After a last week of grinding for January here we are on February 2024, my streak is intact but today it was threaten by nature after a tree fall on top of the power energy cables close to my apartment, its all OK although it took power out for the entire street, lucky my mother is traveling and her apartment is close to mine so I took my laptop and came here to make this post, only problem is I forgot my mouse so using touch pad is hell for me; I will do what ever in my power to keep this show going and it goes father than Hive for me, its about commitment.

This are the type of post that takes the most time for me to create, got to watch the episode, take screenshots so that's basically a second watch but more to analyze it, then need to edit the screenshots trying to make them look like a guide to then finally start writing.

I did a post about Masters of The Air some time ago when the trailer came out, I have taken the route to generate informative content and then move into the reviews or recaps, I prefer calling them RECAPS, the word review makes me feel like a professional critic and I'm simply not.

By the time of this post the series is already three episodes in so its hard for me to spoil it for anyone, its on you if you keep reading. When I made the post about the trailer I remember reading all episodes were suppose to be name after each base they visit but some how IMDB still has it as Part 1, kinda boring. Masters of The Air is all about what I expected but as this is an adaptation of the Bomber Unit 100th from World War II I would not take everything they show on the series as the truth, remember it still a show. This Mini Series starting on episode one does make honor to its name by focus on how Pilots and their crew make what ever it was on their power to defend and keep those bombers in the air, so far they did go into one mission but it even bothers me a bit that the battles in the are are confusing and very fast that you cant see German Fighters they go so fast, do see anti air firing but I guess from the Bomber perspective or view the battle was very slow, this things were huge and could not maneuver as fast to fight back.

There will be quite a few characters on this story but for now this are your main, from top to bottom Major Gale "Buck" Cleven, Major John "Bucky" Egan and Lt. Harry Crosby, the story is at times narrated by Crosby mostly when they are in the air, the reason for this is because Major Harry Crosby wrote one of the books the mini series is based on, the name of this book A Wing and A Prayer, I haven't read any of the books this series is based on and don't now much rather what I will write on this post but after watching episode one the name of the book does make sense because most of the time all they could do is fight back and pray.

For now the series is not much about the battle actions but the struggle of pilots and their crew above 10k feet in the air, most things on the planes were very manual compare to how things are now days, it happens that two of my family members are commercial plane pilots and would probably talk hours giving their opinion but after seen how they pilot this massive beasts that were the bombers it was a huge risk, all the things that could go wrong. On first episode the 100th unit gets to England, Buck leading the pack although Bucky arrive way early even when through two missions, he was basically preparing the terrain for rest of the 100th, it is mention that before those days many of them have never got into a plane to travel so all they had is their training as experience.

The flight to England was not the most pleasant because of weather in some parts, at the moment the 100th was compose of nine planes that would integrate to other squads, not sure the proper term for this group of bombers; everything went smooth the last part of the flight except for one plane, the pilot in charge Captain John Brady but it was not hist fault, they had some electric failure although his navigator was Crosby who had air sickness badly and screw up their flight coordinates, they end up in France that at the time was German Army territory, eventually made it back to England way behind the pack and had a force landing after their right landing gear would not go down.

Across the episode there are about eight characters and they made a quick introduction at first that in my opinion it was not worth doing, there are so many characters that its better to learn them as it goes, the introduction to the main two Buck and Bucky was fine but the rest was not helpful. Day latter after landing the 100th is going on their first mission, Col. Harold Q. Huglin is giving orders but on a previous scene he seems sick and probably Bucky is the next on the line to replace him as he is ask to stay on land and will probably get a desk job giving orders too. Bucky already knows what is up there, Buck is flying with Lt. Curtis Buddick, when Bucky talks to Buck giving him his lucky bill its like he knows the danger to be up there and there is a big chance he never sees his friend again.

When Buck arrives to Bremen, German were waiting for them, lots of anti air equipment open fire their way, while this was going on all they could do was hold on, keep moving forward and pray, there was literally nothing they could do, when this Flaks (aircraft defense canon) shoot their missile seem to explode in many pieces hitting bombers and basically cutting them off, this tear apart the bombers or in the worst case they get hit directly by the missing and take the explosion, when the Flaks stop shooting then it was time for the German fighters to pick them up and that they did, Buck and the other pilots had to sit and watch how gunners on the Bombers shoot back but the German Fighters were just too fast, for every one German they took down it seems that three bombers go down because thats is how that fight ends, 19 bombers go out, one early return and only 16 came back, this is not how Buck had things planned or how he though it would be and he did ask Bucky why didn't you warn us but basically there is nothing else they could do once they are in the air on German territory. Col. Huglin had to call off he mission because they were been taken down one by one by the German Fighters and on top none of their two targets were visible, it was too cloudy so he decided not to drop any bombs and go back to the base.

Sixteen bombers come back, heavily damage, three bombers confirm went down each one carry ten men, those were thirty men who Buck knew and now they are gone, Col. Huglin comes back from he mission too but he is sick as F and most likely Bucky is going to take charge of the base, Buck can't believe what he just went through and Bucky is taking him for interrogation.

For been the first episode was not bad at all although I would like to see more air fight scenes probably from the Germans Fighter view although I guess that would go against the story so there is the reason why some times they don't stick to it, because it can loose some of the excitement, watching how heavily damage Bombers get when getting through Flaks was something I had not idea about also how Bucky specially had to maneuver this heavy airplanes during windy situations with what look like very basic controls, not that I know how modern look but this Bombers look ascent from the inside based on the images. A great episode, I'm very satisfied after an hour of drama and heavy fire in the air, over all a solid 8/10.

Today the universe was against me to make this post, something that should have take me about two hours end up close to four due to energy problems, forgot my mouse at home, then the upload at my mothers apartment took vacation and I could not upload images had to reboot the modem couple of times, but I still manage to finish my post on time, I try to make them not as long and complex as before, I also left out some details about the pilots challenges on the bomber itself; since it was taking me just too much time an energy draining me out and not having much energy to keep going the next day, I hope you enjoy.

I have seen three biographical films in the last few weeks. All three have disappointed me. My biggest dissatisfaction has been with Ferrari: is it really directed by Michael Mann? I find that hard to believe. I know 2015's Blackhat was no longer up to par with his great works, but it's just that he even seems to have lost his stamp.

Mann is in his eighties, it's admirable that he's still working. Currently in pre-production on a film that will be a sequel AND prequel to Heat. But I'm afraid he's lost his way a bit. I was really looking forward to seeing Ferrari, just because he's the one in the director's chair. There's not much to highlight in this story that only thanks to the actors and a couple of car racing scenes, didn't put me to sleep.

The script is an adaptation of one of the books by journalist and writer Brock Yates, who dedicated his life to writing about this sport, created a car race and they already adapted another of his books in the past. I don't know much about the author and have never read his books. I'm not a big fan of car racing. I don't watch them, but in the movies I like them, it's the only way to feel some excitement in this sport that I don't understand much.Is it faithful to the book? Well, I'll look for opinions of those who have read it.

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He visto tres películas biográficas en las últimas semanas. Las tres me han decepcionado. Mi mayor insatisfacción ha sido con Ferrari: ¿está realmente dirigida por Michael Mann? Me cuesta creerlo. Sé que Blackhat de 2015 ya no estaba a la altura de sus grandes obras, pero es que parece que incluso ha perdido su sello.

Mann tiene ochenta años, es admirable que siga trabajando. Actualmente en la preproducción de una película que será secuela Y precuela de Heat. Pero me temo que ha perdido un poco el norte. Tenía muchas ganas de ver Ferrari, sólo porque es él quien está en la silla de director. No hay mucho que destacar en esta historia que sólo gracias a los actores y a un par de escenas de carreras de coches, no me durmió.

El guión es una adaptación de uno de los libros del periodista y escritor Brock Yates, que dedicó su vida a escribir sobre este deporte, creó una carrera de coches y ya adaptaron otro de sus libros en el pasado. No sé mucho sobre el autor y nunca he leído sus libros. No soy un gran aficionado a las carreras de coches. No las veo, pero en las películas me gustan, es la única manera de sentir algo de emoción en este deporte que no entiendo mucho. ¿Es fiel al libro? Pues buscaré opiniones de los que lo hayan leído.

If you're a diehard Formula 1 fan, this biopic is sure to leave you ecstatic. Although there's not as much racing as many motorsports fans would like. The film takes a more intimate approach. It wanders between Ferrari's marital problems, his infidelities, his secrets, the loss of a son, his maternal relationship and, of course, the economic problems that jeopardize his empire.

