After watching the trailer for Argylle, the new movie by Matthew Vaughn, the same director of the Kingsman series, and I really liked it a lot. It is a movie of espionage, action and humor. It is normal for Vaughn to make a surreal movie that takes us to doubt what you know as reality, in addition to the fact that it assures us very good action scenes and when you watch the trailer you will feel the need to know what this movie is about and where all this mess ends. The protagonist Elly Conway is the writer of a series of spy novels and apparently without knowing it she begins to reveal the actions of a real life spy organization. From this moment on she is persecuted and her life becomes a constant race against the spies she created herself. Argylle is scheduled for release in the United States on February 2, 2024.

Argylle has a talented cast with heavyweights such as Henry Cavill, Dua Lipa, Bryce Dallas Howard, Sam Rockwell, Bryan Cranston, Catherine O’Hara, Ariana DeBose, John Cena and Samuel L. Jackson. The movie goes around Elly Conway (played by Bryce Dallas Howard), an introverted spy novelist whose fictional plots begin to mirror the dangerous activities of a sinister spy syndicate who begin a chase for Elly to write the novel's next chapter like they need it to know whats next to do, part of the fiction of her novel comes alive, here there are two sides of spies, Aiden, is an undercover agent played by Sam Rockwell, intervenes to save her, Elly and her feline companion Alfie are thrown into a world where nothing is what it seems like something is not right but that's the entire magic behind this movie, make you doubt what is or whats not fictional and if while the movie keeps rolling it was all part of her imagination as she writes the novel.

Argylle was officially announced in June 2021, with Matthew Vaughn heading up Marvel Studios. The cast was revealed in the following months, and the script, written by Jason Fuchs, is based on a novel by first time author Elly Conway, who is an anonymous person, the story was published on a movie website without her name being revealed her identity, although the movie has an all star cast, an excellent creative team, what has the public talking is the unrevealed mystery of this writer. Dua Lipa not only appears on screen, she also contributes original music for the soundtrack. Apple TV+ acquired the rights to the movie for a staggering $200 million in August 2021, almost everything they release on their streaming platform end up been good so this could turn out one of the best comedy of 2024. Vaughn, inspired by 1980s action thrillers like Die Hard and Lethal Weapon, he used the break caused by the pandemic to improve his creation, filming began in London, with several European locations setting the stage for this spy comedy.

Matthew Vaughn's film career has spanned various movies genres such as action, crime, adventure, science fiction and superhero films. From his directorial debut in 2004 with Layer Cake to directing X-Men: First Class and the Kingsman series, to critical and box office success grossing more than $400 million in each film, Vaughn has left his mark across all his creations, if we think about there might be some Kingsman into this movie plus the comedy side.

The Cast for this movie is all starts that includes Henry Cavill from The Witcher as Argylle, Bryce Dallas from Jurassic World as Elly Conway, Bryan Cranston from Breaking Bad aka Mr White, Sam Rockwell, Samuel L Jackson, John Cena just to mention a few of the stellar cast. Not that its the same cast but gives me vibes of Django Unchained that was a Super Hero movie with a lot of comedy although it was a Tarantino so a bit of gore that we wont have on Argylle.

Its very often that we see movies related to writing and reading narrated that want to push a positive message, the world of reading and writing can free up your imagination to the point that it can make you wish you were inside that story and want to switch lines between reality and fiction, helps you escape reality that some times could be cruel, in the case of a writer when things are not going that well developing a novel or a book or in the case of the reader escape the cruel reality of life.

Going through a couple of comments and opinions online it seems Argylle (2024) will be the first of three movies, a new trilogy, considering comedy dont get that many trilogies it would be interesting how they keep the topic alive, usually they have to be very good to remain interesting to viewers and not many can keep going a few examples Rush Hour, The Hangover are a few of the trilogies that make it out but the effect started to faint one after another, this could be the first comedy I watch from 2024 and have high hopes after watching the trailer, the cast and online positive comments about it, for sure will make a review and hope it performs well. BTW The Cat from what I have seen on the trailer, he is just an icon, Elly's pet, I bet the cat is almost on every scene.

Mysterious murders, gossipy neighbors, in a very peculiar building, where you will see this and much more, you will think twice if you want to live there.

Asesinatos misteriosos, vecinos, chismosos, en un edificio muy peculiar, donde verás esto y mucho más, lo pensarás dos veces si quieres vivir allí.

I recently came across this entertaining series Only Murders in the Building, and I confess that I was hooked from the first episode; a comedy and murder TV series, which follows the lives of three strangers, but who have a common interest, they are fans of crime podcasts, so they decide to join together to investigate a murder in their building.

This series consists of (3) three seasons, with 10 episodes each, was released in August 2021, on the Hulu platform, recorded in New York City, the last season was released in 2022, and apparently a fourth one is coming.

On the other hand, I was struck by the main actors, in which one of them was part of the direction of this series, as was the actor Steve Martin, many will recognize him for his participation in films such as The Father of the Bride or 12 at Home; here he represents Charles, a former television actor. Next, we have Martin Short who also appeared in Father of the Bride, or Santa Claus 3: For a Christmas without the Cold, here he plays Oliver, a former Broadway theater director in decline.

But in this pair, we have a girl in the middle, the famous Selena Gomez, singer and now actress, well, it is not the first time she acted, but it is the first time I see her, I think haha, here she plays Mabel, a young girl somewhat mysterious, with hidden secrets.

SPANISH VERSION

Hace poco me encontré esta entretenida serie Solo asesinos en el edificio, y confieso que quede enganchada desde el primer capítulo; una serie televisiva de comedia y asesinato, la cual sigue la vida de tres desconocidos, pero que tiene un interés en común, son aficionados a los pódcast de crímenes, por lo que deciden unirse para investigar un asesinato en su edificio.

Dicha serie consta de (3) tres temporadas, con 10 episodios cada uno, fue estrenada en agosto del 2021, en la plataforma de Hulu, grabada en la ciudad de Nueva York, la última temporada salió en el 2022, y aparentemente se viene una cuarta.

Por otra parte, me llamo la atención los actores principales, en el cual uno de ellos formo parte de la dirección de esta serie, como lo fue el actor Steve Martin, muchos lo reconocerán por su participación en películas como El padre de la novia o 12 en Casa; aquí representa a Charles, un antiguo actor de televisión. Seguidamente, tenemos a **Martin Short**el mismo también participo en El padre de la novia, o en Santa Claus 3: Por una Navidad sin frío, aquí interpreta a Oliver, un ex director de teatro de Broadway, en decadencia.

Pero en este par, tenemos una chica en el medio, la famosa Selena Gomez, cantante y ahora actriz, bueno, no es la primera vez que actuó, pero es la primera vez que yo la veo, creo jaja, aquí representa a Mabel, una joven chica algo misteriosa, con secretos ocultos.

For me in particular, I really liked this series, from the beginning to the end, I do not deny that some chapters were a little heavy, but still the plot was entertaining, and the touch of comedy, was what I liked the most, and is that, you could not expect less, to see these two stars together as they are Martin and Short, they certainly took all the credit, with their eloquence, charisma, personality, and humor.

And is that this series focuses on these genres such as mystery and comedy, no doubt this is what attracts the most of the series, that spark of intrigue, humor, with a murder to solve, waiting to find the culprit.

A good scenography, showing the charm of New York City, the facade of the building, quite attractive, ideal for creating such a scenario, not to mention the soundtrack, with an effect of yesteryear, according to the mystery of each chapter.

On the other hand, we will also see the performances of recognized characters, which will bring a bit of contrast to this series in each season; with respect to the secondary performances, it was not bad, the typical stories that are seen in a building, the nosy neighbors, gossipy, charismatic, no doubt, sought to recreate all that part, to make it as realistic as possible.

SPANISH VERSION

A mí en lo particular, me gusto mucho esta serie, desde el principio hasta el final, no niego que algunos capítulos, eran un poco pesados, pero igual la trama era entretenida, y el toque de comedia, fue lo que más me gusto, y es que, no se podía esperar menos, al ver estas dos estrellas juntas como lo son **Martín** y **Short**, ellos sin duda se llevaron todo el crédito, con sus elocuencias, carisma, personalidad, y humor.

Y es que esta serie se centra en estos géneros como lo son el misterio y la comedia, sin duda esto es lo que más atrae de la serie, esa chispa de intriga, humor, con un asesinato por resolver, esperando encontrar al culpable.

Una buena escenografía, mostrando el encanto de la ciudad de Nueva York, la fachada del edificio, bastante atractivo, ideal para crear un escenario asi, sin dejar de mencionar la banda sonora, con un efecto antaño, acorde al misterio de cada capítulo.

Por otra parte, también veremos las actuaciones de personajes reconocidos, los cuales aportaran un poco de contraste a esta serie, en cada temporada; con respecto a las actuaciones secundarias, no estuvo mal, las típicas historias que se ven en un edificio, los vecinos metiches, chismosos, carismáticos, sin duda, buscaron recrear toda esa parte, para hacerlo lo más realista posible.

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The topic of podcasts is something that has become very common nowadays, many use them to talk about a specific topic, share their opinions about something, their personal experiences, in short, I really don't listen to them very much, one or the other, but not much, although this one they show in the series about real crimes, sounds quite interesting, in the case of these characters, they took all this very seriously, until they really got involved, with the only interest of finding the real murderer.

But to be honest, the murders were absurd, and the reasons too, it is here where one says or thinks, how you ruin your life, for a stupidity, for a stupid pride, selfishness or rage, which makes you commit the worst acts, trying to find a justification, that makes sense to what you did, but none of that is enough, nothing justifies taking the life of another person.

SPANISH VERSION

El tema de los pódcast es algo que se ha vuelto muy común hoy en día, muchos lo usan para hablar sobre un tema en específico, compartir sus opiniones sobre algo, sus experiencias personales, en fin, yo la verdad muy poco los escucho, uno que otro, pero no mucho, aunque este que muestran en la serie sobre crímenes reales, suena bastante interesante, en el caso de estos personajes, se tomaron muy en serio todo esto, hasta involucrarse realmente, con el único interés de encontrar al verdadero asesino.

Pero para ser sinceros, los asesinatos eran absurdos, y las razones también, es aquí donde uno dice o piensas, como te arruinas la vida, por una estupidez, por un estúpido orgullo, egoísmo o rabia, la cual te hace cometer los peores actos, tratando de encontrar una justificación, que tenga sentido a lo que hiciste, pero nada de eso es suficiente, nada justifica quitarle la vida a otra persona.

