Community Reviews

Finally I finished FROM Season 3 and I am excited to share my review about it. I liked it. But I was feeling frustration multiple times, hehe. In every season I think that this time it will put an end to the story and then I get disappointed. Anyway, what else can you expect from a series like "FROM"? hehe 🤣 I just feel that maybe I'm overthinking and the answer may be simple.

This time everything was darker than previous two seasons. I think they keep adding things we shouldn't be watching. First of all I want to discuss about Fatima at first, as her part was one of the weirdest in this season. In the beginning, I felt sad for her condition because having baby is a miracle at places like that town. She said doctors told her she could never become pregnant despite that her pregnancy finally happened. As we know in the town surviving is tough but a baby was coming so everyone would have an opportunity to experience something really beautiful. The problems started when Fatima was craving rotten vegetables and I was like, okay! this was not expected then things were getting much worse! 🥲

Nicky got shot by a sheriff who was taking Tabitha in an ambulance and Victor's father was injured. They all were going to the hospital but again they found a tree which had fallen on the road. That means Tabitha was going back to the town again. So, in panic a lady Sheriff was trying to survive and accidentally shot Nicky. Then her body was kept in the upstairs there fatima was sad for a while but I noticed she was getting attracted to the blood and she was tasting it with her finger and she kept doing it as if she was having a tasty food. I was like, "Woah! What are you doing?" To be honest, that was really disgusting 😖. I know, I know Fatima isn't like that and she would never want to do such things so I think she was confused herself. Later everyone else discovered that something was wrong with her because in ultrasound there was no baby.

Then there is a character Elgin who kept getting on my nerves. I think I was having hatred towards Sara only but Elgin was two steps ahead of her. He was super super annoying in this season. I thought he may have some important role but no, he got the certificate to annoy only. When he started to see things and a woman, he should have told Boyd or anyone. Instead he trusted that Kimono Woman who tried to communicate with him. He was stubborn and did not tell anyone what he knew. He kept it to himself.

Elgin was an innocent guy. He was doing what that woman has been telling.I understand that he thought was helping just like Sara but he knew what had happened to Sara so how could he ignore the facts? He kept everything hidden and also kidnapped Fatima. So the hopeless situation even got worse because of him. On the other hand, he thought he was right to do so. I was thinking that if he told others what he knew then maybe some things would have been different.

After a few episode the situation for Fatima went from bad to worse because her belly was growing rapidly and she started feel pain. When she tried to stab her stomach that Kimono Woman stopped Fatima and told her that the baby was coming and ina while, Fatima gave birth. It looked like a fleshy sack and not a baby and that was uncomfortable to watch. The sack looked like some kind of organism in it. Kimono Woman took it to the tunnels and later Boyd followed them.

That thing started to grow bigger and then we get to see Smiley. I was very confused, trying to process what I just saw because did Boyd not kill this guy already? Seriously how is this possible? I was too shocked to speak, hehe. I would say this was creepier than any other things I have watched so far. Got a new information about the monsters that they can never die and they are mortal even if they die they will eventually come back by reincarnation. Maybe Fatima’s pregnancy was planned by these monsters to punish the people of the town to break their hopes. And here I was thinking finally something good will happen, lol.

So yeah, I have answers now for the questions I had in my mind but it did not feel enough. Like Tabitha and Jade they were not a normal person they are connected to the past of this town. Also, learned that Julie is like a story walker so maybe she can try to change the past. Jim’s death was no expected, he was getting annoying sometimes but I really liked his character as a father. I realized a powerful entity must be doing all of these.

Anyway, I have many questions who made this place and why he choose those people? Why kids are involved? Is victor's dad responsible? Or is Victor dreaming and we all are watching his dreams? And who is the man in yellow suit? I have no clue but I hope that will find out in Season 4. Anyway, writers please don't disappoint us we deserve a good ending. I wish that the characters start sticking together and share every knowledge with each other more openly in next season. I think a story gets complicated if people starts to keep secrets from each other. Anyway, I will start watching season 4 today, let's see what happens next.

Image is taken from tmdb

Rating: 95/100

Originally posted through scrobble.life/tv.

I generally watch a lot of films but I never had a platform to share my thoughts as beautifully as scrobble.life allows. So, today I have tried my best to explain Titanic a movie released in 1997 that is a personal favorite of mine.

this picture source

The story begins many years after the Titanic sank. An old Rose looks back at the journey that changed her entire life. In 1912 she was a young woman from a wealthy family. From the outside her life looked perfect. But inside she felt trapped. Her mother had already decided her future and expected her to marry Cal Hockley. Rose had money and status but she had almost no freedom.

Rose boards the Titanic with her family and Cal. Everyone around her is excited because the ship is considered something extraordinary. But Rose does not feel excited. She feels like she is being pushed into a life she never chose. One night she finally reaches a breaking point and goes alone toward the back of the ship. She thinks about ending her life. Then she meets Jack Dawson.