An empire that makes me want to remain someone with little money. I am completely unfamiliar with Ferrari's life and wanted to see this bipic to get closer and get to know this character. In the fim I may have a lot of money, but I really prefer to go on without it but be happier. On screen we see a lot of pessimism, a very gray, gloomy Ferrari, obsessed with winning races, with a big house that causes is to escape the depressing environment. A meddlesome and bitter mother who does not seem to love him. A wife who provokes suicide just by looking at her face. If the intention is to depress the viewer, they achieve their goal.

It would work very well if they delved more into that intimate side. As the director did with The Dilemma. There is no trace of that. It's just stiff characters. I've seen other minor movies on this subject recently and this one looks like another one of the bunch, except that it had a bigger budget. One thing in common in all the ones I've seen, is that they paint all these rich and successful men in the world of motorsports, as people devoured by their own obsession to be the best, with a lot of money, but with a sad soul.

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Si eres un fan acérrimo de la Fórmula 1, seguro que este biopic te dejará extasiado. Aunque no hay tanta carrera como a muchos aficionados al automovilismo les gustaría. La película adopta un enfoque más íntimo. Deambula entre los problemas matrimoniales de Ferrari, sus infidelidades, sus secretos, la pérdida de un hijo, su relación maternal y, por supuesto, los problemas económicos que ponen en peligro su imperio.

Un imperio que me hace querer seguir siendo alguien con poco dinero. Desconozco por completo la vida de Ferrari y quería ver este bipic para acercarme y conocer a este personaje. En el fim puede que tenga mucho dinero, pero realmente prefiero seguir sin él pero ser más feliz. En pantalla vemos mucho pesimismo, un Ferrari muy gris, apesadumbrado, obsesionado con ganar carreras, con una gran casa que provoca es huir del ambiente deprimente. Una madre entrometida y amargada que no parece quererle. Una esposa que provoca el suicidio con sólo mirarla a la cara. Si la intención es deprimir al espectador, consiguen el objetivo.

Funcionaria muy bien si profundizaran mas en ese lado intimo. Tal como lo hizo el director con El Dilema. No hay rastros de eso. Son personajes acartonados. He visto recientemente otras peliculas menores sobre este tema y este parece otro mas del monton, con la diferencia de que tuvo mayor presupuesto. Algo en común en todas las que he visto , es que pintan a todos estos hombres ricos y exitosos en el mundo del automovilismo, como personas devoradas por su propia obsesión de ser lo mejores, con mucho dinero, pero con el alma triste.

Synopsis: John Doe is an outsider who works making deliveries and is looking for a better life, but to achieve this goal, he first needs to deliver a mysterious package across a post-apocalyptic desert.

Based on the game released by PlayStation in 1995, this television series had all the potential to become one of the most successful projects on the Peacock streaming channel, however, that's not exactly how things happened because since its first episode the project shows that it will face many problems ahead. The first of them is precisely the script, which is unbearably boring and full of completely absurd conveniences, not only because of the way they are presented to the public, but also how they are executed in the plot.

Forbes

Living without much hope in a kind of dystopian reality, John Doe makes a living making deliveries to strange people, with equally strange motivations. One day, he is recruited by Raven, a mysterious woman who gives him a package and takes him across a desert full of countless hidden dangers. The main one is a group of crazy looters who generally drive modified vehicles that become true war machines. Within this scenario, John Doe accidentally ends up meeting Quiet and she ends up becoming his friend.

The two's unlikely friendship gains more and more strength as the ten episodes bring more adding elements, but it is precisely in the development of the plot that things get worse and worse. The arguments chosen by the writing team to construct this television series are very disjointed, as well as being very cartoonish, nullifying any and all sense of urgency that could have gained a very important space within each episode. All the potential is literally wasted with a lot of randomness.

The Daily Beast

The comic tone is extremely exaggerated, and the episodes rely heavily on the construction of bad situations with poor development of most of their characters. At this point, the exception is the duo John Doe and Quiet, who despite having absolutely no chemistry on screen (showing that Anthony Mackie and Stephanie Beatriz should have worked in separate groups), individually manage to create some types of dramatic arcs to support the entire narrative. However, it's amazing to see how confusing this entire television series is.

Confusing not because of the complexity of its arguments (because everything is very obvious from the beginning), but rather because there is an indecision on the part of the screenwriters in knowing what would be the most appropriate direction to pave the situations and their reflection in subsequent situations. The attempt to mix drama and comedy is completely flawed, because there is no balance or even the slightest credibility to support this decision. At times, everything works in a singular way, as if the characters didn't depend on each other to build the entire script.

JoBlo

Amidst some good (and sometimes creative) action scenes, the project also appears to be quite limited in terms of budget because the precariousness of the digital or practical effects is at times completely disappointing. Even so, in these more explosive moments, the script manages to deliver good entertainment because it is at this moment that the television series manages to evoke the feeling of nostalgia that should be combined with the adaptation of the game from the first episode (primarily this even happens, but soon then everything is purposely forgotten).

There are few similarities between the script for this project and what is seen in the games. At times it is necessary to make an extra effort not only to watch the episodes (which are less than 30 minutes each, but seem to be much longer as they are mostly boring), but mainly to try to notice the references that are scattered throughout certain scenes. In other words, I think that if this television series had any other title, probably no one would care about it so much that it would have been confirmed for the next season.

Film Fugitives

Also focusing on a more violent graphic aspect (generally in the physical fight scenes), Twisted Metal clearly shows that it had the potential to be a much better project, and after what happens in the last episode, ironically the script manages to create a completely unexpected bridge that connects this season with the next. The path is open for more immersion, more battles, more explosions, more fights, more nostalgia and mainly, for the emergence of better plots, better characters and more complexity in the development of everything.

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CRÍTICA DE SERIE DE TELEVISIÓN: “Twisted Metal” (PRIMERA TEMPORADA - 2023)

Sinopsis: John Doe es un outsider que trabaja haciendo entregas y busca una vida mejor, pero para lograr este objetivo, primero necesita entregar un paquete misterioso a través de un desierto post-apocalíptico.

Basada en el juego lanzado por PlayStation en 1995, esta serie de televisión tenía todo el potencial para convertirse en uno de los proyectos más exitosos del canal de streaming Peacock, sin embargo, no fue exactamente así como sucedieron las cosas pues desde su primer episodio el proyecto demuestra que seguirá afrontar muchos problemas por delante. El primero de ellos es precisamente el guión, insoportablemente aburrido y lleno de conveniencias completamente absurdas, no sólo por la forma en que se presentan al público, sino también por cómo se ejecutan en la trama.

Viviendo sin muchas esperanzas en una especie de realidad distópica, John Doe se gana la vida haciendo entregas a personas extrañas, con motivaciones igualmente extrañas. Un día, es reclutado por Raven, una misteriosa mujer que le entrega un paquete y lo lleva a través de un desierto lleno de innumerables peligros ocultos. El principal es un grupo de locos saqueadores que generalmente conducen vehículos modificados que se convierten en auténticas máquinas de guerra. Dentro de este escenario, John Doe accidentalmente termina conociendo a Quiet y ella termina convirtiéndose en su amiga.

La improbable amistad entre ambos gana cada vez más fuerza a medida que los diez episodios aportan más elementos añadidos, pero es precisamente en el desarrollo de la trama donde las cosas empeoran cada vez más. Los argumentos elegidos por el equipo de redacción para construir esta serie de televisión son muy inconexos, además de caricaturescos, anulando cualquier sentido de urgencia que hubiera podido ganar un espacio muy importante dentro de cada episodio. Todo el potencial se desperdicia literalmente con mucha aleatoriedad.

El tono cómico es sumamente exagerado y los episodios se apoyan mucho en la construcción de malas situaciones con escaso desarrollo de la mayoría de sus personajes. En este punto, la excepción es el dúo John Doe y Quiet, quienes a pesar de no tener absolutamente ninguna química en la pantalla (lo que demuestra que Anthony Mackie y Stephanie Beatriz deberían haber trabajado en grupos separados), individualmente logran crear algunos tipos de arcos dramáticos para apoyar la trama. toda la narrativa. Sin embargo, es sorprendente ver lo confusa que es toda esta serie de televisión.

Confuso no por la complejidad de sus argumentos (porque todo es muy obvio desde el principio), sino porque hay una indecisión por parte de los guionistas en saber cuál sería el rumbo más adecuado para pavimentar las situaciones y su reflejo en situaciones posteriores. El intento de mezclar drama y comedia es completamente erróneo, porque no hay equilibrio ni la más mínima credibilidad que respalde esta decisión. Por momentos, todo funciona de forma singular, como si los personajes no dependieran unos de otros para construir todo el guión.