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RECURSO / RESOURCE:	FUENTE / SOURCE
Imágenes / Pictures:👉	Cover/Portada
Translation/Traducción:👉	DeepL Traductor
Edition/Edición :	Cover and banner with Canva /Portada y banner con Canva
Edition/Edición :	Canva GIF Separator/Separador GIF Canva
Imágenes / Pictures:👉	Source Picture
Video trailer 📺 :	Youtube

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En mi niñez, el film Willy Wonka & the Chocolate Factory se convirtió en una de mis películas favoritas por ser una gran aventura llena de chocolate, dulces, música, magia e impresionantes personajes; una historia que se relata primeramente desde el punto de vista de un niño y después del dueño de la fábrica de chocolate más maravillosa del mundo; gran parte de la definición que comparto es mi opinión del film, el cual cada vez que iba creciendo pude captar otros temas que son parte de la historia, pero a pesar de eso, siempre decidí enfocarme en el personaje de "Charlie", el cual representa la inocencia y la esperanza de que los sueños pueden cumplirse; esa es la historia que me hace (cada vez que tengo oportunidad) de volver a ver ese clásico y gran film.

In my childhood, the film Willy Wonka & the Chocolate Factory became one of my favorite movies for being a great adventure full of chocolate, candy, music, magic and amazing characters; a story that is told first from the point of view of a child and then from the point of view of the owner of the most wonderful chocolate factory in the world; Much of the definition I share is my opinion of the film, which every time I grew up I was able to capture other themes that are part of the story, but despite that, I always decided to focus on the character of "Charlie", which represents innocence and hope that dreams can be fulfilled; that is the story that makes me (every time I have the opportunity) to return to see this classic and great film.

Fuente / Source

La obra "Charlie and the Chocolate Factory" escrita por Roald Dahl en 1964, cuenta ahora con tres films; los dos primeros están muy influenciados al relatar la historia de Wonka y Charlie, pero este nuevo film estrenado el pasado año se enfoca en una versión no vista del genio y mágico cocinero. En "Wonka" veremos el origen del personaje, una versión joven, inocente, soñador, pero con un gran talento para crear el mejor chocolate del mundo, justamente es eso lo que lo lleva a un lugar, a una ciudad en dónde existen las grandes fábricas de dulces y en vez de querer competir, solo querrá ser una compañía más, lamentablemente para Wonka, esa inocencia y bondad no la comparte su competencia, usando lo criminal para detener el surgir de su tienda de chocolates, pero eso no afecta a Wonka que con nuevos amigos harán lo imposible para cumplir sus sueños.

The work "Charlie and the Chocolate Factory" written by Roald Dahl in 1964, now has three films; the first two are very influenced by telling the story of Wonka and Charlie, but this new film released last year focuses on an unseen version of the genius and magical cook. In "Wonka" we will see the origin of the character, a young version, innocent, dreamer, but with a great talent to create the best chocolate in the world, that is precisely what takes him to a place, to a city where there are large candy factories and instead of wanting to compete, just want to be one more company, unfortunately for Wonka, that innocence and kindness is not shared by his competition, using the criminal to stop the rise of his chocolate store, but that does not affect Wonka that with new friends will do the impossible to fulfill their dreams.

Fuente / Source

Antes de hacer referencia sobre la dirección, voy a decir que este es la primera vez que veo un film dirigido por Paul King; sí, no he visto ninguna de las dos películas de "Paddington" y prometo verlas antes del estreno de la tercera parte de esa franquicia y justamente eso fue uno de los motivos por ver "Wonka" y es que había leído buenas opiniones sobre el trabajo de este director y tenía ciertas expectativas las cuales no era sobre que tan parecido o influenciado era de anteriores versiones de esa historia y del personaje, sino que nuevo mundo crearía y lo visto en esta producción dire que me pareció un buen trabajo; me gusta que se explore la ciudad en dónde se desarrolle la historia, la cual encontré muy parecido al diseño de "Hugo" de Scorsese, pero aparte de eso, también hay similitud con las calles y lugares vistos en el film del 70' y es inevitable no comparar con otras producciones antiguas de Disney y es que trasmite ese tipo de magia (por así decirlo) de esos clásicos musicales del cine; justamente por ser un musical, hay mucha dinámica en escenografías pequeñas, pero muy bien producidas, cada tema musical es muy bien usado o introducido en el relato y eso siempre es algo agradable en este estilo de películas.

La historia como origen de su personaje principal funciona en cierto tiempo, me gustó esta versión inocente y soñadora de Wonka, un joven hombre ilusionado con realizar o alcanzar algo que siempre ha deseado, pero cuando es el momento en que sus sueños deben influir a los demás personajes que le acompañan en su aventura, es donde en mi opinión la historia decae; el "plot twist" a pesar de ser obvio, pudo ser manejado mejor; creo que debió tener más relevancia por el hecho de la historia de Wonka y lo que le motivó a tener muchas aventuras, pero no hay mucho que desarrollar o está mal desarrollado y lo que la hace aceptable son las canciones que acompañan a las escenas, justamente las canciones son de lo mejor del film, son divertidas. Aparte de lo positivo y negativo que considero de la historia o del guion, el hecho de que sea una versión joven del personaje es lo que más me agradó.

Before I refer to the direction, I'll say that this is the first time I've seen a film directed by Paul King; yes, I have not seen either of the two "Paddington" movies and I promise to see them before the release of the third part of that franchise and that was one of the reasons to see "Wonka" and I had read good opinions about the work of this director and I had certain expectations which was not about how similar or influenced he was from previous versions of that story and the character, but what new world he would create and what I saw in this production I will say that I thought it was a good job; I like the exploration of the city where the story takes place, which I found very similar to the design of "Hugo" by Scorsese, but apart from that, there is also similarity with the streets and places seen in the 70's film and it is inevitable not to compare with other old Disney productions and it conveys that kind of magic (so to speak) of those classic movie musicals; precisely because it is a musical, there is a lot of dynamics in small scenographies, but very well produced, each musical theme is very well used or introduced in the story and that is always something nice in this style of films.

The story as the origin of its main character works at a certain time, I liked this innocent and dreamy version of Wonka, a young man illusioned to realize or achieve something he has always wanted, but when it is the moment when his dreams must influence the other characters that accompany him in his adventure, is where in my opinion the story decays; the "plot twist" despite being obvious, could have been handled better; I think it should have had more relevance due to the fact of Wonka's story and what motivated him to have many adventures, but there is not much to develop or it is poorly developed and what makes it acceptable are the songs that accompany the scenes, precisely the songs are the best of the film, they are fun. Apart from the positives and negatives I consider the story or the script, the fact that it is a young version of the character is what I liked the most.

Fuente / Source

No tuve problemas con la interpretación de Timothée Chalamet como "Willy Wonka"; nuevamente repito que al ser una versión muy joven del personaje le da oportunidad de mostrar algo no visto y es justamente eso es el gran punto a favor que tiene el actor, el cual demuestra a alguien que tiene toda la motivación del mundo para alcanzar sus sueños, así como la gran inocencia y eso le hace chocar con un lugar en donde existe una realidad que anula la expectativa de Willy; Chalamet demuestra cierta naturalidad al ser alguien feliz, con la necesidad de cumplir con una obligación, demuestra bondad y eso me agradó, es una actuación correcta. Lo único que lamento en el renglón de la actuación es que los personajes que acompañan a Wonka no tienen una gran participación, solamente Calah Lane como "Noodle" un personaje que en mi opinión sí hubiera presentado una edad menor a la que tiene en el film, hubiera quedado perfecto; su actuación es adecuada, pero es de esos personajes que se convierten víctimas de un guion mal desarrollado, por lo menos en el relato de la historia del personaje.

I had no problems with the interpretation of Timothée Chalamet as "Willy Wonka"; again I repeat that being a very young version of the character gives him the opportunity to show something unseen and that is precisely the great point in favor of the actor, which shows someone who has all the motivation in the world to achieve his dreams, as well as the great innocence and that makes him collide with a place where there is a reality that overrides the expectation of Willy; Chalamet shows a certain naturalness in being someone happy, with the need to fulfill an obligation, he shows kindness and that pleased me, it is a correct performance. The only thing I regret in the line of acting is that the characters that accompany Wonka do not have a great participation, only Calah Lane as "Noodle" a character that in my opinion if she had presented a younger age than the one she has in the film, would have been perfect; her performance is adequate, but she is one of those characters that become victims of a poorly developed script, at least in the story of the character's history.

Fuente / Source

"Wonka" es un buen film, es divertido, entretenido, con buenos personajes, en especial los villanos, con una excelente interpretación de Hugh Grant como "Lofty" uno de los famosos "Oompa-Loompa", con buena música, con un excelente mundo en dónde se desarrolla la joven etapa de "Willy", me gustó todo lo referente a que mantiene el mensaje de hacer todo lo posible para cumplir un sueño, de transitar un camino correcto para alcanzar las metas trazadas, es un buen mensaje, pero lo que me pareció genial es que propone la base de lo que llevará al desarrollo del relato de "Charlie and the Chocolate Factory" o más que nada al film "Willy Wonka & the Chocolate Factory" porque en mi opinión esta nueva producción funciona como precuela de aquel gran film y eso me gustó mucho; es cierto que pudo ser mejor y me refiero a un mejor desarrollo de los coprotagonistas, pero a pesar de ser un pequeño film, existe un buen trabajo en dirección y producción.

"Wonka" is a good film, it's funny, entertaining, with good characters, especially the villains, with an excellent performance by Hugh Grant as "Lofty" one of the famous "Oompa-Loompa", with good music, with an excellent world where the young stage of "Willy" develops, I liked everything about it that keeps the message of doing everything possible to fulfill a dream, I liked everything about the fact that it keeps the message of doing everything possible to achieve a dream, of walking the right path to reach the goals set, it is a good message, but what I found great is that it proposes the basis of what will lead to the development of the story of "Charlie and the Chocolate Factory" or more than anything to the film "Willy Wonka & the Chocolate Factory" because in my opinion this new production works as a prequel to that great film and I liked that a lot; It is true that it could have been better and I mean a better development of the co-stars, but despite being a small film, there is a good work in direction and production.