Jack is completely different from Rose. He has almost nothing but he feels free. He won his third-class ticket in a poker game and is simply happy to be on the ship. When Rose tries to jump Jack talks to her and slowly brings her back from the edge. From that moment their lives become connected. Rose starts spending more time with Jack. She discovers a side of life that she had forgotten existed. Jack makes her laugh. He listens to her. He does not care about her family name or money. For the first time Rose feels like she can simply be herself. Cal becomes increasingly jealous. He sees Jack as a threat and tries to keep Rose away from him. But Rose's feelings have already changed. She begins to understand that the life she has been forced into is not the life she wants.

For a short time it feels like nothing can touch them. But the Titanic is moving toward disaster. The ship strikes an iceberg during the night. At first many passengers do not understand what has happened. But the crew soon realizes the damage is serious. Water begins entering the ship. The great Titanic that everyone believed was almost impossible to destroy is suddenly fighting for its life. Rose and Jack try to stay together while chaos spreads through the ship. Lifeboats are prepared but there are not enough for everyone. The difference between rich and poor becomes painfully clear. Some people are given priority while others struggle just to reach the upper decks.

Rose is placed on a lifeboat but she cannot leave Jack. She jumps back onto the sinking ship. At this point she has already made her choice. She would rather face the disaster with Jack than return to the life she once thought she wanted. The Titanic continues to sink. Jack and Rose eventually reach the stern as the ship rises higher and higher from the water. The huge ship finally breaks apart and disappears into the freezing Atlantic. Rose manages to climb onto a floating piece of wreckage. Jack stays in the water beside her. He knows that the cold is becoming deadly. He keeps telling Rose to survive. He wants her to live even when he knows he may not.

Jack slowly loses his strength. Before he dies he makes Rose promise that she will live a full life. Rose promises him that she will survive. And she does. Years later the old Rose tells the story because Jack was not simply a man she loved for a few days. He was the person who helped her discover who she really was. She eventually lived the life Jack wanted for her. She traveled. She experienced the world. She found happiness. She never forgot him. The ending is emotional because Rose finally returns to the place where everything began. In her memory she becomes young again. Jack is waiting for her and the people who died on the Titanic are there too.

Rating: 91/100

Rating: 35/100

🎸🎸🎸🎸🎸👑👑🎸🎸🎸🎸

Rating: 90/100

Originally posted through scrobble.life/music.

Hello friends, good vibes to everyone.

Hola amigos, buenas vibras para todos.

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No, it’s not a rhetorical question; we actually see brain ice cream being made in this film. A couple of months ago, I remarked that this year was shaping up to be a good one for horror cinema, given the release of some truly great movies—and I still believe that. If we compare last year to 2026, I think there is a significant difference in terms of both the quality and the sheer number of films. However, not every movie wins over the audience—and I’m not talking about critics' sites, but rather the people who go to the theater or sit at home simply for the love of watching movies. Ice Cream Man is a case in point: a truly unique story featuring excessive gore and extreme violence, yet with a plot that isn't actually all that far-fetched. In the end, it kind of won me over.

No, no es una pregunta retórica, realmente vemos hacer helado de cerebro en este film. Hace un par de meses comentaba que este año pintaba como uno bueno para el cine de terror ya que estaban saliendo películas realmente buenas; sigo creyendo eso. Si comparamos el año pasado con este 2026 la diferencia creería que es bien considerable en lo que a calidad y número de films se refiere. Pero no todas corren con la suerte de la aprobación de la gente, no hablo de las páginas de critica, hablo de las personas que va al cine o se sientan en sus casas por el simple gusto de ver películas. Ice Cream Man es un ejemplo de ello, una historia bien particular con un exceso de gore y violencia descomunal y con una trama que la verdad no está tan descabellada; y es que si, a mi me terminó comprando un poco.

We find ourselves in a typical American town where neighbors know one another and children play in the streets, in parks, and on school baseball teams—an ideal place to live, the kind of place where nothing ever happens. One day, following a game, an ice cream truck arrives near the field, driven by a man with a smile tattooed on his face; he is never seen angry and never utters a word, simply handing out ice cream to everyone before finishing with a bow of gratitude. A few hours later—specifically, that very night—the behavior of the children who ate the ice cream changes drastically, turning them into tireless killing machines; I am not exaggerating when I tell you that these children will kill anything that crosses their path in the most unimaginable ways possible.

Nos ubicamos en el típico pueblo americano en donde los vecinos se conocen, los niños juegan en las calles, parques y en los equipos de beisbol del colegio; el lugar ideal para vivir y en donde nunca pasa nada. Un buen día, después de un partido, llega a los alrededores de la cancha un carro de helados manejado por un hombre con una sonrisa tatuada en su cara, nunca se le ve molesto y nunca emite palabra alguna; solo reparte helados a todos para terminar con una reverencia de agradecimiento. Al cabo de unas horas, específicamente en la noche de aquel mismo día, el comportamiento de los niños que comieron helado cambia radicalmente convirtiéndolos en unas maquinas incansables de matar; no exagero cuando les digo que estos niños matarán a todo lo que se les atraviese de las formas más impensables que hay.