Entre buenas (y a veces creativas) escenas de acción, el proyecto también parece bastante limitado en términos de presupuesto, ya que la precariedad de los efectos digitales o prácticos resulta a veces completamente decepcionante. Aun así, en estos momentos más explosivos, el guión consigue ofrecer un buen entretenimiento porque es en ese momento cuando la serie de televisión consigue evocar el sentimiento de nostalgia que conviene combinar con la adaptación del juego desde el primer episodio (principalmente este incluso sucede, pero pronto todo se olvida deliberadamente).

Existen pocas similitudes entre el guión de este proyecto y lo que se ve en los juegos. A veces es necesario hacer un esfuerzo extra no sólo para ver los episodios (que duran menos de 30 minutos cada uno, pero parecen mucho más largos porque en su mayoría son aburridos), sino sobre todo para tratar de notar las referencias que se encuentran dispersas a lo largo de ciertas escenas. En otras palabras, creo que si esta serie de televisión tuviera cualquier otro título, probablemente a nadie le importaría tanto como para haberla confirmado para la próxima temporada.

Centrándose también en un aspecto gráfico más violento (generalmente en las escenas de lucha física), Twisted Metal muestra claramente que tenía potencial para ser un proyecto mucho mejor, y después de lo que sucede en el último episodio, irónicamente el guión logra crear una historia completamente diferente. Puente inesperado que conecta esta temporada con la siguiente. El camino está abierto para más inmersión, más batallas, más explosiones, más peleas, más nostalgia y principalmente, para el surgimiento de mejores tramas, mejores personajes y más complejidad en el desarrollo de todo.

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CRÍTICA DE SÉRIE DE TV: “Twisted Metal” (PRIMEIRA TEMPORADA - 2023)

Sinopse: John Doe é um forasteiro que trabalha fazendo entregas, e que está em busca de uma vida melhor, mas para conseguir este objetivo, primeiro ele precisa entregar um pacote misterioso através de um deserto pós-apocalíptico.

Baseada no jogo lançado pela PlayStation no ano de 1995, esta série de televisão tinha todo o potencial para se tornar um dos projetos mais bem sucedidos do canal de streaming Peacock, no entanto, não é exatamente assim que as coisas acontecem porque desde o seu primeiro episódio o projeto mostra que vai enfrentar muitos problemas pela frente. O primeiro deles é justamente o roteiro, que é insuportavelmente chato e repleto de conveniências totalmente absurdas, não apenas pela maneira como elas são apresentadas para o público, mas também como elas são executadas na trama.

Vivendo sem muita esperança em uma espécie de realidade distópica, o John Doe ganha à vida fazendo entregas para pessoas estranhas, com motivações igualmente estranhas. Um dia, ele é recrutado por Raven, uma mulher misteriosa que lhe entrega um pacote e o faz cruzar um deserto repleto de incontáveis perigos escondidos. O principal deles é um grupo de saqueadores loucos e que geralmente dirigem os veículos modificados que se tornam verdadeiras máquinas de guerra. Dentro deste cenário, John Doe acidentalmente acaba conhecendo Quiet e ela acaba se tornando sua amiga.

A improvável amizade dos dois vai ganhando cada vez mais força à medida em que os dez episódios vão trazendo mais elementos agregadores, mas é justamente no desenvolvimento da trama que as coisas vão ficando cada vez piores. Os argumentos escolhidos pela equipe de roteiristas para construir esta série de televisão são muito desconexos, além de serem também muito cartunescos, anulando todo e qualquer sentido de urgência que poderia ter ganhado um espaço bem importante dentro de cada episódio. Todo o potencial é literalmente desperdiçado com bastantes aleatoriedades.

O tom cômico é extremamente exagerado, e os episódios apostam exageradamente na construção de situações ruins com um péssimo desenvolvimento da maioria dos seus personagens. Neste ponto a exceção fica por conta da dupla John Doe e Quiet, que apesar de não terem absolutamente nenhuma química na tela (mostrando que Anthony Mackie e Stephanie Beatriz deveriam ter trabalhado em núcleos separados), individualmente conseguem criar alguns tipos de arcos dramáticos para sustentar toda à narrativa. No entanto, é incrível ver como toda esta série de televisão é confusa.

Confusa não pela complexidade de seus argumentos (porque tudo é muito óbvio desde o seu início), mas sim, porque há uma indecisão dos roteiristas em saber qual seria o direcionamento mais adequado para pavimentar as situações e o reflexo delas em situações seguintes. A tentativa de misturar drama e comédia é totalmente falha, porque não existe nenhum tipo de balanceamento ou o mínimo de credibilidade que sustente esta decisão. Em alguns momentos, tudo funciona de maneira singular, como se os personagens não dependessem uns dos outros para construir todo o roteiro.

Em meio algumas boas (e às vezes criativas) cenas de ação, o projeto se mostra bastante limitado também na questão orçamentária porque a precariedade dos efeitos digitais ou práticos em alguns momentos é totalmente decepcionante. Mesmo assim, nestes momentos mais explosivos, o roteiro consegue entregar um bom entretenimento porque é neste momento que a série de televisão consegue evocar o sentimento de nostalgia que deveria estar aliado a adaptação do jogo desde o primeiro episódio (primariamente isto até acontece, mas logo depois tudo é propositalmente esquecido).

Há poucas semelhanças entre o roteiro deste projeto e o que é visto nos jogos. Em alguns momentos é preciso fazer um esforço extra não apensa para assistir aos episódios (que tem menos de 30 minutos cada, mas parecem ser muito mais longos por serem majoritariamente entediantes), mas principalmente para tentar notar as referências que estão espalhadas em determinadas cenas. Em outras palavras, eu acho que se esta série de televisão tivesse qualquer outro título, provavelmente ninguém se importaria tanto com ela a ponto dela ter sido confirmada para próxima temporada.

Apostando também em aspecto gráfico mais violento (geralmente nas cenas de lutas físicas), Twisted Metal mostra de maneira evidente que tinha potencial para ser um projeto muito melhor, e depois do que acontece no último episódio, ironicamente o roteiro consegue criar uma ponte totalmente inesperada que conecta esta temporada com a próxima. O caminho está aberto para mais imersão, mais batalhas, mais explosões, mais lutas, mais nostalgia e principalmente, para um surgimento de melhores tramas, de melhores personagens e mais complexidade no desenvolvimento de tudo.

There is a Mini Series coming up that I'm very excited about, Shogun (2024) a historical drama series based on the 1975 novel by James Clavell. The story sets in the 17th century and is narrated in third person from the perspective of a British hero John Blackhorne, since this is an adaptation I wanted to bring up as many technical details to compare if at least the data that I could get around internet will be on the series. John Blackhorne was a sailor who got to Japan latter on capture and goes all the way to the ranks of Samurai, I also search if this series had anything to do with a similar story movie The Last Samurai from 2003 but it doesn't, they are similar although different stories. Blackhorne wrecked his boat and ends up in Japan knowing nothing about the place, the culture, the language. In the series we will see how he becomes part of the men who work for Lord Toranaga, a Japanese leader a Daimyo; I suspect this is the group that initially capture him. Shogun (2024) premier internationally on Disney+ and Star+ in Latin America on February 27, 2024.

Shogun (2024) explores the savage war of two ambitious men Yoshii Toranga and Ishido Kazunari both compiting for the place of Shogun, on the other side of the story we have John Blackhorne played by Cosmo Jarvis who goes up the latter from outsider to samurai is the core of the story and on the other side there is Japanese leader Lord Toranaga, played by the great Hiroyuki Sanada, well known for many interesting roles in others movies very recent John Wick Chapter 4 as Shimazu. In the middle of all this its mention that there also a misterious female samurai although not something that is brought during the trailers, yes more than one trailer has been put out and last week there was the final, the most vicious out of all, this series has a lot of blood and decapitation happen on every corner so not a series to let the kids watch.

This Mini Series with ten episodes was directed by a talent team of well known directors including Frederick E.O. Toye, Jonathan van Tulleken, Charlotte Brändström, Takeshi Fukunaga, Hiromi Kamata, and Emmanuel Osei-Kuffour, film in British Columbia.

