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If you've seen the movie "The Notebook" and remember the epic love story in it, you'd be interested to see this movie as its directed by the same person alongside other works. So yeah, I may have seen this movie with a bit of a high expectations because I saw "The Notebook" first.
Storylines about love is almost never tiring to see, except the "very badly" written ones. I love to see romantic movies but recently, I've been more focused on the ones from years ago. This movie is over 10 years old but still a gem to find for whoever is yet to see it, I like the unlikely ending.
"The Best of Me" is a movie released in the year 2014 in the genre of teen romance and tragedy starring James Marsden as Dawson, Michelle Monaghan as Amanda, Luke Bracey as young Dawson and Liana Liberato as young Amanda. A first love story between high school sweethearts.
The story begins with two high schoolers meeting in a "not so good" way, exchanging stares and missing the part where they ask each other out but later, they both realized it was love at first sight or kind of. Their love is tested with the guy's family but they get help from a guy named Tuck who's end was unexpected but a chance to bring them back years later after they've moved on and the lady married another.
What viewers never expected was the story that follows after the two sweethearts meet again, confess their love for each other but have to go back to their separate lives. I honestly wasn't expecting the separate lives to be badly executed as the guy's family still remained the villain till the end of the story which kinda didn't make sense.
And I'll say I enjoyed the young Dawson and young Amanda era more than the older ones, it's actually what took most part of the 1hr 58mins story. They did well with their roles and I'm surprised I've seen the young Dawson in another movie even though I didn't recognise him there.
Well, this is a good movie and good recommendation if you're in for a good love story with some kinda unexpected tragedy. At least, they'll give you a good consolation after the tragedy because it couldn't have been much better aside that ending they gave. I'll rate it 7/10.
This is not The Flash bad, Supergirl is just ok and this is the reason why I can still watch it and get into the adventure and the different worlds, it really takes you to other places as a good space movie should. The movie does give you a superhero to care about with a noble heart, Kara is a way more define character than Clark with less internal conflicts, in fact she does look like the older of the two when it comes to accept life but the movie buries her in a story way too small for what she is packing. Kara starts the movie angry, reckless and drinking on a red sun planet, which is basically the only place alcohol can actually have an effect on her and that detail adds about the story of her loosing Krypton and everyone else in it, that part of the story is something I have never seen before explain on a serires or movie. Milly Alcock does a great job on this movie and thats the reason for my title, she plays Kara as tired and lost instead of just mean, and you actually get to feel and believe what she is going through. My problem is the movie waits too long to give that pain any real context, the memories of Argo City and her family do not show up until after the chase is already moving, so the part of her that actually explains who she is ends up sitting outside the story that is supposed to change her, probably if they had done that at the start or middle like they did with Superman, because I get why she drinks and keeps moving, but the movie never ties that behavior to what she does later on. Alcock does what she can anyway, especially in the quiet moments where Kara just looks exhausted instead of rude and she made me want a whole separate movie built around this version of the character. Thats one of the reasons I bet many people didnt like it that much, its like you are in the middle of a good action movie and suddenly they interrupt you with some "good context" but then you ask, "why you didnt told me that before...?", she gives Kara enough to carry something bigger and the script keeps dragging her into a basic space chase that could be just any other hero action movie.
The whole story kicks in when the villain poisons Krypto and keeps the antidote on him, giving Kara a reason to chase him across planets, but it also makes the story feel thinner the longer it goes because this pirates doesnt have any special habilities or tech, they look like some space bikerboys and still you telling me Supergirl couldnt kick their ass the first time they met??. I get the emotional logic, Krypto ties back to her last memories of Krypton, but the movie never spends real time on that bond before keeping him away, so the danger just sits there instead of hitting. Ruthie is supposed to add weight to the trip since she lost her family too and wants revenge of her own, except she never get this real bond with Kara until the very very end, she is also so damn annoying, I even mention on a Snap that it felt she was a bad version of Lyanna Mormont, where they present Ruthie as bossy but she is just annoying during the entire movie until the final scene where she helps Lobo, she ends up feeling like someone Kara has to save or lecture instead of someone who helps Kara deal with her own grief. The poison is supposed to be working against a deadline but the chase keeps stalling for fights, betrayals and side problems that make Krypto being in danger feel like an afterthought, and the dog is just feels like an excuse to move Kara around without building up the other characters around her.