VERSIÓN EN ESPAÑOL (click aquí)

La verdad es que me siento un poco tonto haciendo esta reseña aunque más bien hasta un poco engañado, la verdad es que es una mezcla de emociones inmensa, todo intensificado con el final con el que me encontré, nada esperable y que me cayó súper mal en el alma y en el cuerpo, esperaba algo totalmente diferente y es que todo fue un error mío, esperaba ver de las mejores adaptaciones y creo que terminé viendo de las peores que he visto en mi vida, no sé por qué no sospeché, bueno quizás si lo hice pero no quise dudar en el proceso, no podía aceptarlo hasta que llegó el amargo desenlace que no tiene nada que ver con la obra original. En cuanto al material original, es Erased o conocido en japonés como Boku ga Inai Machi, un manga bastante popular que tuvo una adaptación al anime también bastante exitosa, lo que mucha gente no sabe es que en el anime se cambió por completo el final porque el manga aún no había finalizado, por lo que se siente un apresurado hasta incompleto, a pesar de que la autora ayudó en hacer este final adelantado, no convenció a nadie, el final del manga sigue siendo el favorito de todos. La adaptación que les vengo a hablar a continuación se suponía que iba a ser el live action que seguía el manga al pie de la letra (supuestamente hecho por Netflix) pero me terminé viendo uno que termina deformando aún más la historia original, siendo un desperdicio. Así que sin más dilación, hablemos de la versión del 2016 de Erased, la cual es una película (la adaptación del 2017 (la buena) es una serie de 12 capítulos).

The truth is that I feel a little foolish doing this review, although more like a little deceived, the truth is that it is a mix of immense emotions, all intensified with the ending I found, nothing expected and that really bothered me in my soul and body, I was expecting something completely different and it turned out to be my mistake, I was expecting to see one of the best adaptations and I think I ended up seeing one of the worst I have ever seen in my life, I don't know why I didn't suspect it, well maybe I did but I didn't want to doubt the process, I couldn't accept it until the bitter outcome came that has nothing to do with the original work. As for the original material, it's Erased or known in Japanese as Boku ga Inai Machi, a quite popular manga that also had a very successful anime adaptation, what many people don't know is that the anime completely changed the ending because the manga had not finished yet, so it feels rushed and incomplete, even though the author helped with this advanced ending, it didn't convince anyone, the manga's ending remains everyone's favorite. The adaptation I'm about to talk about was supposed to be the live-action that followed the manga to the letter (supposedly made by Netflix) but I ended up watching one that further distorts the original story, being a waste. So without further ado, let's talk about the 2016 version of Erased, which is a movie (the good 2017 adaptation is a 12-episode series).

VERSIÓN EN ESPAÑOL (click aquí)

La historia podríamos decir que es la misma que la de las otras adopciones, aunque no sería del todo así más bien la idea principal es la misma, el desarrollo es diferente y hasta recortado podría decirse, no pudieron gestionar bien tanta cantidad de eventos en tan solo 2 horas. La película nos pone en la piel de Satoru Fujinuma, un mangaka frustrado que trabaja como pizzero a medio tiempo el cual posee una habilidad denominada por el mismo como "revival" qué lo hace retroceder en el tiempo hasta que él detecte la anomalía (consistiendo en evitar las posibles muertes de otras personas) y consiga detener el causante de la misma. Satoru traerá de vuelta en la actualidad unos casos de un asesino en serie provocando en consecuencia la muerte de su madre (quien los investigaba en el pasado junto a un compañero), siendo él acusado como el principal sospechoso del incidente no teniendo otra opción más que escapar de la policía y ser un fugitivo, hasta que su habilidad se activa de una forma que no se había hecho nunca antes, regresando muchísimos años en el pasado, volviéndose otra vez un niño. El objetivo de Satoru será encontrar al encargado de los asesinatos de aquella época y detenerlo, para poder así salvar a su madre de su inminente muerte. Un thriller interesante lleno de misterio que con esta adaptación queda como una trama más del montón donde no se le explica nada al espectador, más parece que debieras de ver el manga o anime para encontrarle sentido alguno.

The story could be said to be the same as the other adoptions, although it would not be entirely so, rather the main idea is the same, the development is different and even shortened, it could be said that they could not manage so many events in just 2 hours. The movie puts us in the shoes of Satoru Fujinuma, a frustrated manga artist who works as a part-time pizza delivery guy and who has an ability he calls "revival" that allows him to travel back in time until he detects the anomaly (consisting of avoiding possible deaths of other people) and manages to stop the cause. Satoru brings back some cases of a serial killer to the present, causing the death of his mother (who was investigating them in the past with a partner) as a consequence. He is accused as the main suspect of the incident and has no choice but to escape from the police and become a fugitive until his ability is activated in a way that had never been done before, going back many years in the past and becoming a child again. Satoru's objective will be to find the person responsible for the murders of that time and stop him, in order to save his mother from her imminent death. An interesting thriller full of mystery that with this adaptation becomes just another plot where nothing is explained to the viewer, it seems that you should watch the manga or anime to make any sense of it.

VERSIÓN EN ESPAÑOL (click aquí)

Sinceramente pensé que esta película estaba bien adaptada hasta que los fallos comenzaron a fluir por todos lados hasta que en el final se hunde rotundamente, aunque a la mitad de la película se notaba que el barco se estaba hundiendo y no podía haber salvación alguna. Conforme iban apareciendo ligeros cambios como añadirle un novio a la mamá de Hinazuki uno se daba cuenta de que algo no estaba bien, pero hey, yo técnicamente fui engañado pensando que era la versión fiel al manga por mi equivocación, aunque de las otras falencias que más chirrían es que técnicamente Satoru solo tiene un amigo, Kenya, todos los demás son eliminados de la faz de la tierra y no tienen protagonismo alguno, nunca se juntan para salvar a los demás, más bien, acá hasta dejan que el asesino siga matando, no se evitan todos los asesinatos por completo solo el de una sola persona, me pareció poco una ofensa. Luego el enfrentamiento final entre Satoru y el asesino, donde se reencuentran una vez más pero ahora en el presente es simplemente penoso, las explicaciones del villano no tienen sentimiento alguno, todo se resuelve con un forcejeo donde tienen la osadía de matar al protagonista, ¿a quién se le ocurre darle un final amargo a esta historia? No tiene nada de sentido, se siente que al final el asesino gana cuando en realidad Satoru tiene todos los méritos de ganar, poniendo en jaque al asesino con su habilidad de volver al pasado, es hasta insultante.

Honestly, I thought this movie was well adapted until the flaws started flowing in all directions, and in the end, it sinks completely. Even halfway through the movie, it was evident that the ship was sinking and there could be no salvation. As slight changes started appearing, like adding a boyfriend to Hinazuki's mom, one could tell that something was off. But hey, I was technically deceived into thinking that it was a faithful version of the manga due to my mistake. However, among the other shortcomings that stand out, it's technically stated that Satoru only has one friend, Kenya, while everyone else is wiped off the face of the earth and has no relevance. They never come together to save the others, rather, they even allow the killer to continue killing. Not all the murders are prevented, only one person's, which seemed like a small offense to me. Then, the final confrontation between Satoru and the killer, where they meet again in the present, is just pathetic. The villain's explanations lack any emotion, and everything is resolved through a struggle where they dare to kill the protagonist. Who would think of giving this story such a bitter ending? It doesn't make any sense. It feels like the killer wins in the end when in reality Satoru deserves all the credit for putting the killer in check with his ability to go back in time. It's downright insulting.

VERSIÓN EN ESPAÑOL (click aquí)

La película en el aspecto visual ni se salva, parece una producción de muy bajo presupuesto donde ni pueden hacer sangra realista, todo se siente muy falso, además de que escenas hermosas como las del árbol de navidad quedan como algo insignificante, no sorprenden a la vista a nadie, el momento no se siento en lo absoluto especial para el espectador. Luego las incoherencias narrativas están por todos lados, no importa donde busques siempre habrá una, no te explican absolutamente nada, presuponen que tú sabes todo lo que ocurrió, te muestran personajes y ni los desarrollan, quedan rápidamente olvidados, puedo contar con los dedos de las manos los actores que utilizaron, supongo que había poco presupuesto para contratar personas también, optando por la opción de recortar todo, es hasta confuso entender lo que hace el protagonista porque ni se entiende qué hace o cómo consigue vencer, en esta adaptación solo sucede porque sí, no vemos un verdadero esfuerzo. Inclusive el que Satoru sea mangaka exitoso después de "arreglar" el pasado no se siente bien, no hay un desarrollo de personaje para hacer que lo valga y más bien, es hasta inútil que ahora sea mangaka exitoso porque muere minutos después. Ya después las frases motivadoras del final al terminar el funeral, hablando sobre el miedo y de que Satoru vestía una máscara, el tema al no ser explorado casi nunca en el filme, es imposible de dejar un buen mensaje. Esta película no se la recomiendo a nadie, de lo peor que he visto en tiempo.

The film visually doesn't stand out, it looks like a very low-budget production where they can't even make realistic blood, everything feels very fake, and beautiful scenes like the Christmas tree seem insignificant, they don't surprise anyone, the moment doesn't feel special at all for the viewer. Then the narrative inconsistencies are everywhere, no matter where you look, there will always be one, they don't explain anything to you, they assume you know everything that happened, they show characters and don't even develop them, they are quickly forgotten, I can count on my fingers the actors they used, I suppose there was little budget to hire people too, opting for the option of cutting everything, it's even confusing to understand what the protagonist does because it's not understood what he does or how he manages to overcome, in this adaptation it just happens because it does, we don't see a real effort. Even Satoru being a successful mangaka after "fixing" the past doesn't feel right, there is no character development to make it worth it and instead, it's useless that he is now a successful mangaka because he dies minutes later. And then the motivational phrases at the end after the funeral, talking about fear and that Satoru wore a mask, the theme, not being explored almost never in the film, it's impossible to leave a good message. I don't recommend this movie to anyone, one of the worst things I've seen in a while.

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The screenshots are my own.

_{Traducido con ChatGPT / Translated with ChatGPT via https://hivetranslator.com}

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Imagine of being tire of daily routine in your live, you and your family plan an amazing vacation time but it ends into a nightmare. Thats exactly what happens in Leave the World Behind (2023), a psychological thriller that dives into the unknown, this movie is directed by the creative mind behind Mr. Robot, Sam Esmail. Starring by Julia Roberts, Mahershala Ali, Ethan Hawke and completed by Kevin Bacon, all actors with a long list of movies and remarkable performances in their ends. These Netflix adaptation of Rumaan Alams 2020 novel delivers a gripping narrative that keeps you on the edge of your seat and your eyes nailed in the screen. A movie that tell the story of people that hate people and will change their thoughts threw the different chaotic events that they must face.