Frederick E.O. Toye is a well-known director for his work on The Boys (2019), Watchmen (2019), and The Terminal List (2022). Jonathan van Tulleken has directed episodes for Snowpiercer (2020) and The Alienist (2018). Charlotte Brandstrom is recognized for her work on The Witcher (2019) and Outlander (2014). Takeshi Fukunaga is known for Ainu Mosir (2020) and Out of My Hand (2015). Hiromi Kamata has directed Selena: The Series (2020) and La Piloto (2017). Lastly, Emmanuel Osei Kuffour is known for Black Box (2020) and Born with It (2013). All of these directors have made significant contributions to the movie and television industry, some more famous or known by the average viewer like me.

Through the trailer we can see the close to perfect job that directors and production did that will transport you to the old Japan, we can see how armies with hundred of men group together all dress with their military armor ready to fight for their honor and leader, that's all it existed for a Samurai.

The ensemble cast of Shogun shines bright, with Hiroyuki Sanada’s playing the role of Lord Yoshii Toranaga standing out as a commanding presence on screen. Sanada’s extensive experience in Hollywood productions, including The Last Samurai and Mortal Kombat, brings autority and authenticity to his character. His role as Toranaga plays a wise and powerful daimyo captivates audiences, drawing them deeper into the political scenario around the old Japan and its strict ways.

Cosmo Jarvis roles out in the complex journey of John Blackthorne with character and intencity. His previous work in Persuasion shows his talent for playing a complex character, making him a potential perfect fit for the role of the English sailor turned samurai. Jarvis’s role as Blackthorne’s transformation from outsider to respected warrior is a prove enough during the series as a talented actor, similar to what Tom Cruise accomplis during The Last Samurai.

Anna Sawai’s playing the role of Lady Mariko adds more context and drama to the story, bringing a sense of grace and strength to the character. Known for her role in Pachinko, Sawai’s performance will be a very familiar one for viewers. Her chemistry with Cosmo Jarvis’s Blackthorne adds an emotional interaction during the series, making possible to transmit all the drama, romance and passion during the story as they fall in love during the series.

Takehiro Hira plays the role of Ishido Kazunari, he is the Daimyo who is at war with Lord Yoshii Toranga, a well known actor in Japanese theatre, movies, and TV shows. He's been in several movies by Takashi Miike, like Hara-Kiri: Death of a Samurai, Ace Attorney, and Aku no Kyoten. Hira starred in the 2019 British TV series Giri/Haji and had important roles in American movies like Lost Girls & Love Hotels (2020) and Snake Eyes (2021), most recently we saw him in MONARCH: Legacy of Monsters playing Hiroshi Randa.

As other productions Shogun (2024) faced a fair amount of delays and challenges, initial delays during the production impacted by COVID-19 pandemic, there are now days movies and series that take years to develop and just very recently releasing. The initial photography for the series was schedule to start on March 2019 in Japan and United Kingdom but it was delayed because the network felt that the production wasn’t in good enough shape and that they wanted to aim higher, added to this situation latter on there were also the travel restrictions due to the pandemic. Finaly the shooting of the series eventually began on September 22, 2021, and continued for nine months, wrapping up on June 28, 2023.

We have seen how delicate is to make content about cultures and their heritage, this usually gets a lot of backlash to the point of even banning movies and TV series on certain countries, initially there were concerns raised about the original Shogun series in 1980, which was criticized by the Japanese because it was produced by a Western-based production company but that was some time ago and I doubt it would affect in this case. I took about five years for this series to conclude its filming and production to finally release on 2024.

Similar to The Last Samurai, although different on its own way, Shogun (2024) seem to go deep into the Samurai tradition, this is me talking about it as a regular viewer without known anything specifically to this topic, as always I'm interested to watch this series for pure entertainment. There is always backlash on any adaptation and this series should not be taken as textual knowledge of Japanese culture in any way.

With ten episodes, I would assume more than 45 minutes each I think this is the perfect length for a mini series giving it enough time to develop the story, same as I many are going to be attracted to this series only and because of Hiroyki Sanada, we have seen him shine in many other movies like Avengers Endgame, Mortal Kombat, Bullet Train and most recent John Wick, but this time watching him on a full blown Samurai armor, Im sold!! Sing me up I'm in.

Small concern would be the streaming tier platform releasing this series, that is Hulu, not known for the best series out there, similar case when you watch something streaming on Peacock not necessarily the best but looks like they really took their time to do things right.

As for what I expect is a war between two men, who fight for the right to be Shogun, based on some online research it was a term used in Japan that refers to the military dictators from 1185 and 1868, based on this fact I expect just that a lot of show off power, we see that on the trailers.

This is a series I will be covering, after moving into a more informative role I will be covering episode by episode only those that really spark my interest, Monday I have schedule to start with Masters of The Air Episode 1.

From prostitute to the highest rank of drug trafficker, Colombian Griselda Blanco managed to become one of the most respected names within the world of drugs, being responsible for creating one of the most organized and profitable drug cartels in the world. In this new Netflix miniseries, the “godmother” of the Medellín Cartel has her story told from the time when she was just the wife of an influential drug lord and mother of three children to another reality.

At two episodes (out of a total of six), I believe this project has a lot of potential, but I'm missing more boldness in the script. Perhaps because the plot is limited to just a few episodes, there is no opportunity to create more rooted scenarios with other more challenging elements that bring more complexity to what on paper may even be more interesting, but on the screen, reflects a more complex work. conventional, but correct and punctual.

TechTudo

Sofía Vergara builds a relatively complex character, but this (at least until now) does not have the necessary impact due to limited development. In practically every situation in which she is involved, the solutions to the dilemmas she faces (directly or indirectly) tend to be resolved very easily, nullifying the possible very complex and dangerous layers of a protagonist who should be more cruel (to say the least).

Technically the project has many positive points. The art direction manages to recreate scenarios very faithful to what was seen during the 70s and 80s, both visually and in terms of the soundtrack (which is embraced by many classics from the respective eras at specific moments throughout the plot). Furthermore, the work done with its photography, costumes and makeup also deserves a good highlight (and all of this can be much better).

Financial Times

Andrés Baiz is responsible for directing, and despite the good work he has been doing, it is clear that he is not as efficient when dealing with more intricate situations that require more visceral depth to create more attractive scenarios. The narrative thread of the plot is great, but it is limiting many things to a conclusion that is often too convenient to the point of becoming predictable. Baiz has to feed more into the real complexity of the plot.

Considering Mrs. Blanco's real story, I think that Griselda, as a project based on real events, becomes very simple by opting for the easiest decisions in the script, when in fact it should bring much more astute and urgent elements to more faithfully portray the facts on which much is based. Furthermore, it also increases your sense of urgency in relation to “higher order” dangers that involve many other characters.

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Primeras impresiones sobre Griselda.

De prostituta a narcotraficante de alto rango, la colombiana Griselda Blanco logró convertirse en uno de los nombres más respetados dentro del mundo de la droga, siendo la responsable de crear uno de los cárteles de la droga más organizados y rentables del mundo. En esta nueva miniserie de Netflix, la “madrina” del Cartel de Medellín cuenta su historia desde el momento en que era solo esposa de un influyente narcotraficante y madre de tres hijos hasta otra realidad.

Con dos episodios (de un total de seis), creo que este proyecto tiene mucho potencial, pero me falta más audacia en el guión. Quizás porque la trama se limita a unos pocos episodios, no hay oportunidad de crear escenarios más arraigados con otros elementos más desafiantes que aporten más complejidad a lo que sobre el papel puede resultar incluso más interesante, pero que en la pantalla refleja una obra más convencional, pero correcto y puntual.

Sofía Vergara construye un personaje relativamente complejo, pero este (al menos hasta ahora) no tiene el impacto necesario debido al limitado desarrollo. Prácticamente en todas las situaciones en las que se ve envuelta, las soluciones a los dilemas a los que se enfrenta (directa o indirectamente) suelen resolverse con mucha facilidad, anulando las posibles capas muy complejas y peligrosas de un protagonista que debería ser más cruel (por dicer lo menos).

Técnicamente el proyecto tiene muchos puntos positivos. La dirección de arte consigue recrear escenarios muy fieles a lo visto durante los años 70 y 80, tanto a nivel visual como a nivel sonoro (que es abrazado por muchos clásicos de las respectivas épocas en momentos puntuales de la trama). Además, el trabajo realizado con la fotografia, vestuario y maquillaje también merece un buen destacado (y todo ello puede ser mucho mejor).

Andrés Baiz es el encargado de dirigir, y a pesar del buen trabajo que viene haciendo, está claro que no es tan eficiente a la hora de afrontar situaciones más intrincadas que requieren más profundidad visceral para crear escenarios más atractivos. El hilo narrativo de la trama es genial, pero va limitando muchas cosas a una conclusión muchas veces demasiado conveniente hasta el punto de volverse predecible. Baiz tiene que alimentar más la complejidad real de la trama.