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However, not everyone fell under that "spell" or "hex"; a few people remained who didn't eat the famous ice cream, and now they must figure out what is happening, why it is happening, and how to stop the wave of chaos and death unleashed upon the town. What we have here is a textbook slasher-horror flick with a plot that—if you really think about it—isn't actually all that bad. That said, I can understand why it didn't resonate with audiences: the visuals are extremely graphic, and that effect was achieved using AI. The problem is that the AI ​​usage is so obvious that it sometimes looks bad; we can't really talk about realism when watching a young girl split a man's head open with a scalpel-like tool to make herself some brain ice cream. It’s not a question of factual accuracy—that doesn't apply to slashers—but I do think more care should have been taken so the AI ​​usage wasn't quite so glaring. This aspect is the most common complaint.

Pero no todos cayeron bajo ese "embrujo" o "hechizo", quedaron unas cuantas personas que no comieron del famoso helado y ahora deberán de descubrir que es lo que está pasando, el por qué está pasando y el como hacer para detener toda esta ola de caos y muerte que se desató en el pueblo. Lo que acá tenemos es un slasher/terror en toda su regla con una trama que la verdad no es tan nefasta, si la pensamos en frío. Ahora, puedo entender el porque esto no caló en la gente, visualmente es extremadamente gráfica y para que eso sucede lo que hicieron fue usar IA. El tema es que es muy evidente su uso al punto de que a veces no se ve bien, no podemos hablar de realismo cuando estamos viendo a una niña abrirle la cabeza a un hombre con una especie de bisturí para después hacerse un helado de cerebro. No es un tema de veracidad, con los slasher eso no aplica, pero si creo que algunos detalles deberían de cuidarse para que se note tanto el uso de la IA. Este apartado es la queja más recurrente.

The film is essentially a slaughterfest that engulfs the entire town—parks, the school, private homes—descending into a terrifying disaster where children take center stage. The way people die is the most entertaining part; the methods are so absurd that you can't help but laugh. Sometimes you ask yourself, "How can I be enjoying this?"—and there is no answer. When I speak of graphic content, I mean seeing children playing with entrails, dismembering and piercing bodies, beheading victims, and bludgeoning people with whatever objects they can get their hands on—the possibilities are endless. Beyond that, there is an interesting backstory regarding the origin of this evil—because it has to come from somewhere. And yes, there is an explanation; the challenge is getting people to buy into it, though if you analyze it, the premise isn't actually that far-fetched for a horror movie. I say this often, but I promise I wasn't bored; the events are so deranged that boredom is impossible, despite the aforementioned flaws.

La película básicamente es una matanza por todos los sitios del pueblo: parques, colegio, casas, todo se hunde en un desastre terrorífico en donde los niños son los protagonistas. Como mueren las personas es lo más divertido de ver, son de maneras tan absurdas que uno se ríe; a veces uno se dice: como puedo estar disfrutando ver esto? - y no hay respuesta. Cuando hablo de gráfica me refiero a ver a niños jugar con vísceras, desmembrando y perforando cuerpos, decapitando, golpeando a gente con cualquier objeto que se consigan; un sinfín de posibilidades. Apartando este hecho tenemos un trasfondo interesante y es el origen de todo este mal, porque de algún lado tiene que venir. Y si, lo hay; la cosa es que la gente lo compre porque si lo analizamos a través del terror tan descabellado no es. Siempre tiendo a decir esto pero se los prometo que no me aburrí, es tan demencial todo lo que pasa que se hace imposible aburrirse a pesar de los fallos ya mencionados.

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One of the things that really caught my attention was the plot twist at the end—and, consequently, the way the movie concludes. It was completely unexpected; I can assure you it’s a finale you won't see coming. When films break the mold like that and avoid a conventional ending, I almost always appreciate the effort to step outside the mainstream. On that note, the movie features a very modern, edgy brand of comedy—perhaps a bit risqué for a film aimed at kids—with some truly peculiar interactions. As for the acting, it’s exactly what you’d expect; these kinds of productions rarely stand out for stellar performances. As long as the actors can run, scream a bit, and pull faces showing surprise, disgust, or fear, that’s usually enough. I’m conflicted about this movie; it’s not good, but it’s not terrible either. I think I’ll judge it based on how I felt while watching it and how I felt when it ended, rather than on its actual quality. It runs for less than an hour and a half. If you’re into horror and slasher movies, give it a shot—even if it’s just so you can trash-talk it later. I’ve included the trailer below.