The story unfolds two families. The main family (Julia Roberths and Ethan Hawke) having an amazing time in their first day of vacation in a rental house but everything changed when the tenant (Mahershala Ali) with his daughter arrived at the rental requesting spend the night with them. Since that moment the movie entangled these two families exploring their complex reactions as they passed through unusual situations. Mysterious cyberattack sends shock waves through the world and the families grapple with bizarre occurrences, from sonic booms, to animal migrations, all while civilization crumbles around them.

The journey from novel to screen was not without its hurdles. Netflix secured the movie rights in 2020, with initial plans featuring Julia Roberts and Denzel Washington. However, Washington’s schedule conflicts led to Mahershala Ali stepping into the role. Sam Esmail, known for his work on Mr. Robot and Homecoming, took the project as both director and screenwriter. The movie also showcases the talents of Ethan Hawke and Kevin Bacon, making for an ensemble cast that brings the story to life. Filming took place from February to April 2021 against the challenging backdrop of the COVID-19 pandemic. Esmail a director that is always paying attention to detail, faced obstacles in securing locations, managing testing protocols and navigating unpredictable weather. The movie's ending, featuring a surprise cameo from the iconic sitcom Friends, playing a crucial role in the movie, was Esmails creative touch to give to the viewer a moment of humor and nostalgia into the otherwise tense story line. Alam, the novel author, praised Emails adaptation, excited to the fidelity to his original work.

Julia Roberts as Amanda Sandford, leads the cast with her great performance as a strong mother, wife and woman that shows that is afraid of whatever is happening but found the courage to fight for her family. From her iconic comedies like My Best Friends Wedding to engaging dramas like Erink Brocovich, movie that gave her an Academy Award as best actress in 2001. Roberts brings depth to the character of an misanthropic woman caught in the chaos.

Mahershala Ali steps into the shoes of G.H. Scott, the vacation rental owner, adding another remarkable performance to his illustrious career. Ali a two-time Academy Award winner with his performance in the movies Moonlight 2016 and Green Book 2017, bring his unparalleled talent to a role that demands both emotional depth and mystery. Mahershala Ali an actor that can embody any role and give us the best in all.

Ethan Hawke portrays Clay Sandford, Amanda`s husband and a Brooklyn dad, worked on everything from exciting sci-fi to well known drama. Hawkes shines with his performance in Leave the World Behind as an amazing father worry for his family, but with a complexity in his character due to every situation that is force to solved.

Kevin Bacon, known for his unforgettable performance of Ren McCormak in Footloose (1984), takes on the character of Danny, a man who see the apocalypse coming and prepare to face it, preserving his integrity and his family, but at the same time taking advantage of every situation. Bacon’s experience and skill contribute to the movie’s dynamic ensemble.

Myha'la Jael Herrold, portrays Ruth Mahershala Ali, she represent the side of the youth that is not willing to accept a NO for answer. At the movie she is a strong character and shows the side of feeling despised by her color. Myha'la Jael Herrold is an actress best known for her role in the British series Harper Stern.

Leave the World Behind refuses to spoon-feed its audience, leaving the apocalyptic events open to interpretation. Rumaan Alam, the novelist, suggests that the story explores the anxiety of the unknown and the fragility of our carefully built world. The movie never provide any specific answer of the attacks to the viewer, it plants certain ideas creating doubts and leaving open all possible conflict situations that may arise. Is inevitably not notice the distrust, racism, class, survival, conflict, and bewilderment of the unknown.

The ending representing the actual chaos that is affronting every person individually in the movie, but with a touch of irony, while the Director gives a little taste of that chaos, at the same time play with humor, even featuring a DVD of Friends during the movie, one of the most idealized Sitcoms, giving a comfort of something known between the uncertainties. Director Sam Esmails decision of give an ending that reflect the confusion and irony, inspired by the Sopranos ambiguous conclusion, all these intensifies the sense of unease and leave the audience with more questions than answer, producing in the viewer the necessity of more and expecting for what is coming next, if it ever does.

As any movie, opinions about Leave the World Behind diverge. Many positive reviews talk about the great cast of the movie, the good performances of every character, a good CGI, the photography is perfect but at the other hand the negative critiques are about the simplicity of the message, that the movie is slow, the dissatisfaction with the ending. Obviously those are critics and must be accepted because is an opinion from the eyes of each viewer. At the same time there is a position that emerged stating that is not a movie for kids, that is a movie for readers and thinkers and that the message is beyond, simple and a true reality of our society in the present.

Despite the varied reactions, the movie do what is important, make the viewers create a conversation and debate about it. With its release on Netflix on December 8, 2023, “Leave the World Behind” invites viewers to immerse themselves in a world where answers are scarce, conflicts and uncertainties abound, where the characters must accept their realities and look for someone to trust, forced them try to understand what could be happening because they are disconnect of everything and at the same time protect what is valuable for all, the family.

Three women. Three different personalities. A single encounter that completely changes their lives in the city of Hong Kong. This is the premise of this television series directed by Lulu Wang and starring the trio Nicole Kidman, Sarayu Blue and Ji-young Yoo. At this point, only two episodes are available and based on those alone, there is a lot of potential coming. Despite the somewhat slow start, this pace is necessary to establish limits.

Not just limits (which in this case are related to how far each story can go), but also to pave the way for the plots (both singularly and plurally). The main background is to show an intricate reality that involves the characters Margaret, Hilary and Mercy, who need to learn to deal with dilemmas that are embraced by negligence, guilt and responsibility for certain acts that impact the collective.

The Wrap

A chain of problems is triggered after an unexpected event, which, within other subplots, connects these three women and their respective realities. Oscillating between dramatic moments that orbit between different social classes, the script presents its plot in a progressive manner and although it dares little in terms of narrative, it is very efficient in creating its dramatic web, which relies entirely on the strength of its cast to create something powerful.

There are very simple moments scattered throughout these two episodes, surrounded by more unexpected and “brutal” moments. Wang's capture of this essence is another factor that favors her work, which makes a mix between stronger dramatic arguments and other dramatic arguments that are a little more trivial (but which are still very important and functional for the construction of the subplots and their respective characters). Everything is made up of details.

Tatler Asia

Kidman, Blue and Yoo create their characters with different performance skills. This “eccentricity” greatly favors the development of the stories, which are well consolidated. Wang doesn't need to try too hard to create a scenario that fosters a perfect storm, thus managing to not only extract the best from the excellent cast she has in her hands, but also make clear to the audience all her creative control and mastery of camera.

Technically, I also really liked how the scenarios are explored (especially when the more open scenarios are the focus, because they give a real dimension of what is happening not only in the scene, but also in what orbits other spaces) and another positive point is the soundtrack, which at specific moments boosts a dramatic validation that is extremely important for the plots that are being constructed. A promising start.

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Primeras impresiones sobre Expatriadas.

Tres mujeres. Tres personalidades diferentes. Un único encuentro que cambia por completo sus vidas en la ciudad de Hong Kong. Esta es la premisa de esta serie de televisión dirigida por Lulu Wang y protagonizada por el trío Nicole Kidman, Sarayu Blue y Ji-young Yoo. En este punto, solo hay dos episodios disponibles y, basándose únicamente en ellos, hay mucho potencial por venir. A pesar del comienzo algo lento, este ritmo es necesario para establecer límites.

No sólo límites (que en este caso tienen que ver con hasta dónde puede llegar cada historia), sino también con allanar el camino a las tramas (tanto en singular como en plural). El trasfondo principal es mostrar una intrincada realidad que involucra a los personajes Margaret, Hilary y Mercy, quienes necesitan aprender a lidiar con dilemas que los abraza la negligencia, la culpa y la responsabilidad por ciertos actos que impactan al colectivo.

Una cadena de problemas se desencadena tras un hecho inesperado, que, dentro de otras subtramas, conecta a estas tres mujeres y sus respectivas realidades. Oscilando entre momentos dramáticos que orbitan entre distintas clases sociales, el guión presenta su trama de manera progresiva y aunque se atreve poco en términos narrativos, es muy eficiente a la hora de crear su tejido dramático, que se apoya enteramente en la fuerza de su reparto para crear algo poderoso.

Hay momentos muy simples repartidos a lo largo de estos dos episodios, rodeados de momentos más inesperados y “brutales”. La captura de esta esencia por parte de Wang es otro factor que favorece su trabajo, que hace una mezcla entre argumentos dramáticos más fuertes y otros argumentos dramáticos un poco más triviales (pero que no dejan de ser muy importantes y funcionales para la construcción de las subtramas y sus respectivos personajes). Todo está hecho de detalles.

Kidman, Blue y Yoo crean sus personajes con diferentes habilidades interpretativas. Esta “excentricidad” favorece mucho el desarrollo de las historias, que están bien consolidadas. Wang no necesita esforzarse demasiado para crear un escenario que propicie una tormenta perfecta, consiguiendo así no sólo sacar lo mejor del excelente reparto que tiene entre manos, sino también dejar claro al público todo su control y maestría creativa. de cámara.

Técnicamente, también me gustó mucho cómo se exploran los escenarios (especialmente cuando se centran en los escenarios más abiertos, porque dan una dimensión real de lo que está sucediendo no sólo en la escena, sino también en lo que orbita otros espacios) y otro punto positivo. es la banda sonora, que en momentos puntuales potencia una validación dramática de suma importancia para las tramas que se van construyendo. Un comienzo prometedor.

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Primeiras impressões sobre Expatriadas.

Três mulheres. Três personalidades diferentes. Um único encontro que muda por completo à vida delas na cidade de Hong Kong. Esta é à premissa desta série de televisão dirigida por Lulu Wang e protagonizada pelo trio Nicole Kidman, Sarayu Blue e Ji-young Yoo. Até este momento, apenas dois episódios estão disponíveis e baseado apenas neles, há um potencial muito grande vindo por aí.

Apesar do início um pouco lento, este ritmo é necessário para estabelecer limites. Não apenas limites (que neste caso, estão relacionados até onde cada estória pode ir), para também para pavimentar o caminho das tramas (tanto de maneira singular, quanto de maneira plural). O plano de fundo principal é mostrar uma realidade intricada que envolve as personagens Margaret, Hilary e Mercy, que precisam aprender a lidar com dilemas que são abraçados pela negligência, pela culpa e pela responsabilidade de determinados atos que impactam o coletivo.

Uma cadeia de problemas é desencadeada após um evento inesperado, que dentro outras subtramas, conectam estas três mulheres e suas respectivas realidades. Oscilando entre momentos dramáticos que orbitam entre distintas classes sociais, o roteiro vai apresentando o seu enredo de maneira progressiva e embora ouse pouco em termos de narrativa, é muito eficiente ao criar à sua teia dramática, que se apoia totalmente na força do seu elenco para criar algo potente.