Considerando la historia real de la señora Blanco, creo que Griselda, como proyecto basado en hechos reales, se vuelve muy simple al optar por las decisiones más fáciles del guión, cuando en realidad debería traer elementos mucho más astutos y urgentes para retratar más fielmente la hechos en los que se basa mucho. Además, también aumenta tu sentido de urgencia en relación con peligros de “orden superior” que involucran a muchos otros personajes.

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Primeiras impressões sobre Griselda.

De prostituta até o posto máximo de narcotraficante, a colombiana Griselda Blanco conseguiu se tornar um dos nomes mais respeitados dentro do universo das drogas, sendo responsável por criar um dos cartéis de drogas mais organizados e lucrativos do mundo. Nesta nova minissérie da Netflix, a “madrinha” do Cartel de Medellín tem à sua história contada desde à época em que ela era apenas a esposa de um traficante influente e mãe de três filhos até uma outra realidade.

Em dois episódios (de um total de seis), eu acredito que este projeto tem muito potencial, mas estou sentindo falta de mais ousadia no roteiro. Talvez pelo fato da trama ser limitada a apenas poucos episódios, não haja a oportunidade de criar cenários mais enraizados com outros elementos mais desafiadores que tragam mais complexidade para o que no papel pode até ser mais interessante, mas que na tela, reflete um trabalho mais convencional, porém correto e pontual.

Sofía Vergara constrói uma personagem relativamente complexa, mas isto (pelo menos até este momento) não tem o impacto necessário por causa de um desenvolvimento limitado. Em praticamente todas as situações nas quais ela está envolvida, às soluções para os dilemas que ela enfrenta (diretamente ou indiretamente) costumam ser resolvidos bem facilmente, anulando as possíveis camadas bem complexas e perigosas de uma protagonista que deveria ser mais cruel (para dizer o mínimo).

Tecnicamente o projeto tem muitos pontos positivos. A direção de arte consegue recriar cenários bem fiéis ao que são vistos durante às décadas de 70 e 80, tanto visualmente quando na questão que envolve a trilha sonora (que é abraçada por muitos clássicos das respectivas épocas em momentos específicos ao longo da trama). Além disso, o trabalho que é feito com a fotografia, ofigurino e maquiagem merece um bom destaque (e tudo isso ainda pode melhor bastante).

Andrés Baiz é o responsável pela direção, e apesar do bom trabalho que ele vem fazendo, está evidente que ele não é tão eficiente ao lidar com situações mais intricadas e que exigem um aprofundamento mais visceral para criar cenários mais atrativos. O fio narrativo da trama é ótimo, mas ele está limitando muitas coisas a uma conclusão que por muitas vezes é conveniente demais a ponto de se tornar previsível. Baiz tem que alimentar mais a complexidade real da trama.

Considerando a história real da senhora Blanco, eu acho que Griselda enquanto um projeto baseado em fatos reais, se torna muito simples por optar pelas decisões mais fáceis no roteiro, quando na verdade deveria trazer elementos bem mais astutos e urgentes para retratar com mais fidelidade os fatos no qual muita coisa é baseada. Além disso, aumentar também o seu senso de urgência em relação aos perigos de “ordem maior” e que abraçam muitos outros personagens.

Hola de nuevo, hoy vengo a hablarles de una miniserie que actualmente se encuentra en la plataforma de Netflix llamada "Griselda" basada en la vida de la narcotraficante mas malvada en la década de los 70's - 80's.

Como ya sabemos Colombia y México han sido cuna de los más grandes narcotraficantes de los últimos tiempos como son Griselda Blanco, Pablo Escobar, El Chapo Guzmán, Amado carrillo entre otros, pienso que saber un poco de su historia es necesario ya que forman parte de la cultura general.

Griselda es una miniserie producida y protagonizada por Sofia Vergara, con otros buenos y reconocidos actores, nominada al Emmy y al Globo de Oro, consta de 6 capítulos de aproximadamente una hora, en la que cuenta la historia de Griselda Blanco, su inicio en el narcotráfico, su vida en ese oscuro mundo y su final.

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Hello again, today I come to talk about a miniseries that is currently on the Netflix platform called "Griselda" based on the life of the most evil drug dealer in the decade of the 70's - 80's.

As we already know Colombia and Mexico have been the cradle of the biggest drug traffickers of recent times such as Griselda Blanco, Pablo Escobar, El Chapo Guzman, Amado Carrillo among others, I think knowing a little of their history is necessary as they are part of the general culture.

Griselda is a miniseries produced and starred by Sofia Vergara, with other good and recognized actors, nominated for Emmy and Golden Globe, consists of 6 chapters of about an hour, which tells the story of Griselda Blanco, his start in drug trafficking, his life in that dark world and its end.

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Era una mujer adelantada a su época ya que no tuvo límites por el hecho de ser mujer, pero ojo, no estoy diciendo que las mujeres tengamos que dedicarnos al narcotráfico, lo que si le aplaudo es su determinación para hacer las cosas, conseguir sus metas, ampliar sus horizontes, pero ella fue más allá, ella se perdió en el medio, en el dinero, el poder, las drogas y en todo lo que representaba.

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She was a woman ahead of her time because she had no limits just because she was a woman, but I am not saying that women have to dedicate themselves to drug trafficking, what I do applaud is her determination to do things, achieve her goals, expand her horizons, but she went beyond that, she got lost in the middle, in the money, the power, the drugs and everything it represented.

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La verdad es que la serie romantiza mucho el hecho de que Griselda era mujer y madre, y que le pesaba matar, no muestra los sucesos tal como fueron, ya que en la realidad según entrevistas documentadas, ella era malvada y no le importaba matar a quien sea o darles ese ejemplo a sus hijos, al fin y al cabo ella los inició en ese mundo al cual se dedicarían y por el que morirían.

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The truth is that the series romanticizes a lot the fact that Griselda was a woman and a mother, and that it weighed on her to kill, it does not show the events as they were, since in reality according to documented interviews, she was evil and did not care about killing anyone or giving that example to her children, after all she initiated them in that world to which they would dedicate themselves and for which they would die.

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Ciertamente no viví en esa época, pero por lo que vi, la serie se ubicó bien en tiempo y espacio, estuvo bien ambientada, la ropa que utilizaron, la música, etc., te transportaban a aquellos días en que brillo como la Madrina.

Les he de ser sincera, no soy fan de Sofía Vergara, pero en esta ocasión demostró que no solo es un buen cuerpo, se metió en su papel de Griselda Blanco cosa que se agradece, y que decir de Alberto Guerra como Darío y Martín Rodríguez como Rivi, son los personajes que me engancharon más.

Espero no se hayan aburrido con mi recomendación y se den un tiempito para verla, vale la pena además que son pocos capítulos, nos vemos pronto estaré leyendo sus comentarios y gustosa los contestaré.

Saludos.

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I certainly did not live in that era, but from what I saw, the series was well placed in time and space, it was well set, the clothes they used, the music, etc., transported you to those days when she shined as the Godmother.

I have to be honest, I am not a fan of Sofia Vergara, but this time she showed that she is not only a good body, she got into her role as Griselda Blanco which is appreciated, and what to say about Alberto Guerra as Dario and Martin Rodriguez as Rivi, they are the characters that hooked me the most.

I hope you didn't get bored with my recommendation and take a little time to watch it, it's worth it, besides it's only a few chapters, see you soon, I'll be reading your comments and I'll be glad to answer them.

Greetings.

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Portada realizada en canva con imagen tomada de https://www.netflix.com/tudum/articles/sofia-vergara-griselda-release-date y traducido con DeepL translate

Cover made in canva with image taken from https://www.netflix.com/tudum/articles/sofia-vergara-griselda-release-date and translated with DeepL translate

The Porduction of Ferrari (2023) was not an easy ride, they were trying to bring to life once again a complex man, an icon of the racing world like it was Enzo Ferrari, not only himself but everything around him including his tumultuous life navigating through his financial and love struggles, the journey from script to the screen must have not been easy. Under the guidance of director Michael Mann, the cast and crew was able to deliver a very ambitious project, its not easy task for anyone take the life of such great man like Enzo Ferrari and fit it on 2 hour movie.

Many seem to be disappointed by the movie as they were expecting way more from director Michael Mann, actors like Adam Driver and Penelope Cruz, but they were mostly disappointed probably because it was not about racing, the cars or the factory, had very little to do with the Brand as they skip details that have been mention on many other movies or documentaries, Ferrari (2023) was more about the man, the icon Enzo Ferrari and his struggles at a personal level, the trust he had on his wife who despite their personal relationship problems never left him behind it is why probably many will give a low score to this film.