The action is supposed to keep this simple story alive but at times feel like the fights are not really connected to each other and makes you think how Kara and Lobo cant defeat this bunch of idot pirates because the way she beat all this guys at the bar in a close space but she cant defeat them on a way bigger space while there is another guy helping her indirectly. A bunch of the fights keep the camera tight on people or stick Kara in the background while someone else gets the moment, which is a strange choice for a movie with her name on it. She can fly, throw heat vision and move with enormous power, yet most of these fights are small bar brawls or dusty ones where you can barely tell what is happening. The movie also keeps taking her power away through different suns, poison and kryptonite arrows coold details but feels like its constantly repeating the same fix every time makes each new danger feel smaller like they runing out of ways to keep her under control. The green sun scene has a decent idea behind it, Kara actually might die if she gets too much exposure to it but even that turns into one more stop before she powers back up again, very Goku style of story. The final fight should be the payoff and instead the effects and music work against it, the flying looks stiff and the song choice does not match the energy of the action, its like they decided to keep leaning on music like it can manufacture excitement when the action itself has small good moments but then the rest is very average, not bad though but average. A few good punches and heat vision shots are fine, but none of it makes this chase feel like anything special. Supergirl should look fast and dangerous, instead she spends a lot of this movie looking like just another person with superpowers but very little experience on fighting, feels dumb to be honest, this is why Batman is such a great character, no super powers but ton of fight experience and skills.
The people around Kara make the whole thing feel even emptier because the villain barely have any real impact except just the main pirate and Lobo, omg dont get me started how they hire Jason Momoa to play a character like does almost nothing on this movie, whas he suppose to just cameo or something?. The pirate villain is cruel because the script needs someone easy to hate, kills people, threatens Ruthie, poisons Krypto, and keeps the antidote hanging around his neck for no real reason except that the plot needs Kara to have something to chase. A better villain could have pushed Kara to question what she believes, this one just waits around to get caught, thats another problem when you get to compare Superman with Supergirl movies, this villains are nothing like Lex, like they wanted to go easy on her because she is a girl. The good thing about Logo character is that he is more fun to watch, you can tell Jason Momoa is having a great time but he still feels dropped into the movie instead of connected to it, he shows up, fights, leaves, comes back whenever the script needs a hand. His whole goal barely touches Kara or Ruthie so he never turns into a real partner or rival or problem for her, even though there was an obvious opening for him to challenge her since both of them are rude, violent, and totally fine acting like they do not care about anything. Superman has a similar issue in a smaller role, his scenes show the difference between him and Kara but the main chase would barely change without him. I hope this movie teach James Gun that recognizable characters are not enough, they need to actually affect Kara in this case and too many of these people feel like extra material stacked around a story that already needed more time to build up and develop or have some sort of impact on the main character.