Há momentos muito singelos espalhados nestes dois episódios, envoltos a momentos mais inesperados e “brutais”. A captação desta essência por parte de Wang é outro fator que favorece o trabalho dela, que faz uma mesclagem entre argumentos dramáticos mais fortes e outros argumentos dramáticos um pouco mais triviais (mas que ainda sim são muito importantes e funcionais para à construção das subtramas e suas respectivas personagens). Tudo é feito de detalhes.

Kidman, Blue e Yoo criam suas personagens com habilidades performáticas diferentes. Esta “excentricidade” favorece demais o desenvolvimento das estórias, que são bem consolidadas. Wang não precisa se esforçar muito para criar um cenário que fomenta uma tempestade perfeita, conseguindo assim, não apenas extrair o melhor do excelente elenco que ela tem nas suas mãos, mas também deixa claro para o público todo o seu controle criativo e o domínio de câmera.

Tecnicamente, eu também gostei muito de como os cenários são explorados (principalmente quando os cenários mais abertos são o foco, porque dão uma dimensão real do que está acontecendo não apenas na cena, mas também no que orbita outros espaços) e outro ponto positivo é a trilha sonora, que em momentos pontuais impulsionam demais uma validação dramática que é extremamente importante para as tramas que estão sendo construídas. Um início promissor.

This year we will see the premiere of four Marvel movies and three of them will be from the spider verse and none will have Spiderman on them, we will see Madame Web, Kraven and Venom 3. The premiere of Madame Web will be on February 14, the story continues to Cassandra Webb, a New York City paramedic who begins to have hunches and visions of the future. I saw the trailer for this movie and it's all very messy, there are several Spiderwomen but based on online description of them they are different on their own way, there are times when movies are not canon or not even play the same story line and it seems to be the case here, Madame Web tries to protect anyone who cross her visions after all that was her job to save lives, I started to investigate where it came from since I'm no expert or super fan of Marvel comics, Madame Web is an old woman who appeared to help Spiderman and warn him of the problems of the future, due to her age and medical condition she never actively fought villains, according to this Madame Web story, Peter Parker has not yet been born but very recent news from Sony said that this movie has nothing to do with the actual Spiderverse been build between other movies related to Spiderman.

The creation of Madame Web was a collaborative effort with a team of experienced professionals. S. J. Clarkson directed, she is a well known director from other productions like Succession, The Defenders, Jessica Jones, so she is not a stranger to direct super hero theme TV series, going into the big screen with a movie like Madame Web could be a bit different althoug if this movie failed the fans I think it won't have to do anything with the actors or direction because speciall effects seem to be on point, the dialog will have jokes here and there since Dakota Johson will have to deal with three other girls probably slightly younger than her, so as many expect and has been mention it will be the story line that deviates and make more hard core fans infuriate, on the other hand if the script is good and turns out an entertaining movie and interesting topic as Madame Web visions are it might have a chance that many people still will like it even when "pro" critics and fans of Madame Web destroy the movie on online scores.

S. J. Clarkson, director of Madame Web, is a British television and movie director with an extensive work history. He has directed several popular series in both the United Kingdom and the United States. Her credits include UK series such as Doctors, Casualty, EastEnders, Footballers' Wives and Life on Mars, some that I have not seen but she also work on some US series such as Heroes, House, Dexter and Ugly Betty, been Heroes one of my favorite series of all times. In 2008, she co created the British series Mistresses. Clarkson also directed the Helena Bonham Carter led movie Toast, which premiered on BBC One in 2010. In addition to her television and movie work, Clarkson was attached to direct and executive produce a Game of Thrones prelude for HBO , titled Bloodmoon, which was later archived, with this entire repertoire of well known series we see Clarkson's ability to work in different genres and formats, this gives me the impression that Madame Web could be an entertaining movie despite the story been totally different from the Spider Verse, some times you just have to enjoy the moment and forget about the details.

The main cast of Madame Web includes Dakota Johnson, Sydney Sweeney, Isabela Merced, Emma Roberts, Tahar Rahim, Adam Scott, and Celeste O'Connor.

Dakota Johnson is known for her role in Fifty Shades of Grey. Sydney Sweeney became recognized for her roles in the HBO series Euphoria and The White Lotus. Isabela Merced has appeared in movies such as Dora and the Lost City of Gold and Transformers: The Last Knight. Emma Roberts is known for her roles in Unfabulous, Nancy Drew, and We’re the Millers. Tahar Rahim worked in the movie Napoleon and the series The Looming Tower.” Adam Scott is recognized for his roles in Parks and Recreation, Step Brothers and The Secret Life of Walter Mitty. Celeste O’Connor has appeared in Selah and the Spades and Freaky. As we can see they all have work on multiple productions with a lot of success but gives me the impression that this is the second roaster team, not going to lie I like many of the cast very recent I like how Tahar Rahim did Paul Barras on Napoleon and they even got Mike Epps to pull a few jokes so Madame Web does give that vibes of a fill in movie but will it have any porpuse if its not part of what they have been building with all the other Spider Man movies?

Madame Web (2024) is a suspense driven movie trying to get viewers into the scene with the question "whats next?" "what will happen next?" as she kept having this visions, that tells the standalone origin story of one of Marvel's most enigmatic heroines, Cassandra Webb. The movie explores themes of self discovery and empowerment, as Cassandra, a paramedic in Manhattan with abilities to predict the future, is forced to confront revelations about her past, able to see through the web of life that connect all the dots. Forge a relationship with three young women destined for powerful futures, they must face Ezekiel Sims, probably another key character existing in the Spider Verse, in order to survive the present all this three young women will have to trust Madame Web their future as she tells her how most things will happen on the go, the point is that they are going to unite to save the destiny of the spider verse, thats a bit ironic. Similar to most Spider Man movies Madame Web might fit on the same motto, "with great power comes great responsability" as she tries to safe as many as she can after each vision she has.

Madame Web is generating great interest among critics and audiences. The movie's trailer has been described as having an authentic 2000s vibe, still receiving positive comments from that aspect. The some what strong cast has been praised and is a source of high expectations but may be just because most have appear as support actors on known productions. However, online reactions have been mixed due to the inconcistency of the story line according what what realy happens on the comics, for this some critics have expressed concerns about the movie's potential box office performance due to recent disappointments in the superhero genre, similar story to Madame Web is The Marvels, still will a well known cast didn't do well on box office but mainly due to people accusing it of sedding subliminary messages, the woke people. While the audience awaits the release of Madame Web, some like me are waiting to tell if it really blows off or at least is entertaining enough to kill two hours and I really hope its the case since it gets tiresome to keep listening to the same complains about productions over and over and over, can we just have one good super hero movie so the people can finally shut up and stop complaining, not that most don't have reason but its probably that the now days the entire world has internet access so you listen and read people complaining about this movies all the time, myself I try to enjoy the moment but always figure out what I'm getting in to have the proper expectations set, to be hones I guess Madame Web will have a hard time to even get a 6/10 out of online reviews. I still remember watching Madame Web have her moments on the Spider Man animated series back in the 90s and did gave it a special tone of suspense of whats coming next for Peter no matter how he does or change things outcomes most of the time were not on his favor and she was always just sitting there on a type of throne just waiting, on the other hand on this version of Madame Web things are totally different so special effects, action scenes and the script can only safe this version of the story.

Synopsis: Five assassins are inside a bullet train (departing from Tokyo, and having the city of Morioka as the final destination) and they are all connected through some missions that were commissioned by just one person. Who's behind it all?

Each and every movie that focuses within a single scenario, it's always something more challenging than usual. Not just because of the delimitation of the space itself, but mainly because of the visual repetition of what is available to the public. However, when this same space is explored correctly, this ends up being just another detail that ends up not making much difference in the final result because everything shown on the screen manages to have a positive impact in relation to meeting the needs imposed by the ambiance. Here, a single scenario becomes the main protagonist of the plot and this happens because absolutely all the events focus on it.

The Phuket News

In this case, the plot takes place entirely inside a high-speed train and in it, five assassins (with individual missions among themselves) must fight each other in search of a mysterious briefcase. The content is unknown to all of them, but their personal missions put them on a collision course when they realize that all their interests end up intersecting within the same space. It all starts with the disappearance of that object, and quickly a "sea of confusion" begins to happen, making each one of them need to create strategies to survive and complete their respective missions while a real chaos of imminent proportions becomes uncontrollable.

The bullet train has only a few stops throughout its journey. Each of the stops reserves a very unpleasant surprise for the killers, who are directly or indirectly affected by everything that happens because at each of the stops, the homicides gradually discover that their missions are strangely related. Now, what's left for them is to try to find out who will get off the train alive and what awaits them at the dreaded last station. Within this narrative line, the script manages to be very efficient, despite being very fragile in terms of complexity. There is a notorious effort to create a deeper mystery, but everything is predictable.

Empire

Personally speaking, I have to say that the big mystery (which is obviously only fully - and officially - revealed in the third act) didn't really impress me, because I managed to figure out who masterminded the master plan that linked all the assassins. However, the individual motivations that surround each character's subplots are very satisfying, not only because they manage to be interesting and keep the narrative structure of the movie standing, but also because it has a very fun level of creativity. Some specific points are very surreal, but considering the entire content of the main story that gave rise to the script, it's a must to turn your brain off here (otherwise it will be impossible to buy the story and get involved with what is being built).

Anyone who decides to watch this movie while sticking to the reality of facts in the world outside the screen will certainly hate it. Everything about him is exaggerated, and his most caricatured moments will certainly annoy the most “conservative” audience (in this case... those people who are generally more “centered” on notions applicable to the real world). The action climate dominates the project almost entirely (by the way, the action scenes are very creative and there is a level of megalomania that turns all the most visceral scenes of the project into something much more intense), and the web of investigations that connects all the characters is very well thought out. Although everything is a little simple in relation to the main plot that makes all the interests of each of the characters converge in just one event, the end result is great.

NBC News

In the midst of a very competent cast, names like Brad Pitt, Aaron Taylor-Johnson, Joey King, Brian Tyree Henry and Sandra Bullock stand out not only for their respective plots, but for their charisma on screen. From the exaggerated action scenes to the simplest dialogues, the synergy of the cast is visible and they are all very comfortable and very confident in their interpretations. Directed by David Leitch with a very immersive approach to the facts presented, the movie extracts the best from the cast with the supervision of a director who is very committed to his role, and especially with the absurd truth that the script wants to show (even if it is something quite inedible, haha).