The movie focus of  Enzo's relationship with his wife, Laura Ferrari, played by the great actress Penélope Cruz. Their marriage is rocked by tragedy following the death of their son, Dino, a year prior to the events of the movie. Dino's passing, due to muscular dystrophy, casts a shadow over the Ferrari family, creating a constant drama scenario ever time the topic comes up although not explain in details during the movie, many viewers and fans have criticize this part of the movie that should have brought more context into it. Enzo and Laura's grief gets in between their relationship, revealing certain vulnerability beneath Enzo's exterior personality.

Taking in consideration the responsibilities, passion and grief Enzo was going through, the movie explores his complicated relationship with his mistress, Lina Lardi played by Shailene Woodley, Lina finds herself in the middle of Enzo's already complicated world between racing and his family, not that she was not aware because her position was very clear during the movie, bringing a spike of intensity to his already broken family after Dino's death, after all Enzo describe it himself that it was the spark that got him running again, trying to build that legacy and have some one to pass the torch too, something that Laura constantly remind him before and after finding out of his mistress, she gave him a son, he had a son, yet she understood he needed a son.

Beyond the complexity of his personal relationships, Ferrari expose Enzo's financial struggles as he chase success in the terrain of the automotive industry, specially as a sports car manufacture, "We build cars so we can go racing"; while other manufactures wanted to build cars as a business he only did it so he can cover the costs of his racing division. The movie constantly put the spotlight on the pressures faced by Ferrari S.p.A. from the economic side and also fierce competitors like Maserati, but it was well known for anyone who have heard about Enzo that he would never quit despite any kind of financial circumstances it as all about his relentless pursuit of racing glory. Several times he was force to get financial assistance from other manufactures, it was slightly mention but for those who saw the movie Ford vs Ferrari (2019), in 1960 Ferrari was in negotiation with Ford but they never close a deal, comes in Fiat who bought 50% of Ferrari company that lead to full control in 1988 but kept the brand Ferrari alive.

Adam Driver, well known for his role of Kylo Ren in the Star Wars saga, takes the wheel as the controversial Enzo Ferrari. Driver's journey from the galaxy to the racing circuits of Italy is an achievement to his versatility as an actor, with a resume that includes acclaimed performances in movies like Marriage Story and BlacKkKlansman, Driver brings character and intensity to the role of Ferrari that is nothing short of remembering for.

Penélope Cruz known for her charismatic but at the same time though look and emotions on screen plays the role of Laura Ferrari, Enzo's devoted wife in the middle of a mix feelings between a heartbreak story and her strengh as her complex role between love and duty, her love for her son Dino and his husband Enzo but also her duty for the legarcy of Ferrari Family. Penélope Cruz has capture the audience many times before specially in her role as Maria Elena in the movie Vicky Cristina Barcelona whe she got an Academy Award for her supporting role.

The cast of Ferrari really brings the story to life. Each actor adds character and emotion to their character. From Shailene Woodley's moving playing the role of a woman caught in the middle of it all to Jack O'Connell's tough performance as a young racing talent, everyone delivers their best. Sarah Gadon, who's been in some of David Cronenberg's movies, Gabriel Leone as Alonso Portago, who's making a name for himself in Brazil, and Patrick Dempsey, famous for his role in Grey's Anatomy, all gave us great performances that you won't forget.

Michael Mann, the great director behind Ferrari (2023) is a master at taking the wheel with a carrer that expands through many hits delivering films that are very familiar to all kind of audience around the world, he started with Thief (1981) an action crime drama, right after move in to Manhunter (1986) moving on to more modern productions but still characterized by their intense realism, complex characters, and provoking themes, some of the films under his belt Ford v Ferrari (2019), The Kingdom (2007), Collateral (2004), The Aviator (2004), a canvas of multiple scenarios and stages that knows no bounds bringing to life all this different exceptional scripts managing a wide range of star casts.

Now days movies are way far from what is real, how things really happen, its very rare that we get those frecuently. Movie Studios are a business and their products are movies that sell entertaiment, should and is their main target because that is what sells tickets at the box office so expecting a movie to be close to reality is fooling ourself. Ferrari might be cutting corners but if you pay close attention to it the intentions of the movie from the start was never to explain or bring in how the Ferrar brand was forge but how it was kept alive starting from house Ferrari, the family, how it sustain itself even after so many troubles at home and at the track, between scandals at the race track, financial troubles and a wife that always knew her duty to the brand. This movie is probably not even about Enzo himself but all the problems he had and the complexity of his life been such an icon in racing since this early stages on the sport.

The long awaited second film by actress and filmmaker Emerald Fennell. After her success with Promising Young Woman, many of us were eager to see her new film. Fennell assembles a solid cast to imbue it with her style. Psychological drama, some thriller and, of course, black humor.

When a first work is liked, comes the litmus test for the director. To be at the same level or to surpass himself. This is what viewers expect, but it doesn't always work out that way. Saltburn maintains that weirdness that was latent in Promising Young Woman, but suffers from the same defects as that film.

It should be noted that the story is implausible. It's best not to take the story too seriously. One thing I had criticized negatively in Promising Young Woman, was the whole uncritical part. In Saltburn the same thing happens, but in a more intense, more exaggerated way. Besides being implausible, it is at the same time predictable. The plot is not only reminiscent of several works already seen. No need to name them, you will realize it when you see it. Surely the filmmaker has been influenced not only by literature, but also by the big screen adaptations of those works.

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La esperada segunda película de la actriz y cineasta Emerald Fennell. Tras su éxito con Promising Young Woman, muchos deseábamos ver su nueva película. Fennell reúne un sólido reparto para impregnarla de su estilo. Drama psicológico, algo de thriller y, por supuesto, humor negro.

Cuando una primera obra gusta, llega la prueba de fuego para el director. Estar al mismo nivel o superarse. Es lo que esperan los espectadores. no siempre resulta así. Saltburn mantiene esa rareza que estaba latente en Promising Young Woman, pero adolece de los mismos defectos que aquella película.

Hay que tener en cuenta que la historia es inverosímil. Es mejor no tomarse la historia demasiado en serio. Algo que había criticado negativamente en Promising Young Woman, era toda la parte poco crieble. En Saltburn ocurre lo mismo, pero de una forma más intensa, más exagerada. Además de inverosímil, es al mismo tiempo previsible. La trama no sólo recuerda a varias obras ya vistas. No hace falta nombrarlas, te darás cuenta cuando la veas. Seguramente el cineasta se ha visto influenciado no sólo por la literatura, sino también por las adaptaciones a la gran pantalla de esas obras.

Are you thinking I didn't like it? No. On the contrary, I liked the film. I watched it late, I was afraid I would fall asleep because I was physically tired, but I didn't. I couldn't take my eyes off the screen. I couldn't take my eyes off the screen. Regardless of the fact that I could predict the things that were going to happen, we must recognize the extraordinary aesthetic work of the film.

Undoubtedly, much praise goes to Fennell, but we must not forget that filmmaking is a team effort. The haunting atmosphere of Saltburn is also due to the work of Swedish director Linus Sandgren. Who is he? He is the cinematographer, whose previous work seduced me. Linus has worked in the past with Damien Chazelle. In La La Land and in that great film that was ignored by the academy last year: Babylon. If you think this is not enough, he has also been in charge of the photography of Don't Look Up and American Hustle, films that also fascinated me.

The visual aspect is very remarkable and thanks to this the film makes up for its shortcomings in terms of plot solidity. The other strong point is the performances. Fennell has a lot of merit in this. She is an actress and knows how to get the best out of each one of them.

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¿Estás pensando que no me gustó? No. Al contrario, me gustó la película. La vi tarde, tenía miedo de dormirme porque estaba cansada físicamente, pero no fue así. No podía apartar los ojos de la pantalla. Independientemente de que podía predecir las cosas que iban a pasar, hay que reconocer el extraordinario trabajo estético de la película.

Sin duda, muchos elogios son para Fennell, pero no debemos olvidar que el cine es un trabajo de equipo. La inquietante atmósfera de Saltburn se debe también al trabajo del director sueco Linus Sandgren. ¿Quién es? Es el director de fotografía, cuyo trabajo anterior me sedujo. Linus ha trabajado en el pasado con Damien Chazelle. En La La Land y en esa gran película que fue ignorada por la academia el año pasado: Babylon. Si esto te parece poco, también se ha encargado de la fotografía de No mires hacia arriba y American Hustle, películas que igualmente me fascinaron.