De las cosas que más llamaron mi atención fue un plot twist que se da al final y por tanto la manera en como termina la película. Para mi, totalmente inesperado, es un final que te aseguro no esperas y no ves venir. Cuando estas cosas pasan, que los films no terminan de una manera convencional, casi siempre termino reconociendo al film y su esfuerzo de querer salirse de lo mainstream. Hablando de esto la película maneja una comedia bien actualizada y "subida de todo" para ser niños, hay interacciones bien peculiares. A nivel de actuación es lo que esperas que sea, este tipo de producciones generalmente no destacan por grandes interpretaciones, con que corras, pegues un par de gritos y pongas caras de sorpresa, asco y miedo es suficiente. No se que pensar de esta película, no es buena pero tampoco es terrible. Creo que me voy a guiar por el como me sentí viéndola y el como me sentí al terminarla, no por su calidad. Dura menos de hora y media. Si te gustan los géneros de terror y slasher dale una oportunidad, así sea para hablar mal de ella. Les dejo el tráiler por acá abajo.

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Alright everyone, that’s all for today; I hope you enjoyed it. ¡Sending a big hug to everyone, see you next time!

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

Rating: 60/100

Nausicaä of the Valley of the Wind, the pioneering Studio Ghibli film. With this begins the great path of Hayao Miyazaki as a director.

This, unlike most of his grand works, is based on a manga written and drawn by the author himself. And although as such it is not a movie that is signed under the seal of Studio Ghibli, we can see here the main inquietudes both of its director, as the topical topics that will characterize the studio during all its history.

Topics like can be the care of nature, its strong anti-belligerent message, its female protagonists very characteristics, very strong.

These male characters that look more like mediums that make move to history and an incredible world that always pushes you to see a little more and to go discovering it layer by layer.

In this movie in special we find ourselves in a post-apocalyptic world where the war has devastated humanity and apart of this has arisen a species of fungus forest, a forest of mushrooms that is advancing slowly and at its step.

Goes returning the air and the atmosphere in general a toxic nebula where human beings cannot respire and only survive these mushrooms and a species of giant insects that also go advancing without detaining.

In this context Nausicaä, our protagonist, is seen like a species of messiah capable to communicate with all the alive and understand it, thus makes of bridge between the humanity and this species of violence intrinsic that always accompanies her and this nature that although seems corrupt in a principle and loaded of that same violence.

Occults its reasons under these layers. Thus Nausicaä being a princess is seen enveloped in a conflict with a nation that intenta to reconstruct one of these arms that in its moment devastated the world.

And although the humanity already passed for that error and we could say that supered in its moment, the desires to fight against this that no understand, this grand forest that seem indetenibles, seem poder more.

Thus we go topping a series of characters that serve like narrative gears towards where the movie wants to carry us, towards this message that intenta to buscar the peace and the equilibrium with the nature, a pesar de que las condiciones en las que se ponen parecen irreconciliables.

Here also is reflected one of the grand obsessions of Miyazaki and are these flying machines that are so characteristic of his movie and that in certain form express the desire of liberty of the humanity, this querer to desligarnos of the earth and with her dejar all its problems atras, but that in the film, as no could do it of another way and lleva por su temática.

Are arms both of destruction like of salvation, serve to flee of the conflicts but also to intentar to resolve them.

In one of the scenes most beautiful of the movie we can see what there is under this toxic forest and see how the nature has recovered its state original, how there is a purity that the movie parecía carecer y es eso, la naturaleza sanándose a sí misma después de un desastre, así como la capacidad de Nausicaä de comunicarse con toda forma de vida la ayuda a salvar su mundo y a detener este estampida imparable de los insectos que parecía iba a destruir su hogar de forma inevitable.

Sitting thus the bases that each movie of Studio Ghibli intentará explorar de manera más profunda desde distintas aristas, pero que a fin de cuentas son las que han cautivado por generaciones a nuevos curiosos que se acercan a estos mundos fantásticos tal vez atraídos por los colores y la acción pero que en cada película descubren mensajes profundos que los hacen crecer.

Versión en Español

Nausicaä del Valle del Viento, la película iniciática de Studio Ghibli. Con esta empieza el gran camino de Hayao Miyazaki como director. Esta, a diferencia de la mayoría de sus grandes obras, está basado en un manga escrito y dibujado por el propio autor.

Y aunque como tal no es una película que esté firmada bajo el sello de Studio Ghibli, sí podemos ver aquí las principales inquietudes tanto de su director como los tópicos que caracterizarán al estudio durante toda su historia.

Tópicos como pueden ser el cuidado de la naturaleza, su fuerte mensaje antibelicista, sus protagonistas femeninas muy características, muy fuertes.

Estos personajes masculinos que parecen más bien mediums que hacen moverse a la historia y un mundo increíble que siempre te empuja a ver un poco más y a ir descubriéndolo capa por capa.

En esta película en especial nos encontramos en un mundo post-apocalíptico donde la guerra ha devastado la humanidad y aparte de esto ha surgido una especie de bosque fúngico, un bosque de hongos que va avanzando lentamente y a su paso.

Va volviendo el aire y la atmósfera en general una niebla tóxica donde los seres humanos no pueden respirar y solo sobreviven estos hongos y una especie de insectos gigantes que también van avanzando sin detenerse.