Another part of this movie's success (besides a good story, dynamic characters, and a good direction) is its technical part. This aspect is what brings the “artificial” part of the project to life and this is also done with a very good level of quality. The soundtrack "talks" with the script very well, the editing of scenes is frantic (increases the urgency of the events and the atmosphere of the plots as a whole), the lighting has strategic moments of visible efficiency and the special effects are satisfactory (even how problematic are some very punctual moments). In addition, the aesthetic part also bets on an excess of vibrant colors to try to increase the tension of the narrative.

Variety

Bullet Train is that kind of movie in which the public needs to accept the surreality of the facts. Nothing was thought to tie to events with real possibilities of happening or to make sense off screen. This is an example of a project where pure entertainment is what makes it interesting to watch and that's precisely why it's so much fun in everything it sets out to do. Without the slightest attempt to be pretentious, the project embraces its essence in a very convincing way and all its exaggerations only make it something even more creative, showing that the biggest success here is the well-balanced mix between action and comedy on tangible levels. which accelerate its execution with good technical quality (a little above average) and also the narrative.

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CRÍTICA DE PELÍCULA: “Bullet Train” (2022)

Sinopsis: Cinco asesinos se encuentran dentro de un tren bala (que parte de Tokio y tiene como destino final la ciudad de Morioka) y todos están conectados a través de algunas misiones que fueron encargadas por una sola persona. ¿Quién está detrás de todo?

Todas y cada una de las películas que se enfocan dentro de un solo escenario, siempre es algo más desafiante de lo habitual. No sólo por la delimitación del espacio en sí, sino principalmente por la repetición visual de lo que está a disposición del público. Sin embargo, cuando este mismo espacio es explorado correctamente, este termina siendo un detalle más que termina sin marcar mucha diferencia en el resultado final porque todo lo que se muestra en la pantalla logra tener un impacto positivo en relación a satisfacer las necesidades que impone el ambiente. Aquí, un único escenario se convierte en el principal protagonista de la trama y esto sucede porque absolutamente todos los acontecimientos se centran en él.

En este caso, la trama se desarrolla íntegramente en el interior de un tren de alta velocidad y en él, cinco asesinos (con misiones individuales entre ellos) deben luchar entre sí en busca de un misterioso maletín. El contenido es desconocido para todos ellos, pero sus misiones personales los ponen en rumbo de colisión cuando se dan cuenta de que todos sus intereses terminan cruzándose dentro de un mismo espacio. Todo comienza con la desaparición de ese objeto, y rápidamente comienza a suceder un "mar de confusión", haciendo que cada uno de ellos necesite crear estrategias para sobrevivir y completar sus respectivas misiones mientras un verdadero caos de proporciones inminentes se vuelve incontrolable.

El tren bala tiene solo unas pocas paradas a lo largo de su viaje. Cada una de las paradas reserva una sorpresa muy desagradable para los asesinos, quienes directa o indirectamente se ven afectados por todo lo que sucede porque en cada una de las paradas, los homicidas descubren poco a poco que sus misiones están extrañamente relacionadas. Ahora, lo que les queda es intentar averiguar quién saldrá vivo del tren y qué les espera en la temida última estación. Dentro de esta línea narrativa, el guión logra ser muy eficiente, a pesar de ser muy frágil en términos de complejidad. Hay un notorio esfuerzo por crear un misterio más profundo, pero todo es predecible.

Hablando personalmente, debo decir que el gran misterio (que obviamente solo se revela completamente - y oficialmente - en el tercer acto) realmente no me impresionó, porque logré descubrir quién planeó el plan maestro que unió a todos los asesinos. Sin embargo, las motivaciones individuales que rodean las subtramas de cada personaje son muy satisfactorias, no solo porque logran ser interesantes y mantener en pie la estructura narrativa de la película, sino también porque tiene un nivel de creatividad muy divertido. Algunos puntos específicos son muy surrealistas, pero teniendo en cuenta todo el contenido de la historia principal que dio origen al guión, es imprescindible apagar el cerebro aquí (de lo contrario será imposible comprar la historia e involucrarse con lo que se está construyendo).

Cualquiera que decida ver esta película mientras se apega a la realidad de los hechos en el mundo fuera de la pantalla, sin duda la odiará. Todo en él es exagerado, y sus momentos más caricaturescos seguramente molestarán al público más “conservador” (en este caso…aquellos que en general están más “centrados” en nociones aplicables al mundo real). El clima de acción domina casi en su totalidad el proyecto (por cierto, las escenas de acción son muy creativas y hay un nivel de megalomanía que convierte todas las escenas más viscerales del proyecto en algo mucho más intenso), y la red de investigaciones que conecta Todos los personajes están muy bien pensados. Aunque todo es un poco simple en relación a la trama principal que hace converger todos los intereses de cada uno de los personajes en un solo evento, el resultado final es genial.

En medio de un elenco muy competente, nombres como Brad Pitt, Aaron Taylor-Johnson, Joey King, Brian Tyree Henry y Sandra Bullock destacan no solo por sus respectivas tramas, sino por su carisma en pantalla. Desde las escenas de acción exageradas hasta los diálogos más simples, la sinergia del elenco es visible y todos se sienten muy cómodos y confiados en sus interpretaciones. Dirigida por David Leitch con un enfoque muy inmersivo de los hechos presentados, la película extrae lo mejor del reparto con la supervisión de un director muy comprometido con su papel, y sobre todo con la verdad absurda que el guión quiere mostrar (incluso si es algo bastante incomible, jaja).

Otra parte del éxito de esta película (además de una buena historia, personajes dinámicos y una buena dirección) es su parte técnica. Este aspecto es el que da vida a la parte “artificial” del proyecto y esto también se hace con un muy buen nivel de calidad. La banda sonora "conversa" muy bien con el guión, el montaje de escenas es frenético (aumenta la urgencia de los hechos y la atmósfera del conjunto de las tramas), la iluminación tiene momentos estratégicos de visible eficacia y los efectos especiales son satisfactorios (hasta lo problemáticos que son algunos momentos muy puntuales). Además, la parte estética también apuesta por un exceso de colores vibrantes para intentar aumentar la tensión de la narrativa.

Bullet Train es ese tipo de película en la que el público necesita aceptar la surrealidad de los hechos. No se pensó que nada se vinculara con eventos con posibilidades reales de suceder o que tuviera sentido fuera de la pantalla. Este es un ejemplo de un proyecto donde el puro entretenimiento es lo que lo hace interesante de ver y precisamente por eso es tan divertido en todo lo que se propone. Sin el menor intento de ser pretencioso, el proyecto abraza su esencia de una manera muy convincente y todas sus exageraciones sólo lo convierten en algo aún más creativo, demostrando que el mayor éxito aquí es la mezcla equilibrada entre acción y comedia en niveles tangibles. lo que acelera su ejecución con buena calidad técnica (un poco por encima de la media) y también la narrativa.

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CRÍTICA DE FILME: "Trem-Bala” (2022)

Sinopse: Cinco assassinos se encontram dentro de um trem-bala (partindo de Tóquio, e tendo à cidade de Morioka como o destino final) e todos eles estão conectados através de algumas missões que foram encomendadas por apenas uma única pessoa. Quem está por trás disso tudo?

Todo e qualquer filme que se concentra dentro de um único cenário, é sempre algo mais desafiador do que o habitual. Não apenas pela delimitação do espaço em si, mas principalmente pela repetição visual do que está disponível para o público. No entanto, quando este mesmo espaço é explorado da maneira correta, isso acaba sendo apenas mais um detalhe que acaba não fazendo tanta diferença no resultado final porque tudo o que é mostrado na tela consegue ter um impacto positivo em relação a suprir às necessidades impostas pela ambientação. Aqui, um único cenário se torna o principal protagonista da trama e isso acontece porque absolutamente todos os acontecimentos se concentram nele.

Neste caso, à trama acontece inteiramente dentro de um trem de alta velocidade e nele, cinco assassinos (com missões individuais entre si) precisam lutar entre si na busca por uma misteriosa maleta. O conteúdo é desconhecido por todos eles, mas as suas missões pessoais os colocam em rota de colisão quando eles percebem que todos os seus interesses acabam se cruzando dentro de um mesmo espaço. Tudo começa com o desaparecimento desse objeto, e rapidamente um “mar de confusões” começa a acontecer, fazendo com que cada um deles precise criar estratégias para sobreviver e completarem suas respectivas missões enquanto um verdadeiro caos de proporções iminentes se torna incontrolável.

O trem-bala conta com apenas algumas paradas durante todo o seu trajeto. Cada uma das paradas reserva uma surpresa bem desagradável para os assassinos, que diretamente ou indiretamente, são afetados por tudo o que acontece porque em cada uma das paradas, os homicidas gradualmente vão descobrindo que às suas missões estão estranhamente relacionadas. Agora, o que resta para eles, é tentar descobrir quem sairá vivo do trem e o que os espera na tão temida última estação. Dentro dessa linha narrativa, o roteiro consegue ser muito eficiente, apesar de ser muito frágil em termos de complexidade. Há um esforço notório para criar um mistério mais acentuado, mas tudo é previsível.

Particularmente falando, eu preciso dizer que o grande mistério (que obviamente só é completamente - e oficialmente - revelado no terceiro ato) não me impressionou muito, porque eu consegui descobrir quem arquitetou o plano central que ligou todos os assassinos. No entanto, às motivações individuais que cercam às subtramas de cada personagem são muito satisfatórias, não apenas porque conseguem ser interessantes e mantém à estrutura narrativa do filme de pé, mas também porque tem um nível de criatividade muito divertido. Alguns pontos em específico são muito surreais, mas considerando todo o teor da principal que deu origem ao roteiro, é uma obrigação ter que desligar o cérebro aqui (caso contrário será impossível comprar a estória e se envolver com o que está sendo construído).

Quem decidir assistir a este filme se prendendo à realidade dos fatos no mundo fora das telas, certamente irá odiá-lo. Tudo nele é exagerado, e seus momentos mais caricatos certamente vão incomodar ao público mais “conservador” (neste caso... aquelas pessoas que geralmente são mais “centradas” em noções aplicáveis ao mundo real). O clima de ação domina o projeto quase por inteiro (aliás, as cenas de ação são muito criativas e há um nível de megalomania que torna todas as cenas mais viscerais do projeto em algo muito mais intenso), e à teia de investigações que conecta todos os personagens é muito bem pensada. Embora tudo seja um pouco simples em relação à trama principal que faz todos os interesses de cada um dos personagens convergirem em apenas um único acontecimento, o resultado final é ótimo.