El aspecto visual es muy destacable y gracias a ello la película compensa sus carencias en cuanto a solidez argumental. El otro punto fuerte son las interpretaciones. En esto tiene mucho mérito Fennell. Es actriz y sabe sacar lo mejor de cada uno de ellos.

While I definitely don't agree with millions of people's completely misperception about movies being just products that function as pure entertainment, I recognize that yes, movies are products made for the vast majority of their purpose, but there is much more to it than that (something that only those who really appreciate movies can see and feel more clearly). The movie market is no longer the same, but it is “getting worse”.

When I refer to this worsening, I want to refer specifically to the fact that many projects are made with the wrong purposes and promoted in increasingly disastrous ways (for example, poorly edited trailers and other promotional materials that are increasingly expository). Furthermore, there is also the presence of the public itself (which is the final consumer of products), an extra weight on the scale that a movie can weigh even before its release.

The investigative persona that part of the public develops ends up spoiling surprises, just as the judgment and cancellation of ideas about movies in development end up modifying projects (or even canceling what was still only on paper). The power of the internet through speeches organized through platforms with strong media appeal is increasing, so it is clearly visible to see an active voice from the public that shouts loudly.

I think this current scenario is so sad for those who really appreciate cinema in its essence, and worse than that is feeling helpless in the face of all these distorted views and actions about what movies really are. The collective judgment on concepts, ideas and thoughts built on projects that are often still in their development phase is often brutal, and it is terrible to see that the jury responsible for passing sentences is so ineffective.

Anyway, I hope that in the not too distant future cinema and movies will be seen more faithfully by the public, just as I also hope for an effective change by studios regarding their marketing strategies. Maybe it's a bit of utopia on my part to believe and hope for this, but for a true fan of this art, losing this hope is something I can't do because I believe in changing more promising cycles.

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Asesinos de películas.

Si bien definitivamente no estoy de acuerdo con la percepción completamente errónea de millones de personas acerca de que las películas son solo productos que funcionan como puro entretenimiento, reconozco que sí, las películas son productos hechos para la gran mayoría de sus propósitos, pero hay mucho más que eso. (algo que sólo aquellos que realmente aprecian las películas pueden ver y sentir con mayor claridad). El mercado cinematográfico ya no es el mismo, pero está “empeorando”.

Cuando me refiero a este empeoramiento, quiero referirme específicamente al hecho de que muchos proyectos se realizan con propósitos equivocados y se promocionan de maneras cada vez más desastrosas (por ejemplo, trailers mal editados y otros materiales promocionales que son cada vez más expositivos). Además, está también la presencia del propio público (que es el consumidor final de los productos), un peso extra en la balanza que una película puede pesar incluso antes de su estreno.

La personalidad investigadora que desarrolla una parte del público acaba estropeando sorpresas, del mismo modo que el juicio y la cancelación de ideas sobre películas en desarrollo acaban modificando proyectos (o incluso cancelando lo que aún estaba sólo en el papel). El poder de internet a través de discursos organizados a través de plataformas con fuerte atractivo mediático es cada vez mayor, por lo que es claramente visible ver una voz activa del público que grita fuerte.

Creo que este escenario actual es muy triste para aquellos que realmente aprecian el cine en su esencia, y peor que eso es sentirse impotente ante todas estas opiniones y acciones distorsionadas sobre lo que realmente son las películas. El juicio colectivo sobre conceptos, ideas y pensamientos construidos sobre proyectos que muchas veces todavía están en fase de desarrollo es a menudo brutal, y es terrible comprobar que el jurado encargado de dictar sentencias sea tan ineficaz.

De todos modos, espero que en un futuro no muy lejano el cine y las películas sean vistos más fielmente por el público, así como también espero un cambio efectivo por parte de los estudios en sus estrategias de marketing. Tal vez sea un poco utópico de mi parte creer y esperar esto, pero para un verdadero fanático de este arte, perder esta esperanza es algo que no puedo hacer porque creo en cambiar ciclos más prometedores.

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Assassinos de filmes.

Embora eu definitivamente não concorde com a percepção totalmente equivocada de milhões de pessoas sobre filmes serem apenas produtos que funcionam como puro entretenimento, eu reconheço que sim, filmes são produtos feitos em sua grande maioria como esta finalidade, mas há muito além disso (algo que apenas quem realmente aprecia filmes consegue enxergar e sentir com mais clareza). O mercado cinematográfico já não é mais o mesmo, mas está “piorando”.

Quando eu me refiro a esta piora, eu quero me referir especificamente ao fato de muitos projetos serem feitos com as finalidades erradas e promovidos de maneiras cada vez mais desastrosas (como por exemplos, os trailers mal editados e os demais materiais promocionais cada vez mais expositivos). Além disso, há também a presença do próprio público (que é o consumidor final de produtos), um peso extra na balança que pode um filme antes mesmo do seu lançamento.

A persona investigativa que uma parte do público desenvolve acaba estragando surpresas, assim como o julgamento e cancelamento de ideias sobre filmes em desenvolvimento acabam modificando projetos (ou até mesmo cancelando o que ainda estava apenas no papel). O poder da internet através dos discursos organizados através de plataformas com forte apelo midiático é cada vez maior, sendo assim, é bem visível perceber uma voz atuante do público que grita alto.

Eu acho este cenário atual tão triste para quem realmente aprecia o cinema na sua essência, e pior do que isso é sentir uma impotência diante de todas estas visões e ações deturpadas sobre o que na verdade são os filmes. O julgamento coletivo sobre conceitos, ideias e pensamentos construídos em projetos que muitas vezes ainda estão em sua fase de desenvolvimento costuma ser brutal, e é terrível que ver que o júri responsável por proferir as sentenças é tão ineficaz.

Enfim, eu espero que em um futuro não muito distante o cinema e os filmes sejam vistos com mais fidelidade por parte do público, assim como também espero por uma mudança efetiva dos estúdios sobre as suas estratégias de marketing. Talvez seja um pouco de utopia da minha parte acreditar e esperar por isso, mas para um verdadeiro apreciador desta arte, perder esta esperança é algo que eu não consigo fazer porque eu acredito na mudança de ciclos mais promissores.

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¡Hola amigos! Hoy me pasó por acá para traerles mi opinión sobre está nueva precuela de nuestro chocolatero excéntrico favorito: Wonka. 

Hello friends! Today I stopped by to bring you my opinion about this new prequel of our favorite eccentric chocolatier: Wonka.

Trama - Plot

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En esta película de estilo musical conoceremos a un joven Willy Wonka con muchos sueños y a todos los ayudantes que va adquiriendo en su camino para lograr su meta mayor que es abrir su propia chocolatería en el lugar que se madre le dijo que vendían los mejores chocolates del mundo. Pero muy pronto se da cuenta de que nada es tan sencillo y tendrá que ganarse su lugar y renombre mientras la competencia se alía para destruirlo. 

In this musical style movie we will meet a young Willy Wonka with many dreams and all the helpers he acquires on his way to achieve his greatest goal, which is to open his own chocolate shop in the place where his mother told him they sold the best chocolates in the world. But he soon realizes that nothing is that simple and he will have to earn his place and reputation while the competition allies to destroy him.

Reseña - Review

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Antes que nada debo reconocer que no le tenía tanta fe a Timothée Chalamet para este papel, ya que no es nada fácil llenar las expectativas del exitoso personaje que fue interpretado por Johnny Deep en la versión de Charlie y la fábrica de chocolates de Tim Burton. Sin embargo, esta precuela guarda más relación con la primera versión de aquella. Además creo que le quedó muy bien el papel, me gustó este Wonka juvenil lleno de sueños y con una pizca de picardía infantil. 

First of all, I must admit that I did not have much faith in Timothée Chalamet for this role, since it is not easy to meet the expectations of the successful character played by Johnny Deep in Tim Burton's version of Charlie and the Chocolate Factory. However, this prequel is more related to the first version of that one. I also think the role suited him very well, I liked this youthful Wonka full of dreams and with a hint of childish mischief.

La parte musical también me gustó, ya que disfruto de los musicales y este no fue la excepción, estuvieron muy lindos los números de cantos, la puesta en escena y las letras de las canciones, algunas emotivas y otras divertidas. Sé que no a todos les gustan los musicales, pero les aseguro que vale la pena ver este. No es de lo mejor que vi en cuando a este género, pero se sabe defender.