The ending is where it becomes obvious the movie never really figures out Kara, because it wants us to accept a change that her own choices do not back up, because for most of the trip Kara stops Ruthie from killing the man who destroyed her family, telling her that revenge will not take away the pain and might leave her carrying something even worse. Everything falls into a deep "Do as I say, not as I do", so all that tracks for the person Kara might be trying to become, except the movie never shows her learning to live by that advice herself, she just keeps preaching something she never becomes and least on this movie. She sends Ruthie away and then kills the villain herself without thinking it twice, at least that I like because finally goes savage mode, then heads back to Earth ready to stop running and take her place next to Superman. Those two choices do not fit together well and gives me this feeling she will go back to the same old Kara. The movie can let Kara stay angry and willing to kill or it can show her choosing to be Supergirl and trying to be better, you know good girl Supergirl, but it cannot treat both like the same step forward without explaining what actually changed in her. Its that gap that makes the entire point of Ruthie being in the story feel weaker, Kara protects Ruthie from taking revenge and then takes it herself, so the lesson lands less like growth and more like the movie trying to create this hard ending for Kara like she "has" to accept her life as Supergirl over who she is or how she feels better, its like she dont want to be Supergirl. Alcock still makes those last scenes work because she gives Kara real sadness and enough warmth to make you think there is probably hope in the future, I just do not think the story earns it. There are good pieces here, a damaged lead, a strong lead performance and some decent ideas about grief and responsibility, but the movie keeps grabbing the easiest version of each one duct tape it together and turning the pain Kara carries into a rescue mission, her anger into bar fights here and there, and her shot at real change into an ending that does not match what she just did, both Kara and Milly deserves a better story than this one.
Ficha técnica: Dirigida por Nancy Meyers (1998). Con Lindsay Lohan, Dennis Quaid y Natasha Richardson. Comedia familiar, 128 minutos.
Sinopsis: Hallie Parker, una californiana criada por su padre, y Annie James, una londinense criada por su madre, se conocen por accidente en un campamento de verano y descubren que son gemelas idénticas separadas al nacer, cuando sus padres decidieron divorciarse y repartirse a las hijas. Al enterarse de la existencia de la otra, urden un plan para intercambiar identidades, conocer al padre que nunca tuvieron y, de paso, reunir a sus padres.
Vamos a decir la verdad de una vez: esa premisa no resiste ni cinco minutos de análisis serio. Dos padres se separan y deciden, como si estuvieran repartiendo muebles, que cada uno se queda con una hija. Once años sin que ninguna de las dos supiera que tenía una gemela idéntica al otro lado del mundo. Ningún abogado de familia, ninguna abuela chismosa, ningún cumpleaños compartido por accidente. Nada. Y aun así, mientras la veía, no dejé de reírme ni un segundo.
Ahí está el truco de esta película: la lógica no importa porque la comedia la sostiene con oficio. Los gestos de Lohan diferenciando a Hallie de Annie sin caer en caricatura, el campamento de verano como escenario perfecto para el descubrimiento, la mecánica del intercambio de identidades que funciona porque la película nunca finge que es más que un cuento.
Lo que sí me parece honesto, y por eso se lo perdono todo, es que la película no intenta convencerte de que el plan de los padres tenía sentido. Simplemente te pide que aceptes la fantasía y disfrutes lo que viene después: dos niñas que se inventan un plan absurdo para arreglar lo que los adultos rompieron, y que de paso terminan entendiendo algo de sí mismas que ninguno de los padres les explicó nunca. Ahí hay una verdad pequeña escondida debajo del disparate: los hijos casi siempre terminan haciendo el trabajo emocional que los padres evitaron.
Calificación final: 7.5/10. No es una película para pensarla demasiado, es una película para pasarla bien, y en eso no falla ni un minuto.
Credits: Directed by Nancy Meyers (1998). Starring Lindsay Lohan, Dennis Quaid, and Natasha Richardson. Family comedy, 128 minutes.
Synopsis: Hallie Parker, raised by her father in California, and Annie James, raised by her mother in London, meet by accident at a summer camp and discover they are identical twins separated at birth, after their parents divorced and split the daughters between them. Once they learn of each other's existence, they hatch a plan to swap identities, meet the parent they never had, and, along the way, reunite their mother and father.
Let's be honest from the start: that premise does not survive five minutes of serious scrutiny. Two parents split up and decide, as if dividing furniture, that each one keeps one daughter. Eleven years pass without either girl knowing she has an identical twin on the other side of the world. No family lawyer, no gossiping grandmother, no accidentally shared birthday. Nothing. And still, watching it, I didn't stop laughing.
That is the trick of this film: the logic doesn't matter because the comedy carries it with real craft. Lohan's gestures telling Hallie and Annie apart without tipping into caricature, the summer camp as the perfect stage for discovery, the identity-swap mechanics that work precisely because the film never pretends to be more than a tale.