No meio de um elenco muito competente, nomes como Brad Pitt, Aaron Taylor-Johnson, Joey King, Brian Tyree Henry e Sandra Bullock se destacam não apenas por suas respectivas tramas, mas pelo seu carisma na tela. Desde as cenas de ação exageradas até os diálogos mais simples, a sinergia do elenco é visível e todos eles estão muito confortáveis e muito confiantes em suas interpretações. Dirigido por David Leitch com uma abordagem bem imersiva diante dos fatos apresentados, o filme extrai o melhor do elenco com à supervisão de um diretor bem comprometido com à sua função, e principalmente com à verdade absurda que o roteiro quer mostrar (ainda que ela seja algo bastante intragável, haha).

Uma outra parte do sucesso deste filme (além de uma boa estória, personagens dinâmicos, e um bom direcionamento) é à sua parte técnica. Esse aspecto é o que dá vida à parte “artificial” do projeto e isso também é feito com um nível de qualidade muito bom. A trilha sonora “conversa” com o roteiro muito bem, a edição de cenas é frenética (aumenta a urgência dos acontecimentos e à atmosfera das tramas como um todo), a iluminação tem momentos estratégicos de eficiência visível e os efeitos especiais são satisfatórios (ainda que problemáticos alguns momentos bastante pontuais). Além disso, a parte estética também aposta no excesso de cores vibrantes para tentar aumentar à tensão da narrativa.

Trem-Bala é aquele tipo de filme em que o público precisa aceitar à surrealidade dos fatos. Nada foi pensado para se prender a eventos com possibilidades reais de acontecer ou para fazer sentido fora das telas. Esse é exemplo de projeto onde o puro entretenimento é o que faz dele algo interessante de ser assistido e é justamente por isso que ele é muito divertido em tudo o que se propõe a fazer. Sem à menor tentativa de ser pretencioso, o projeto abraça à sua essência de maneira muito convincente e todos os seus exageros só o tornam em algo ainda mais criativo, evidenciando que o maior acerto aqui é à mistura bem dosada entre ação e comédia em níveis tangíveis que aceleram à sua execução com boa qualidade técnica (um pouco acima da média) e também a narrativa.

Bob Marley: One Love offers viewers and fans an intimate and fascinating look at the life of legendary reggae icon Bob Marley. Directed by the talented Reinaldo Marcus Green, this biographical musical drama not only shows the powerful story of Marley, but also explores the revolutionary music that continues to resonate with generations, I am a fan of Bob Marley, although I was not born when this man was alive but every time you listen his music feel like you miss him. He was born on a small island and managed to inspire people from all over the world with his music. I think everyone at least knows one Bob Marley song and I would like this movie to pay tribute to his message and idea, it might be a dangerous trip to make this biopic, several going around and one was already a disaster for the critics, lets see how this one pays out.

In June 2018 Paramount Pictures announced the project, with Ziggy Marley, Bob Marley's eldest son, producing. After an extensive search, Kingsley Ben-Adir took on the lead role in February 2022, production began in December of that year in London and concluded in April 2023. The movie, officially titled “Bob Marley: One Love,” was presented to the public by producer Ziggy Marley at CinemaCon.

In the past I have seen how family members of artist specially actors and musicians participate in documentaries and movies that refer to their relatives to make sure what is shown on this productions do not distort the truth about the life and legacy of their relatives, in this case Bob Marley, it is my hope that it is the case and Ziggy Marley been part of the production of this movie means we can get a story as close as possible to what happen during those years.

Reinaldo Marcus Green is an American director, producer and writer born in the Bronx, New York, has made his mark in the movie industry with a diverse portfolio. Before Bob Marley: One Love, Green gained attention with his first short movies, including Stone Cars and Stop, inspired by the tragic murder of Trayvon Martin.

Green's feature debut, Monsters and Men (2018), earned him a Special Award at the Sundance movie Festival. His next project, Joe Bell (2020), featured an all star cast including Mark Wahlberg, Connie Britton and Maxwell Jenkins. Green also ventured into television, directing three episodes of the British crime drama Top Boy for its third season, which premiered in 2019.

He also directed the biography King Richard, starring Will Smith as the father of Venus and Serena Williams. His most recent project, the HBO miniseries We Own This City, adapted from the book of the same name by Justin Fenton, demonstrates how this men seem to have a special tallent when it comes to direct stories of men who for unfortunate reasons in some cases went through some struggle and overcome but sadly were taken away after, its the case of Trayvon Martin, King Richard and now Bob Marley.

The moviecast includes Kingsley Ben-Adir, Lashana Lynch and Jesse Cilio. Kingsley Ben-Adir, in the role of Bob Marley, who has a successful career, mostly people recognize him for his role as Malcolm X but very recent enter Marvel Universe in the not so popular TV series Secret Invasion, in an interview with The Guardian, the actor said that he had to work hard to perfect his Jamaican accent and patois considering in the UK there are parts that already have a large Jamican influence, he also learned to sing and play guitar for this role, apparently he is who sings throughout the entire movie, not sure how much AI would be use to mimic Marley's voice.

Lashana Lynch, who plays the role of Rita Marley, has left her mark with her performance in the series Still Star-Crossed, but had the same luck as Kingsley with little sucess on the Marvel Universe with movies like The Marvels and Captain Marvel, not that her performance was bad on this two movies but the movies themself didn't help to the cause, she had a strong role on the movie The Woman King as Izogie that benefits more to her acting skills. Jesse Cilio, playing Bob Marley's father, previously starred in Domino, Pure Heroin and The Story of Your Life.

From what I could search online this might be the first colaboration between some of this actors, they all have similar roles to what they will perform on Bob Marley: One Love so it all seem to make sense and can be the stellar cast fitted, as the director; to this production.

Bob Marley: One Love is a biographical film; explores into the message of love, unity and resistance that Marley always transmitted, we will see many aspects of his life probably from starting his carrer and all the way to the top when many started to consider him an icon, a rockstart and a threat, most men in life who can carry a strong message and heard by many become a threat to the system, the corrupt system we live in today, all he was spreading was a message of love, acceptance and trying to unite the people, his people but its alwasys the power of those at the top either on the streets as gang members or the govermetns politicians try to get rid of this messenger, on the trailer you can see a scene that represents an assassination attempt against Marley and I hope they give enough context to what happen, the reasons why it happen, there is also part of his historic performance at the One Love Peace Concert in Kingston, Jamaica.

This is all planets align and might be the movie that brings satisfaction to viewers with a great director for this job, a great cast with enough experience on similar roles plus the production of a member of the Marley Family, anyone who have listen to Bob Marley music cant stop once you start, its very often to sign when you are on a long road trip or alone doing certain task, there is something to it that you can keep repeating the lyrics and the song basically never ends, there are certain decades that if possible I would love to be born during those times, the 70s, 80s, were some of the best times for iconic music heroes like Bob Marley, it is my hope that this could be one of the best movies of 2024 for many reasons, Bob Marley music, message, legacy and cool down the heated social media world that we life in today, some more unity very well needed.

If you think this movie is a Horror movie that would depend on your take on horror movies, in my opinion it is not, for me horror movie have several components like a lot of killing, blood, demons, possessions, this kind of things that keeps your eyes open the entire time, if you are looking for a movie that keeps you intrigued of how the next guy is going to disappear or be killed by most likely another human then look no further than “Out of Darkness” , a British horror thriller directed by Andrew Cumming, this movie takes us 45,000 years back, to the Stone Age, where survival is not simply a choice, but a brutal necessity, hysteria and terror in the Stone Age, very few time I have seen movies with this theme.

The plot of this movie is nothing complicated but, from the trailer you can tell it is very simple but going a bit further than that I think what might make this movie appealing to viewers is how people during this time probably behave and solve their problems, its is a desolated landscape where six primitive humans are trying to make it their home but on this new territory they face a presence lurking around that starts taking them down one by one pushing them towards the woods and specially attacks in very dark places. The movie touch themes like survival, fear, hysteria, murder and the beginning of humanity. Around the world there have been tribes before called demons, they are just another human but their ways and traditional hunting, how they move and hide within the landscape creates they illusion that they are ghosts, when your people start to go down and hunted by this demons its easy for the brain to start creating a scenario of horror and panic, not knowing who and when is the next one going down.

The cast of Out of Darkness is a great fusion of talents that have been on TV and the big screen on some well known productions. Safia Oakley-Green, British actress and dancer, is the youngest member of the group and her performance has been described as convincing, believable and terrifying. She has appeared in the series The Lazarus Project, a very well known TV series with good score online across multiple sites like IMDB and Rotten Tomatoes, 7/10.

Chuku Modu, a British actor of Nigerian, German, English and Irish descent, recognized for his roles in Game of Thrones, The Good Doctor, The 100 and a brief appearance in Captain Marvel, plays a man of action, who does not hesitate to fight for what he believes.

Kit Young, who rose to fame as Jesper Fahey on Netflix's Shadow and Bone, is a skilled hunter and defender of the group.

Iola Evans, another British actress and dancer known for her appearances in The 100, Carnival Row, and Phea. If we look at this actors most of they have been part of multiple UK and US productions, some had secondary roles but on Out of Darkness it looks that its just them against the Darkness, there wont be many side stories during the movie since its focus on a small group of primitives this makes the drama and relation between them stronger meaning we will see more about their behaviors, troubles, keeping actors grinding during the entire movie.

Andrew Cumming, Scottish director makes his feature movie debut with this movie, he is no stranger to creating stories that keep us trapped from beginning to end, he has a history in award winning short movies and television episodes, on this occasion its a totally different scenario because things like the natural location choices and the exploration of human emotions make Cumming show his talent and become a director, this entire movie when we go through the cast, director, idea, looks like a big experiment its the perfect scenario as a first time big screen director to succeed and show others you can become a force to reckoned with.

According to Cumming, the film is more than just another scary movie in the woods; reflects our evolutionary journey, how we became who we are today and what we overcome. It serves as a metaphor for our current challenges, leading us to find courage and strength to face the uncertainties of life, I am curious to know what the monster is, although you don't need to invent one, again its nothing spiritual or demons, it has to be something or someone that is hunting them and has this peculiar way of doing it.

Creating a film set 45,000 years ago is not easy, especially when the setting is Scotland and Iceland. The production team faced challenges during the confinement due to the COVID-19 pandemic in November 2020, following strict health and safety protocols, the key was to film 1.5 km from a hotel, they had to maintain authenticity, the film was developed in natural locations and minimal CGI, filming in Scotland and Iceland with that type of weather must be a difficult task to accomplish.