I also liked the musical part, since I enjoy musicals and this one was no exception, the singing numbers, the staging and the lyrics, some emotional and others funny, were very nice. I know not everyone likes musicals, but I assure you this one is worth seeing. It's not the best I've seen in this genre, but it knows how to defend itself.

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También me resultó entretenida la trama central y los enemigos de pacotilla que tuvo, pero cada uno con su estilo característico que lo hacía destacar. Las actuaciones estuvieron muy bien, con grandes actores en pantalla que siempre es bueno volver a ver. La verdad es que no estaba enterada de quienes actuaban más allá de Timothée, así que fue una gran sorpresa cuando apareció en escena Rowan Atkinson, sus películas sí que me hicieron reír mucho cuando era pequeña, sobre todo las de Mr. Bean.

I also found the central plot and the rogue enemies entertaining, but each with their own characteristic style that made them stand out. The performances were very good, with great actors on screen that are always good to see again. The truth is I wasn't aware of who was acting other than Timothée, so it was a big surprise when Rowan Atkinson came on the scene, his movies really made me laugh when I was little, especially the Mr. Bean ones.

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El tema del Oompa-Loompa sé que fue controvertido, ya que no se parecen en nada a los de Tim Burton que es la película más recordada hasta la fecha sobre este personaje, pero sí que se parecen a los de la vieja versión y en particular a mí me gustó mucho esta personificación por parte de Hugh Grant.

The Oompa-Loompa theme I know was controversial, as they look nothing like Tim Burton's which is the most remembered film to date about this character, but they do look like the old version and I particularly liked this impersonation by Hugh Grant.

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La verdad es que me terminó sorprendiendo para bien esta película, la disfruté mientras duró, me mantuvo atrapada, me pareció entretenida e ideal para pasar un buen rato. Lo único es que se me antojo un montón cada chocolate que aparecía. No la recomiendo si no tienen algo dulce a mano para matar el antojo. Y nos deja un gran mensaje de que no importa el chocolate, lo que importa es con quién lo compartas. Creo que esto resume muchas cosas, ya que lo importante en muchos casos es con quienes compartimos todo aquello que nos gusta y nos hace bien, sin dudas le da un mejor sabor a la vida. 

The truth is that I ended up being surprised by this movie, I enjoyed it while it lasted, it kept me trapped, I found it entertaining and ideal to have a good time. The only thing is that I craved every chocolate that appeared. I don't recommend it if you don't have something sweet on hand to kill the craving. And it leaves a great message that it doesn't matter the chocolate, what matters is who you share it with. I think this sums up many things, since the important thing in many cases is with whom we share everything we like and that is good for us, without a doubt it gives a better taste to life.

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Bueno amigos, hasta acá mi reseña sobre esta genial película. Espero que hayan podido disfrutarla también.  Gracias por leer. ¡Hasta la próxima!

Well friends, so much for my review of this great movie. I hope you enjoyed it too. Thanks for reading. See you next time!

Gil Kenan now director of the new Ghostbusters movie brings a mix of terror and humor, not specifically a horror or terror movie but after all its about ghosts, with the success of Ghostbusters: Afterlife (2021) after I think the franchise has bounce back after the Ghostbusters (2016) female gender version that in reviews scores didn't do bad but lets face it is not an iconic movie for the franchise although more like an experiment that didn't provide the expected results, they have come back with a sequel to its 2021 version keeping the same cast and as most of the rest of Ghostbusters movies brings part of the 1984 original cast with Bill Murray, Ernie Hudson and Dan Aykroyd once again trying to catch a spooky evil entity that has been liberated from its long last cell.

When it comes to blending thrills and laughs, few directors do it better than Gil Kenan. You might not know his name as well as Spielberg or Scorsese not that I'm comparing him, but Kenan’s work on a couple of productions in the world of cinema. Hailing from the UK but making his mark in Hollywood, Kenan burst onto the scene with the animated horror movie Monster House back in 2006. That film might not be the best for audiences online scores but also nabbed Kenan an Oscar nomination for Best Animated Feature.

From there, Kenan’s career only skyrocketed. He step in the realm of adventure with City of Ember before diving headfirst into the spine chilling remake of Poltergeist in 2015 and been honest it had a very poor performance, there are some things in life that can't be replicated.

Kenan co-wrote the supernatural comedy film Ghostbusters: Afterlife in 2021, which is a sequel to the first two films in the Ghostbusters series. After the film’s success, he inked an overall deal with Sony Pictures Entertainment to develop more projects.

Kenan’s journey to the director’s chair wasn’t exactly conventional. Born in London, he moved to Tel Aviv, Israel, when he was just three years old. Then, at the early age of eight, his family packed up and headed for Reseda, Los Angeles. He later studied at the film division of the University of California, Los Angeles, where he honed his craft and earned a Master of Fine Arts degree in animation. For his graduate thesis, he created a 10 minute stop motion/live-action short film, The Lark.

Now, let’s talk about the stars at the screen in Ghostbusters: Frozen Empire. You’ve got your Paul Rudd, Carrie Coon, and Finn Wolfhard, who’ve each left their mark on the big screen in various blockbuster hits. Paul Rudd, known for his comedic charm, takes on a role that’s sure to have audiences in stitches. Carrie Coon, with her captivating presence, brings depth to the Spengler family long lasting saga. And Finn Wolfhard , you might recognize him as the kid from Stranger Things, but this time he is going after the ghosts, well known faces.

Then there’s Mckenna Grace, the rising star who gained recognition for her role as a child prodigy in Gifted (2017) and has also appeared in films like I, Tonya (2017), Troop Zero (2019), and Captain Marvel (2019).

And let’s not forget about the seasoned pros like Annie Potts and Dan Aykroyd, who bring a touch of nostalgia to the mix. Annie Potts is an American film, television, and stage actress known for her roles in popular 1980s films such as Ghostbusters (1984) and Pretty in Pink (1986). Dan Aykroyd, on the other hand, is known for his roles in Ghostbusters (1984), Ghostbusters II (1989), What About Bob? (1991), and Groundhog Day (1993).

As for whether they have worked together before, Paul Rudd and Finn Wolfhard both starred in Ghostbusters: Afterlife (2021). Annie Potts is also known for her roles in the original Ghostbusters series. Dan Aykroyd, a veteran of the Ghostbusters franchise, has also returned for this installment. However, there’s no information available about the rest of the cast working together in the past, so there will be some very well crafted chemistry between this actors, something that brings some structure to the cast.

Ghostbusters: Frozen Empire” isn’t just your average sequel; it’s a next level adventure that’s set to shake things up in the Ghostbusters universe. The iconic New York City firehouse, the original Ghostbusters squad, and a top secret research lab that’s pushing the boundaries of ghost busting.

Throw in an ancient artifact, an evil force threatening to plunge the world into an Ice Age, and you’ve got yourself a recipe for cinematic greatness. It’s a showdown of epic proportions as old meets new, and the fate of the world hangs in the balance.

Now, it wasn’t all smooth sailing for “Ghostbusters: Frozen Empire.” The aftermath of the 2023 actor and writer strikes threw a wrench into Hollywood’s gears, causing delays for many big productions, including this one. When there’s a will, there’s a way. Despite the setbacks, the cast and crew rallied together to bring this adventure to life.

And let’s address the elephant in the room: the villains. The audience from past productions of the franchise have been talking about the franchise’s bad guys feeling a bit stale, its the hardest part to build, after all been the bad guy on a movie or any other production is what brings character to it. Ghostbusters: Frozen Empire is suppose to step it up and bring a new type of ghosts not just your average Marsh Mellow Giant.

From the trailer you can tell how this time they are really mixing up and probably would be the last time that we see the original cast appearing on any of the movies because of their age, Ghostbusters takes it back to the city and mix more technology than before with the use of drones and a high tech lab but before all this happen it seems there were some step backs, the usual as people do not believe on their profession until they need them. The movie from my point of view is set to have a lot of action, some drama mostly the classic one when they are consider a risk for the city and are probably not allow to perform experiments or go after ghosts, comedy needs to be on point because its a key aspect of the franchise.

Frozen Empire looks very cinematic, this frozen tundra style at the city is something that I really like personally on a movie, every time I see this happening on movies like Geostrom or The Day After Tomorrow is something that for some reasons gets my attention, probably something to do with the reflection of everything on the ice and the white all over around. As for the amount of ghost looks like they keeping a few classics like Slimer and this time the Marsh Mallow are tiny but a lot of them, continuation and details is the sucess on any franchise and I think Ghostbusters is stearing this ship in the right direction, certainly a movie I'll be watching, hope it does well.