En este contexto Nausicaä, nuestra protagonista, se ve como una especie de mesías capaz de comunicarse con todo lo vivo y entenderlo, así hace de puente entre la humanidad y esta especie de violencia intrínseca que siempre la acompaña y esta naturaleza que aunque parece corrupta en un principio y cargada de esa misma violencia.

Oculta sus razones bajo estas capas. Así Nausicaä siendo una princesa se ve envuelta en un conflicto con una nación que intenta reconstruir una de estas armas que en su momento devastaron el mundo.

Y aunque la humanidad ya pasó por ese error y podríamos decir que lo superó en su momento, las ganas de luchar contra esto que no entiende, este gran bosque que se parece indetenible, parecen poder más.

Así nos vamos topando una serie de personajes que sirven como engranajes narrativos hacia donde la película nos quiere llevar, hacia este mensaje que intenta buscar la paz y el equilibrio con la naturaleza, a pesar de que las condiciones en las que se ponen parecen irreconciliables.

Aquí también se ve reflejado una de las grandes obsesiones de Miyazaki y son estas máquinas voladoras que son tan características de su película y que en cierta forma expresan el deseo de libertad de la humanidad, este querer desligarnos de la tierra y con ella dejar todos sus problemas atrás, pero que en el filme, como no puede ser de otra manera y lleva por su temática.

Son armas tanto de destrucción como de salvación, sirven para huir de los conflictos pero también para intentar resolverlos.

En una de las escenas más bellas de la película podemos ver lo que hay debajo de este bosque tóxico y ver cómo la naturaleza ha recobrado su estado original, cómo hay una pureza que la película parecía carecer y es eso, la naturaleza sanándose a sí misma después de un desastre, así como la capacidad de Nausicaä de comunicarse con toda forma de vida la ayuda a salvar su mundo y a detener este estampida imparable de los insectos que parecía iba a destruir su hogar de forma inevitable.

Sentando así las bases que cada película de Studio Ghibli intentará explorar de manera más profunda desde distintas aristas, pero que a fin de cuentas son las que han cautivado por generaciones a nuevos curiosos que se acercan a estos mundos fantásticos tal vez atraídos por los colores y la acción pero que en cada película descubren mensajes profundos que los hacen crecer.

Rating: 90/100

Alexander the Great stands as one of history's most towering figures—arguably the greatest individual the Ancient World ever produced, and a serious contender for that title across all of human history. His extraordinary military achievements, combined with his aristocratic Macedonian upbringing and classical education under Aristotle, have cemented his status as a heroic figure in Western civilisation. Modern Balkan nations—Greece, North Macedonia, and Albania—each claim him as their own, whilst broader Western culture has traditionally celebrated him as the conqueror who liberated the Greek world from "oriental despotism" under Persian rule. More contemporary, “politically correct” historians prefer to emphasise his role in creating a enriching synthesis of Greek and Asian cultures through his campaigns and the cities he founded. Yet in Asia itself, particularly in the regions he actually invaded and subjugated, Alexander's legacy appears in a rather different light. This alternative perspective finds compelling cinematic expression in Sohrab Modi's 1941 Bollywood epic Sikandar.

Produced in pre-partition India under British colonial rule, Sikandar focuses its narrative upon those chapters of Alexander's life that brought him to the Indian subcontinent. The film opens in 327 BC, with Alexander—portrayed by Prithviraj Kapoor—having recently completed his conquest of Persia. Before embarking upon his next campaign, Alexander receives counsel from his former tutor, the philosopher Aristotle (played by Shakir), who advises him to abstain from women and base his rule purely upon rational principles. This debate Alexander promptly loses following his encounter with the beautiful Persian princess Roxana (here named "Rukhsana," played by Vanmala). Thereafter, Alexander rallies his Greek-Macedonian forces and marches toward India, determined to add this fabled land to his growing empire. The Indian rulers themselves are divided in their response to this unprecedented threat—some counsel accommodation, others advocate resistance. King Porus (played by director Sohrab Modi himself) emerges as the voice of defiance, urging his fellow monarchs to stand united against the foreign invader. The narrative gains additional complexity when Rukhsana secretly arrives at Porus's court and, profoundly moved by the local festival of rakhi, ceremonially adopts Porus as her brother. The subsequent clash between the two armies proves bloody and devastating, ending technically in Alexander's victory. Yet so deeply impressed is Alexander by Porus's courage and dignity that he permits the defeated king to retain his kingdom—a gesture that has resonated through subsequent centuries of Indian historical memory.