Out of Darkness generate multiple reactions from the public as this movie has been on a couple of movie festivals, some praised its originality, creativity and realistic depiction of a prehistoric world. One reviewer described it as a “stunning experience that transports you to a primitive and terrifying world.” However, not everyone accepted it, others criticized the film for its lack of dialogue, character development and plot, dismissing it as "boring and pointless" or "disturbing and depressing" and I can understand that if you probably don't know what you are getting in for, a big problem why people get disappointed and unload this rage into comments and reviews online basically destroying the average rate is because they expect something different, but we need to recognize it was not that the movie itself was bad, it was just not what I expect it to be or probably the title and theme are not according to the movie, basically wrong marketing for the type of movie, I doubt that when I watch Out of Darkness I will expect something else since its very clear, it will be up to the acting if its a good or bad movie probably not to the script.

Lo que fue conocido como DCEU (DC Extended Universe) y Snyderverse, ha llegado a su fin; quince películas en diez años de las cuales cuatro de esas películas tuvieron aceptación tanto de la crítica especializada como del público en general. Este proyecto, del cual estaba ideado de ser una competencia al en ese momento muy exitoso MCU, buscaba ser diferente en estilo y desarrollo de un universo compartido en estos muy famosos héroes de DC Comics, pero se les hizo tan difícil competir que nunca pudo obtener una aceptación plena y es por eso que su condena al fracaso fue un gran y triste spoiler, pero no todo fue la culpa de la crítica o del fandom, hay que señalar a Warner Bros. Pictures y DC Studios por realizar mediocres producciones que nunca estuvieron a la altura de los héroes que los protagonizan y, en mi opinión, eso fue una pieza fundamental del fin de esta franquicia.

What was known as DCEU (DC Extended Universe) and Snyderverse, has come to an end; fifteen films in ten years of which only four of those films were accepted by both specialized critics and the general public. This project, which was intended to be a competition to the then very successful MCU, sought to be different in style and development of a shared universe in these very famous heroes of DC Comics, but it was so difficult to compete that it could never get a full acceptance and that is why its doom to failure was a great and sad spoiler, but not everything was the fault of the critics or the fandom, we must point to Warner Bros. Pictures and DC Studios for making mediocre productions that never lived up to the heroes starring them and, in my opinion, that was a fundamental piece of the end of this franchise.

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"Aquaman and the Lost Kingdom" no es solamente la última película del DCEU, sino que fue la última película basada en comics del pasado año, también fue la película de este estilo que tuvo menos promoción y es que al ser parte de una franquicia con fecha de finiquito, no había necesidad alguna de promocionar, sin importar que el primer film tuvo una gran e inesperada gran recaudación de taquilla. En esta segunda y parte final de esta franquicia, veremos a un "Arthur Curry" también conocido como "Aquaman" lidiar con las responsabilidades de ser el actual Rey de Atlantis y de ser padre, ambas actividades mantiene ocupado a un hombre que pareciera no estar preparado para ser líder y justamente todos esos factores ha hecho que pierda la perspectiva de una gran amenaza que acecha no solo la paz en la profundidad de los mares, sino a todo el planeta, es por eso que deberá buscar ayuda en dónde menos espera para enfrentar a un enemigo que se ha hecho más poderoso.

"Aquaman and the Lost Kingdom" is not only the last movie of the DCEU, but it was the last movie based on comic books last year, it was also the movie of this style that had less promotion and being part of a franchise with an end date, there was no need to promote it, no matter that the first film had a great and unexpectedly great box office collection. In this second and final part of this franchise, we will see an "Arthur Curry" also known as "Aquaman" dealing with the responsibilities of being the current King of Atlantis and being a father, both activities keep busy a man who seems unprepared to be a leader and precisely all these factors have made him lose perspective of a great threat that lurks not only peace in the depths of the seas, but the entire planet, which is why he must seek help where least expected to face an enemy that has become more powerful.

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Me sorprende qué está secuela se estrenó cinco años después de la exitosa primera película y más porque tanto los actores como el director James Wan no se mantuvieron muy ocupados en esos años, pero parece que la decisión fue en desarrollar una mejor historia enfocada en la época de plata de los cómics, explorar aún más la ciencia-ficción y terror, junto a otro importante elemento el cual es hacer un "Buddy Comedy" así como se observó en muchos films de los 80' como por ejemplo "Lethal Weapon" y "Tango & Cash"; todos esos elementos antes citados están presente en este film, aunque uno mejor desarrollados que otros; por ejemplo, todo lo referente al Reino de Atlantis y sus dominios es algo que me fascinó en el primer film como ocurrió en esta segunda parte y opino que es uno de los puntos más altos de esta producción y me pareció genial que Wan mantuviera la calidad en el uso del CGI para crear esta gran ciudad junto a quienes los habitan; a eso, sumo el desarrollo de ciertas escenografías que podrán ser consideradas como pequeñas o burdas, pero pienso que son debidas a las regrabaciones del film, aunque también existe la influencia que obtuvo el director de comics o series antiguas para recrear ese tipo de lugares que obtienen más relevancia en las escenas de acción.

Lo referente a que este film sea un "Buddy Comedy" es lo que menos me ha gustado, eso es debido a como está escrita la relación entre estos dos hermanos que en la anterior producción eran acérrimos enemigos; lamentablemente esta fue una manera errada de hacer comedia, ya que es muy exagerada la interpretación del protagonista y eso no la hace divertida y la convierte en inmadura; lo otro es que no existe un punto en dónde se pudo desarrollar mejor la hermandad entre ambos, creo que se pudo hacer a ambos más combativos, competitivos, de tener un punto dramático, dar una pausa y después brindar todo lo referente a la comedia en la unión entre hermanos enfrentando a un poderoso enemigo.

I am surprised that this sequel was released five years after the successful first film and more because both the actors and the director James Wan were not very busy in those years, but it seems that the decision was to develop a better story focused on the silver age of comics, explore even more sci-fi and horror, along with another important element which is to make a "Buddy Comedy" as seen in many films of the 80's as for example "Lethal Weapon" and "Tango & Cash"; all those elements mentioned above are present in this film, although one better developed than others; for example, everything related to the Kingdom of Atlantis and its domains is something that fascinated me in the first film as it happened in this second part and I think it is one of the highest points of this production and I thought it was great that Wan kept the quality in the use of CGI to create this great city along with those who inhabit it; to that, I add the development of certain scenographies that could be considered as small or crude, but I think they are due to the reshoots of the film, although there is also the influence that the director got from comics or old series to recreate that kind of places that get more relevance in the action scenes.

The thing about this film being a "Buddy Comedy" is what I liked the least, that is because of how the relationship between these two brothers is written, who in the previous production were bitter enemies; unfortunately this was a wrong way to make comedy, since it is very exaggerated the interpretation of the protagonist and that does not make it funny and makes it immature; The other thing is that there is no point where the brotherhood between the two could have been better developed, I think they could have made both more combative, competitive, to have a dramatic point, give a pause and then provide everything related to the comedy in the union between brothers facing a powerful enemy.

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La comedia o el intento de hacer comedia es lo errado en esta película y eso es debido a que su máximo o único exponente es el personaje de "Arthur Curry/Aquaman" interpretado por Jason Momoa; mientras veía la película, estaba convencido de que este actor se interpretó a sí mismo, dejó atrás lo realizado en ambas versiones de "Justice League" y del primer film de Aquaman, en los cuales tiene momentos cómicos, pero ninguno se compara con lo visto en este film; sé que existe un cambio en el personaje, ya que ahora es rey y también padre, pero creo que también hay un retroceso porque es inmaduro y no un gran líder, no entiendo por qué hacer una versión así del personaje que esperaba fuera más heroico y aunque pienso que se escribió de esa manera para ser oposición a lo que representa "Norm" interpretado por Patrick Wilson, estoy convencido de que lo sobreactuado de Momoa arruinó lo idea de su director.

The comedy or the attempt to make comedy is the wrong thing in this movie and that's because its maximum or only exponent is the character of "Arthur Curry/Aquaman" played by Jason Momoa; while watching the movie, I was convinced that this actor played himself, he left behind what he did in both versions of "Justice League" and the first Aquaman film, in which he has comic moments, but none compares to what was seen in this film; I know there is a change in the character, since he is now a king and also a father, but I think there is also a step back because he is immature and not a great leader, I don't understand why make such a version of the character that I expected to be more heroic and although I think it was written that way to be opposed to what represents "Norm" played by Patrick Wilson, I am convinced that the overacting of Momoa ruined the idea of its director.

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La franquicia que debió competir con la anteriormente poderosa y exitosa MCU, obtuvo un final que posiblemente estuvo a la altura de la mayoría de sus películas; un mal desarrollo de ideas con mucha influencia de productores, problemas con actores, rechazo por parte de críticos, un fandom dividió y frustrado, muchos elementos que vaticinaron un final que posiblemente es lo mejor para todas las personas envueltas en esta franquicia; esa opinión se hizo fuerte cuando por fin termine de ver Aquaman and the Lost Kingdom, película que tiene muy buenas ideas, pero con muchas otras que son un desastre, creo que hay cosas, así lo diré "cosas" que hacen presenciar al buen trabajo de Wan y hay otras en dónde no hubo un buen desempeño por nadie, hasta puedo decir que es evidente las escenas nuevas o regrabadas, causadas por pruebas fallidas la cual me hace pensar que tan mala pudo ser la versión anterior o qué impactante pudo ser alguna escena, pero de igual manera ocasionó que se desarrollara está versión suave, una comedia fallida, con un mal uso de sus villanos y que la convierte en una de las peores películas del DCEU.

The franchise that should have competed with the previously powerful and successful MCU, got an ending that was possibly at the height of most of its films; a bad development of ideas with a lot of influence from producers, problems with actors, rejection by critics, a divided and frustrated fandom, many elements that predicted an ending that is possibly the best for all the people involved in this franchise; that opinion became strong when I finally finished watching Aquaman and the Lost Kingdom, a movie that has very good ideas, but with many others that are a disaster, I think there are things, I will say "things" that make witness the good work of Wan and there are others where there was not a good performance by anyone, I can even say that it is evident the new or re-recorded scenes, caused by failed tests which makes me think how bad could have been the previous version or how shocking could have been some scene, but in the same way it caused this soft version to develop, a failed comedy, with a bad use of its villains and that makes it one of the worst movies of the DCEU.