What I find honest about it, and what makes me forgive everything else, is that the film never tries to convince you the parents' plan made sense. It simply asks you to accept the fantasy and enjoy what comes after: two girls inventing an absurd scheme to fix what the adults broke, who end up understanding something about themselves that neither parent ever explained. There's a small truth hiding under the nonsense: kids usually end up doing the emotional work their parents avoided.
Final rating: 7.5/10. It's not a film meant to be overthought, it's a film meant to be enjoyed, and on that front it doesn't miss a beat.
This isn't the first time Harlan Coben has collaborated with Netflix to adapt his suspense, mystery, and intrigue novels. This time, he's done it with a series that, beyond what I've already mentioned, is a police thriller at its finest. It's one of those miniseries that I can tell you right now you'll want to binge-watch, episode after episode, whether because the plot is truly captivating or because the episodes are short, under 45 minutes. I think this kind of thing is what Netflix does best: productions that invite you to uncover and solve things—crimes, disappearances, murders. Historically, this is the type of content that has been most successful for them, and this miniseries is proof of that.
No es la primera vez que Harlan Coben trabaja de la mano con Netflix para adaptar sus novelas de suspenso, misterio e intriga. En esta oportunidad lo hace con una que más allá de lo dicho es un thriller policial en su máxima expresión, es de esas miniseries que ya te digo vas a querer ver capítulo tras capítulo sin parar bien sea porque la trama es realmente atrapante o porque los episodios son "cortos", no sobrepasan los 45 minutos. Creo que este tipo de cosas es lo que mejor sabe hacer Netflix, las producciones que te invitan a descubrir y resolver cosas, crímenes, desapariciones, asesinatos; históricamente es el contenido con el que mejor les ha ido y esta miniserie es la prueba de ello.
A father is imprisoned (he's been in prison for five years) for the murder of his son. He maintains his innocence, but while incarcerated, he receives information not only proving his innocence but also suggesting his son might still be alive. This is the story of David Burroughs (Sam Worthington), a man who once had an ideal family, but whose life is shattered one night by the apparent death of his only son, Matthew. Everything changes when, for the first time in his five years in prison, he decides to receive visitors. Rachel (Britt Lower), his former sister-in-law and a journalist, shows him a recent photograph that seemingly shows his son, recognizable by a birthmark. This sets off a chain of events in prison that culminates in David's escape, thus beginning his search for his son.
Un padre encarcelado (5 años lleva en prisión) por el asesinato de su hijo. La cosa es que él afirma que no lo mató y estando en la cárcel le llega la información de no solo su inocencia sino de que su hijo podría estar vivo. Por todo esto es lo que está pasando David Burroughs (Sam Worthington), un hombre que tenía una familia ideal y que una noche todo se trastoca con la aparente muerte de su unico hijo, Matthew. Todo cambia cuando por primera vez en esos cinco años de prisión decide recibir visitas, es Rachel (Britt Lower), su excuñada y periodista quien le muestra una foto actual en donde aparentemente se ve a su hijo, reconocido por una marca de nacimiento. Esto detona una series de eventos en esa cárcel que termina con la fuga de David para así empezar la busqueda de su hijo.
From here begins a desperate chase/search for clues, while David himself is being pursued by the FBI for obvious reasons. The thing is, as time goes on, we'll discover things, pieces that will gradually come together in the puzzle, so that in the end, just when we think everything is resolved, reality hits us and tells us no, there's more to uncover. That's the hook of this miniseries: the plot is full of tension at every turn as we try to figure things out, seeing the police/FBI one step behind; it's a constant sense of desperation. The fact that it's a police thriller is really cool because everything is based on that. The FBI agents are really good and contribute a lot, so they're almost on par with what David and Rachel are uncovering; hence the anguish of the chase.