Sohrab Modi (1897–1984) ranks among the most significant filmmakers in mid-twentieth-century Bollywood, celebrated particularly for his grand historical epics that traversed different periods of Indian history. When he embarked upon Sikandar, the subject matter possessed unmistakable contemporary relevance. India, as part of the British Empire, found itself embroiled in the Second World War, and Alexander's relentless conquests invited obvious parallels with Hitler's expansionist ambitions across Europe. Yet Modi transformed what might have been a straightforward historical recreation into something far more subversive. It is King Porus, not Alexander, who articulates the film's central moral message—advocating not merely military resistance but the fundamental unity of India's diverse rulers against a common foreign enemy. This vision of transcending ethnic and sectarian divisions for the greater goal of national liberation mirrored precisely what the Indian independence movement itself was attempting to achieve. The theme of unity receives further emphasis through Modi's careful attention to religious representation: Indian characters appear as devout Hindus, whilst Rukhsana practises her Zoroastrian faith with equal sincerity—a reflection of Modi's own Parsi heritage. The director, an active supporter of the independence movement, even managed to have characters speak of "Indian independence" within the dialogue, despite the obvious anachronism. Remarkably, British censors chose not to intervene, and the film—apart from some restrictions regarding military audiences—reached the public, becoming arguably Modi's most celebrated work.

The film's treatment of Alexander himself proves notably nuanced. Whilst Sikandar certainly does not present him as an uncomplicated hero, neither does it reduce him to a destructive monster. Prithviraj Kapoor—then at the height of his powers as both matinee idol and accomplished stage actor, patriarch of what would become Bollywood's most enduring acting dynasty, and something of a founding father of modern Indian cinema—delivers a performance of remarkable complexity. His acting style, admittedly theatrical by contemporary standards, nonetheless proves extraordinarily effective at conveying the contradictions within Alexander's character. Here is a man who is simultaneously a charismatic leader of men and a brilliant strategist, yet also a weak, emotionally fragile figure who breaks down completely when his own soldiers, exhausted by years of relentless warfare, finally mutiny against him. Kapoor captures both the grandeur and the vulnerability, creating a portrait that remains human even at its most heroic.

Sudarshan's screenplay, drawing upon classical historical sources, strives for reasonable fidelity to established facts, though its interpretation of the Battle of Hydaspes as Alexander's Pyrrhic victory—one that ultimately halted his eastern advance and secured ancient India's freedom—might strike some historians as rather generous. The battle sequence itself, however, is reconstructed with genuinely spectacular ambition, featuring hundreds of extras reportedly provided by Maharani Tabani, widow of the ruler of the princely state of Kolhapur. The violence proves surprisingly explicit for 1940s cinema, with combatants shown being speared, trampled, and crushed beneath war elephants.

Speaking of elephants, the production did resort to some corner-cutting. Kapoor and Modi "borrowed" footage of elephant charges from Carmine Gallone's 1937 Italian epic Scipio Africanus: The Defeat of Hannibal. This includes distressing scenes of elephants being injured by spears, which—much like in the Italian original—makes Sikandar genuinely disturbing for viewers sensitive to animal welfare concerns.

The narrative does occasionally labour under the weight of melodramatic and romantic subplots characteristic of its era, and the obligatory musical numbers sometimes disrupt the historical momentum. Yet these are relatively minor complaints. The overall impression remains overwhelmingly positive, particularly when one compares Modi's achievement with Oliver Stone's much later Alexander (2004). Where Stone's film treated similar historical material in abbreviated, less accurate, and oversimplified fashion, Sikandar demonstrates how epic cinema can engage seriously with history whilst remaining accessible and entertaining.

The original film's enduring significance is perhaps best demonstrated by its 1965 remake, Sikandar E Azam, directed by Kedar Kapoor. This colour version featured an intriguing casting reversal: Prithviraj Kapoor, who had played Alexander in the original, now portrayed King Porus—perhaps the ultimate testament to how thoroughly this Indian epic had reclaimed and reimagined the conqueror's story for an Asian audience. In the end, Sikandar is not merely as a historical curiosity but as a genuinely significant work of cinema—one that successfully challenged Western heroic narratives and gave voice to an alternative, Asian perspective on one of history's most celebrated military campaigns.

RATING: 6/10 (++)

IMDb link

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Rating: 90/100

Originally posted through scrobble.life/tv.

This wasn't the mission.

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Fury is a 2014 war drama film written and directed by David Ayer. The film stars Brad Pitt as Don Wardaddy Collier, Shia LaBeouf as Boyd “Bible” Swan, Logan Lerman as Norman Ellison, Michael Peña as Trini Gordo Garcia, and Jon Bernthal as Grady Coon-Ass Travis. The story takes place in April 1945, during the final days of World War II in Europe.

At the beginning, I’m introduced to Don Wardaddy Collier, a seasoned commander leading a group of soldiers aboard a tank called Fury. The crew has already been through many battles, but when a new soldier named Norman Ellison joins them, the situation changes. Norman has no combat experience, and that’s exactly what particularly interested me: seeing how someone who isn’t prepared for war is forced to quickly adapt to an extremely difficult life.

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Wardaddy treats Norman harshly because he wants him to understand the reality of war. At first, Norman seems like a sensitive person, incapable of hurting anyone, but the events he faces gradually change his perspective. I found that this part showed that the movie isn’t just about war, but also about how war can transform a person mentally.

