torne realidade.

Quem acompanha o universo do cinema um pouco mais de perto sabe que uma das coisas mais difíceis para os estúdios é criar boas sequências (principalmente quando o primeiro filme já é ruim ou mediano). Em geral, mudanças criativas causam conflitos, que por sua vez acabam impactando nos planos previamente desenvolvidos para um novo projeto e quando isso provoca mudanças mais substanciais (como uma mudança de diretor, por exemplo), tudo pode ficar ainda pior. Indo na contramão desses fatos que geralmente destroem sequências, aqui, temos uma admirável obra de arte. Eu estou realmente bastante impressionado, e positivamente surpreso, com absolutamente tudo o que eu assisti ontem.

Depois de uma primeira parte demasiadamente chata e controversa em amplos sentidos (sendo o principal deles não conseguir honrar o legado deixado pelo livro, já que o filme é uma adaptação do mesmo), nós estamos diante de uma sequência simplesmente estarrecedora. O clima de “missão bíblica” ainda é latente, mas dessa vez o roteiro constrói o seu protagonista com novas camadas, adicionando mais complexidade a ele e ao que ele representa não apenas para ele mesmo enquanto ser humano, mas também o que ele representa para o povo que acredita na sua missão de vida. Se no filme anterior as coisas pareciam muito inertes e sonolentas, agora, tudo muda drasticamente e traz novos tons.

Em função da sua adaptação enquanto Fremen (já que ele está aprendendo a se tornar um), Paul se vê em meio a seus afazeres sociais para se sentir parte do meio onde ele está querendo se inserir. Sendo assim, ele precisa aprender seus deveres de Fremen para ser visto como tal. Essa parte da narrativa pavimenta muito bem o caminho do protagonista, criando elementos mais críveis para que à sua missão seja respeitada como algo grandioso pelo público (o que acaba funcionando muito bem, porque a construção narrativa aqui é muito eficiente). Uma ótima abordagem textual e visual que acaba se diferenciando bastante do primeiro filme pela maneira como todas as ideias são executadas atentamente.

A cartilha de como fazer um filme épico agora é seguida à risca. A produção aposta em cenários exuberantes, que ao mesmo tempo são “esquisitos” pela sua própria natureza da história distópica em meio a um deserto de cores vibrantes e repleto de perigos (alguns deles desconhecidos). Apostando também em uma “excentricidade gráfica” que nos filmes de ficção científica (especialmente os mais modernos) é pouco vista, o filme acerta também em todos os seus aspectos técnicos, que tem um trabalho de efeitos especiais de qualidade irretocável, uma fotografia linda e uma cenografia de impacto instantâneo. Sem mencionar os figurinos mais elaborados e uma trilha sonora que é eficiente, pontual e ágil.

Aliás, eu preciso mencionar aqui que uma grande parte do sucesso desse filme é como os profissionais das escalas e dos visuais técnicos souberam trabalhar com as mais diferentes dimensões de tamanhos para trazer credibilidade ao que estava sendo visto. Tudo ficou tão bem encaixado que é praticamente impossível questionar um trabalho feito de maneira tão minuciosa a ponto de flertar com o perfeccionismo. Denis Villeneuve, apesar de ser um ótimo diretor (e aqui ele entrega um trabalho muito mais maduro e mais centrado), não iria conseguir fazer o que fez sem a ajuda dessa equipe extremamente competente. O nível técnico dessa sequência é mesmo surreal de tão incrível e tão hipnotizante.

Indo um pouco mais além, o outro grande diferencial no roteiro dessa sequência que são algumas grandiosas cenas de ação, que trazem uma engenhosidade mais complexa nos maquinários, assim como na presença de famosas criaturas do livro que agora ganham um pouco mais de espaço na trama. O nível criativo aqui é muito mais alto, mais intenso e mais significativo do que na parte anterior. Embora os momentos mais lentos ainda existam (tanto em termos de ação quanto em termos de desenvolvimento textual que abraça a trama e seus personagens), agora tudo é justificado como parte de algo mais visceral. Dessa vez, há um balanceamento mais visível entre todos os pesos da trama e isso flui bem.

Os conflitos narrativos entregam também um drama menos prolixo e mais funcional, fazendo o protagonista questionar entre o amor de sua vida e à sobrevivência do universo sem ser piegas. Timothée Chalamet e Zendaya estão bem mais comprometidos com seus personagens (que agora estão bem mais desenvolvidos e até um pouco mais “humanos”, embora Zendaya esteja ainda na prateleira do “acessório de luxo” por causa da sua relevância dramática), criando uma química mais natural entre eles. Outros grandes nomes como Austin Butler (que é o vilão psicótico desta sequência) e Rebecca Ferguson (uma presença feminina mais marcante) “pavimentam” o caminho para os demais nomes no elenco.