A partir de acá comienza una desesperada persecución/busqueda de pistas al mismo tiempo que el propio David es perseguido por el FBI por razones obvias. La cosa es que con el pasar del tiempo iremos descubriendo cosas, piezas que van a ir armando el rompecabezas para que al final cuando pensemos que todo está resuelto la realidad golpee y nos diga que no, que hay más cosas por descubrir. El gancho de esta miniserie es eso, es la trama llena de tensión en todo momento por ir averiguando cosas, es ver a la policía/FBI a medio paso detrás; es una desesperación constante. Que sea un thriller policial es muy cool porque todo se basa en eso, los agentes del FBI son realmente buenos y aportan mucho por lo que van casi a la par de lo que David y Rachel van sacando a la luz; de ahí la angustia de la persecución.
One thing I want to highlight is the plot twists. The story itself lends itself to these kinds of things happening; it's what I was saying before: just when we think we're close to an answer, it turns out there are still several doors to be opened. This happens a couple of times, and honestly, yes, at least for me, they ended up surprising me because I really didn't see them coming. The thing is, all of this involves the family: David's wife's past, Rachel's past, David's own past with his brother in school, David's father's past as a police officer; absolutely everything comes together and everything is connected. As you can see, it's never clear who's really behind it all; that's revealed almost in the last episode, hence the incredible intrigue that's always there.
Algo que destaco son los plot twist que hay. La historia en si misma se presta para que sucedan estas cosas, es lo que decía antes, cuando creemos que se está cerca de una respuesta resulta que quedan varias puertas por ser abiertas todavía. Esto pasa en par de ocasiones y la verdad si, por lo menos a mi me terminaron sorprendiendo porque realmente no los vi venir. El tema es que todo esto involucra a la familia, al pasado de la esposa de David, al pasado de Rachel, al pasado del propio David con el hermano en el colegio, el pasado del papá de David siendo policía; absolutamente todo se une y todo tiene que ver. Como ven nunca está claro quien está detrás de todo realmente, eso se sabe casi que el último episodio, de ahí la increíble intriga que siempre hay.
The acting isn't really important to me because the story is what matters most. Even so, considering the cast, the quality was quite good. There are several familiar names and faces: Erin Richards, Aaron Ashmore, Chi McBride, and others. It has a bit of everything; there isn't a ton of action, although it does have a couple of good scenes, chases, and plenty of suspense. It's a decent miniseries that's quick to watch, always keeps a good pace, and is extremely entertaining. If you're looking for something to watch, I recommend it. It's not a masterpiece, but it's perfectly adequate. There are eight episodes. I've included the trailer below.
Las actuaciones para mi no son relevantes porque el peso de todo es la historia, aún así hay que decir que viendo los actores que aparecen el nivel fue bastante bueno, hay varios nombres y caras conocidas, Erin Richards, Aaron Ashmore, Chi McBride, etc. Acá hay de todo un poco, no hay tanta acción aunque si tiene un par de buenas escenas; persecuciones y mucho suspenso. Es una miniserie decente que se ve rápido, que siempre tiene ritmo y que es sumamente entretenida. Si estás buscando algo para ver te recomiendo esto, no será una joya pero cumple. Son 8 capítulos. Les dejo el tráiler por acá abajo.
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Last month, I asked for movie recommendations from a friend, and she gave me several ones, but I picked one first because the title got me: The Best of Enemies. I was thinking it would be an action movie, but when I finally saw it, it was not what I expected because it was based on real life, which made it more interesting. But one thing that got me in this movie was how a woman can remain calm, composed, loving even in the midst of overwhelming situations around her community while dealing with racism and school desegregation.
I love the brilliancy of all the characters, and one that held my attention first was C.P. Ellis. He seems very difficult and different at first because of how deeply rooted his hatred was. There was this moment that when the next scene brings him up, I always feel like fast-forwarding it. But just in the middle of the movie, I began to take note of the small cracks on the wall that he has built around himself. Everything around him wasn't unrealistic or sudden. They all came from somewhere, just pride, confusion, painful trust, denial, and dedication to making everything workout because a lot of people were looking up to him for answers. And those things alone made his change around people feel earned rather than scripted.