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As Fury’s crew carries out its missions in Germany, it finds itself facing increasingly difficult situations. Wardaddy tries to keep his crew united, while Norman gradually learns how to find his place among the other soldiers. The relationships between the crew members are one of the aspects I paid particular attention to, because even though they sometimes argue, they eventually become a group that depends on one another.

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There are also moments that show that soldiers aren’t just war machines. They have their fears, their memories, their emotions, and their own bonds. This gives the film a deeply human side that I appreciated, especially when Norman begins to understand why Wardaddy and his men have become the people they are.

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As the story unfolds, the team is tasked with holding a key position. The situation becomes extremely dangerous, and eventually, Fury finds himself trapped in a place from which it is difficult to escape. Wardaddy realizes that a large number of enemies are closing in on them, and they must make a difficult decision: leave or stay put.

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What really struck me in this part was that Norman, who was initially the least experienced, truly begins to understand his team. He decides not to abandon Wardaddy and the other soldiers. At that moment, I really felt that Norman was no longer the same person he was at the beginning of the film. His growth is one of the most important elements of the story.

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The final battle becomes extremely difficult, and the team finds itself facing a vastly superior force. Despite their resistance, they lose their comrades one after another. Wardaddy is also seriously wounded, and in the end, Norman is the only survivor of the team.

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Norman hides under the tank when the situation reaches its most critical point. A German soldier spots him but does not reveal where he is hiding. The next morning, Norman returns to the tank and discovers that Wardaddy and his comrades are dead. Eventually, American soldiers find him and rescue him.

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When I finished watching Fury, it wasn’t just the war that stuck with me, but above all the relationship between Wardaddy and Norman. y Wardaddy is a soldier who has been through many battles, while Norman is someone who doesn’t yet truly understand what war is. Their journey shows how experience, friendship, and loss can transform a person.

I also appreciated how David Ayer shows that war isn’t a simple, one-sided affair. There’s fear, tough decisions, friendship, and sacrifice. What stood out most to me about the movie was Norman, because I could see how he started out as someone unprepared for war, only to eventually become a soldier who understands what his team has been through.

For me, Fury is a powerful war movie that blends action, drama, friendship, and sacrifice. What struck me the most was Norman’s evolution and the relationship he develops with Wardaddy and the rest of the team. The ending is sad, but it clearly shows the price soldiers pay and how war can transform a person.

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Fury es una película de guerra y drama estrenada en 2014, escrita y dirigida por David Ayer. La película está protagonizada por Brad Pitt en el papel de Don Wardaddy Collier, Shia LaBeouf en el de Boyd Bible Swan, Logan Lerman en el de Norman Ellison, Michael Peña en el de Trini Gordo García y Jon Bernthal en el de Grady Coon-Ass Travis. La historia se desarrolla en abril de 1945, durante los últimos días de la Segunda Guerra Mundial en Europa.

Al principio, conozco a Don Wardaddy Collier, un comandante experimentado que dirige a un grupo de soldados a bordo de un tanque llamado Fury. El equipo ya ha pasado por numerosas batallas, pero cuando un nuevo soldado llamado Norman Ellison se une a ellos, la situación cambia. Norman no tiene ninguna experiencia en combate, y eso es precisamente lo que me ha interesado especialmente: ver cómo una persona que no está preparada para la guerra se ve obligada a adaptarse rápidamente a una vida extremadamente difícil.

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Wardaddy trata a Norman con dureza porque quiere que comprenda la realidad de la guerra. Al principio, Norman parece una persona sensible, incapaz de hacer daño a nadie, pero los acontecimientos a los que se enfrenta van cambiando poco a poco su forma de ver las cosas. Me pareció que esta parte mostraba que la película no solo trata sobre la guerra, sino también sobre cómo esta puede transformar mentalmente a una persona.

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Mientras el equipo de Fury continúa con sus misiones en Alemania, se ve enfrentado a situaciones cada vez más difíciles. Wardaddy intenta mantener unida a su tripulación, mientras que Norman va aprendiendo poco a poco a encontrar su lugar entre los demás soldados. La relación entre los miembros de la tripulación es uno de los aspectos que más me han llamado la atención, ya que, aunque a veces discuten, acaban convirtiéndose en un grupo en el que todos dependen unos de otros.

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También hay momentos que muestran que los soldados no son solo máquinas de guerra. Tienen sus miedos, sus recuerdos, sus emociones y sus propios vínculos. Esto le da a la película un lado profundamente humano que me ha gustado, sobre todo cuando Norman empieza a comprender por qué Wardaddy y sus hombres se han convertido en las personas que son.

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A medida que avanza la historia, el equipo recibe la misión de defender una posición importante. La situación se vuelve extremadamente peligrosa y, finalmente, Fury se ve atrapado en un lugar del que es difícil salir. Wardaddy se da cuenta de que un gran número de enemigos se dirige hacia ellos, y deben tomar una decisión difícil: marcharse o quedarse allí.