Duna: Parte Dois é muito mais do que apenas um filme de ficção científica, é uma experiência, que em seus momentos mais reflexivos, alimenta a mente do público com elementos filosóficos um tanto quanto inesperados. Quem realmente ama cinema, com certeza também sairá impressionando da sala de cinema assim como eu sai (principalmente se tiver a oportunidade de assisti-lo em IMAX), porque o impacto desse projeto será algo que repercutirá dentro da indústria do cinema para sempre. Um épico nasce bem diante dos nossos olhos e outra coisa surpreendente aqui, é a quebra da “maldição da sequência”, porque o que a segunda parte faz é, sem sombra de dúvidas, uma verdadeira aula de cinema.

Good morning, good afternoon, and good evening, ladies and gentlemen. How are you? I hope you are well. Lately I have been a bit absent, I suppose fatigue got the best of me and I couldn't find many things to watch, so I finally decided to take the easy road and watch some of the most important movies from last year that were acclaimed by critics. Plus, since I am a fan of animation, nothing better than starting with that category, clearing my mind a bit, and enjoying watching something. It's not a mystery for many what I'm going to talk about, you just need to read the title. What I find truly curious is that Disney decided to scrap the work on this movie; it failed miserably in all aspects. People say it was because of the LGBT content in the film, but the truth is that it's not much and it's well implemented within the work. It is supposed that in recent years the mouse company wanted to be inclusive, so discarding Nimona, being 70% completed, seems almost impossible (especially since it deals with those themes). I think the reasons were different, but the important thing is that Netflix saved the movie and everyone was able to see it, an almost must-see animated product for anyone, both for kids and adults, although a bit more for the latter, who will understand the message much more clearly. So without further ado, let's talk about Nimona.

_{[_Source_](https://www.elespanol.com/series/netflix/20230711/nimona-pelicula-netflix-identidad-vox-no-podra-censurar-mejores/777172381_0.amp.html)}

The movie puts us in the shoes of Ballister, a young commoner who is about to become a knight in a medieval-futuristic city where all the knights belong to a great lineage of knights. Ballister is looked down upon by all the inhabitants for being a commoner and by his peers for not being like them, someone of high class, of royalty. Although this will not be an obstacle for Ballister, who is about to be officially knighted by the queen, who trusts him and sees the opportunity for anyone, regardless of social class, to also become a knight. He also has the support of his lover Ambrosius, who is the direct descendant of the founder of the knights' lineage, one of the few who truly values Ballister for who he is and not where he comes from. When Ballister is about to be knighted, everything goes wrong when he is implicated in a crime he clearly did not commit, all this before the eyes of the entire town, becoming the villain of the story, with no choice but to leave everything behind and become a fugitive, hiding from the law. Even so, Ballister will not give up, making every effort to prove his innocence, aided by his unwelcome and spirited sidekick Nimona, a girl with powers who sees herself reflected in how Ballister is treated, also being frowned upon by society for her "condition."

_{[_Source_](https://www.netflix.com/ve/title/81444554?preventIntent=true)}

During the course of the plot, we are given a clear message against all those people who decide to judge others without first getting to know them, causing people to be judged and feel bad for not being able to represent their true intentions or motives, not being allowed to be themselves; everything that is outside the norm is not right and should be rejected, sometimes we have to think, what if what is pre-established is wrong? What if everything we have believed to be right is actually wrong? We should not be afraid of the unknown, we must deal with it to truly form an opinion based on our own experiences. Nimona and Ballister represent the great fears of the population (so much that it is reflected in their way of dressing, literally one could say they are dressed like villains, in dark clothes that set them apart from others who wear white and gold armor), someone who changes forms must be a monster with a desire to destroy, regardless of their actions, even if they save lives and likewise a commoner must be a bad person, with evil in their heart, contaminated, a total mistake to be a knight. Ballister's journey to prove his innocence will become one to be accepted again by society, to return to that place where he was cast out, which is corrupt from top to bottom. Nimona has her own purposes as well, she wants people to see her as normal, she just wants to have fun and enjoy herself, she unconsciously wants to belong in that world where everyone hurt her but without being called by that word she hates so much, "monster".

_{[_Source_](https://www.hollywoodreporter.com/movies/movie-features/nimona-nd-stevenson-netflix-film-inclusive-themes-1235506138/amp/)}

Something that is left between the lines is perhaps the LGBT message, where perhaps the relationship Ambrosius has with Ballister influences the plot much more than we think, given that one of the many reasons why Ballister is not well seen in society is because of his homosexuality. Even Nimona could be part of this, not identifying with a specific gender (when asked what Nimona is, she only responds that she is Nimona), possibly implying that she is non-binary. If this were true, it would add a much deeper background to the work worthy of analysis. Regarding the plot development, I find it quite accelerated but the impressive thing is that it works very well, managing to introduce the characters and their problems in a very quick way so that we immediately move on to action. The combination of the two protagonists is very comical and perfect due to how antagonistic they are. Ballister is someone who follows more rules and caution while Nimona only wants destruction, forming a duo that is more than interesting for the viewer. I must admit that seeing this latter character on screen most of the time will bring a smile to your face. To conclude, I must say that the animation is impeccable, with a blend where you can't tell if what you see is 2D or 3D, with a lot of details and an incredible setting. It's surprising how they managed to create a medieval place alongside a futuristic one. This film is totally recommendable from beginning to end.