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Lo que más me llamó la atención de esta parte es que Norman, que al principio era el menos experimentado, empieza realmente a comprender a su equipo. Decide no abandonar a Wardaddy ni al resto de soldados. En ese momento, sentí de verdad que Norman ya no era la misma persona que al principio de la película. Su evolución es uno de los elementos más importantes de la historia.

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La última batalla se vuelve extremadamente difícil y el equipo se enfrenta a una fuerza mucho más numerosa. A pesar de su resistencia, pierden a sus compañeros uno tras otro. Wardaddy también resulta gravemente herido y, al final, Norman es el único superviviente del equipo.

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Norman se esconde debajo del tanque cuando la situación alcanza su punto más crítico. Un soldado alemán lo ve, pero no delata el lugar donde se esconde. A la mañana siguiente, Norman vuelve junto al tanque y descubre que Wardaddy y sus compañeros han muerto. Finalmente, unos soldados estadounidenses lo encuentran y lo salvan.

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Cuando terminé de ver Fury, no solo se me quedó grabada la guerra, sino sobre todo la relación entre Norman. y Wardaddy es un soldado que ha vivido numerosas batallas, mientras que Norman es alguien que aún no comprende realmente qué es la guerra. Su trayectoria muestra cómo la experiencia, la amistad y las pérdidas pueden transformar a una persona.

También me gustó cómo David Ayer muestra que la guerra no es algo sencillo con una única perspectiva. Hay miedo, decisiones difíciles, amistad y sacrificio. De la película me quedé sobre todo con Norman, porque veía cómo al principio era alguien que no estaba preparado para la guerra, antes de convertirse finalmente en un soldado que comprende por lo que ha pasado su equipo.

Para mí, Fury es una potente película de guerra que combina acción, drama, amistad y sacrificio. Lo que más me ha marcado es la evolución de Norman y la relación que establece con Wardaddy y el resto del equipo. Su final es triste, pero muestra muy bien el precio que pagan los soldados y cómo la guerra puede transformar a una persona.

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Rating: 80/100

Rating: 80/100

Originally posted through scrobble.life/tv.

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Music, like they say, is food for the soul, but there are barely enough songs that deliver a listener with the kind of soul food that Justin Timberlake’s “Mirrors” brings. Many call it one of the greatest songs of our time, and rightly so! Eight minutes of pure, undiluted goodness is indeed proof of greatness to us!

For me, those minutes sit as a strong reminder of when songs used to mean much more. Artistes spent more time singing their hearts out, and listeners listened through it all with glee. These days, the length of songs is way shorter, and it makes you value “Mirrors” as proof of passion, talent and awesome delivery.

“Mirrors” was released on February 11, 2013, an era with undoubtedly the best music run. The 63-year marriage of Justin’s grandparents inspired him to write this song, which he later co-wrote with Timbaland, J-Roc and a few others. Interestingly, it was dedicated to his wife, highlighting the themes of love, trials and commitment to remain devoted to their relationship.

The intro to the song is a hook that instantly captures the attention of the listener. On every first listen, it delivers on appeal and curiosity to understand what more to expect from a line that hinges confidently on admiration. Youtube

A deeper listen to the chorus and refrain helps to understand the intro. Justin uses mirrors as a metaphor to express clarity on the constant changes reflected through his relationship journey, coming to a realization that the valuable things and conscious actions are most earned and achieved with two hearts working together. In simple terms, the mirror describes finding a partner who reflects his true self, completes him, and inspires him to change through the rough patches.

The lyrics also serve as a reassurance to a lover through different phases. A commitment of love; to yearn for, hold and protect a precious kind of love that changes every negative narrative from the past.

Verse 3 reads aloud like the total confession of a yearner. It passionately speaks of Justin's partner in perfection and the constant yearning to have her present by his side.

Throughout the song, you will notice a genius mix of orchestral strings complimenting the falsetto and an incredible drumming done at the chorus, where “you’re the love of my life” is repeated around a beat that rebuilds itself in the most never-boring way. Youtube

While many critics may have a common stance about this, my favourite thing about Mirrors remains how it mixes R&B with pop. It makes you feel deep personal emotions whilst still having the elements that ignite a different rush of feeling at a concert. The Timbaland claps win my heart every single time I give this song a listen. It was a beautiful addition to the outro, and I dare say the length of this song, which could’ve been a bore but isn’t, is a testament to how great it is.

My only criticism of this song would be the selfish lyrics, where Justin's best and most resonant part happens to be his lover being a reflection of him, and thus, an inspiration to fight to keep them.

You hear repeated lines like “You reflect me, I love that about you” and “Your shine is something like a mirror,” which constantly insists on Justin loving his partner deeply because of how well she reflects him.

While this may be highly romanticized, I believe the lyrics could’ve done more to articulate that lovers with similar personalities do complement each other while retaining their individuality.

Away from this, I’ll call Mirrors an utterly beautiful song that has everything to stand through more eras.

Rating: 95/100

Originally posted through scrobble.life/music.