And on the other hand, I won't say she is my favorite character in the movie, but she was just so impressive with the way she handled things even under pressure. I also admire how Ann Atwater refused to bow down to intimidation and insults and kept her voice heard even when a lot wanted to shut her up. What l liked most about her is that even during those frustrating, exhausted moments that made her face look speechless and the weight she carried, she was invincible, and she kept on showing up without backing down. And I respected her more for this.
Also, all the characters played a very important role, I must say, and even the scenes were not bad. Ann's family and Ellie's family also taught me something very crucial: that the role and decision that two people make can affect a lot of people and not just themselves. And I like the way Riddick made the meetings possible, because he totally understood that the importance of real change starts by putting uncomfortable people in that same room, just the the meetings between the two race.
And a scene that I will never probably forget because it so much stood out for me was during the community meetings. Even though one didn't agree with the other, those scenes were not boring because they show the power between support and disagreement. But one scene that I still like was towards the ending, about how Ellis finally stood before his own people and decided to speak the truth, not minding their acceptance.
He finally decided to do what was right by bringing the two races together by supporting them because this scene alone was like a major turnaround for the entire movie. It's one thing to change your mind over a thing, and then it's another thing to stand in front of your own people who don't agree and still stand on what is right, which made them turn against him and not buy from him again. He did something remarkable and courageous to me.
If I had any complaint about this movie, it would be about the ending because I was not ready for the whole story to just end that way. I wanted to see how things turn around in Ellie's business and the whole community. Though the whole movie was very satisfying to watch.
I won't act as if I didn't enjoy The Best Of Enemies because I learned a lot in a way that showing love to others can go a long way in changing their minds, and changing other people's opinions can be accomplished by being calm and not through shouting or arguments. At times, it all can start with simply sitting across from someone long enough to see the human being behind the labels. Showing genuine love even if they don't like you. I have added this movie to my favorites because I don't mind watching an interesting movie like this over and over again, and I won't hesitate to recommend it to anyone who loves to watch real-life movies that are meaningful.
Hello, anime fans. Today we’re back with another great anime from this past winter season (January through March). A surprise in the romance-comedy genre that brought us a very funny and enjoyable story to watch at the start of 2026. This might just be one of the best RomCom animes out there right now, so don’t miss it. Based on the web manga series written and illustrated by Kōcha Agasawa, You and I Are Polar Opposites is an animated adaptation produced by the studio Lapin Track.
Hola, fanáticos del anime. Hoy volvemos con otro gran anime de la pasada temporada de invierno de este año (enero a marzo). Una sorpresa del género de romance y comedia que nos trajo una historia muy divertida y agradable de ver a principios de este 2026. Tal vez estemos ante uno de los mejores animes RomCom de la actualidad, así que no se lo pierdan. Basada en la serie de manga web escrita e ilustrada por Kōcha Agasawa, You and I Are Polar Opposites es una adaptación animada producida por el estudio Lapin Track.
The anime begins by introducing us to Miyu Suzuki, a high school girl who is known at her school for being quite outgoing, energetic, and very sociable. Suzuki shows clear signs that she is in love with Yusuke Tani, one of her classmates who is known for being quiet, introverted, straightforward, and quite a loner. His cool demeanor and sincerity are what caught our protagonist’s attention from the moment she met him, but she has trouble confessing her feelings to Tani because whenever she’s around him, she gets nervous and ends up making a fool of herself.
Trama
El anime inicia presentándonos a Miyu Suzuki, una chica de secundaria que es conocida en su escuela por ser bastante extrovertida, enérgica y muy sociable. Suzuki nos muestra claras señales de que está enamorada de Yusuke Tani, uno de sus compañeros de clase que es conocido por ser callado, introvertido, directo y bastante solitario. Su personalidad fría y sinceridad fue lo que le llamó la atención a nuestra protagonista desde que lo conoció, pero tiene problemas para declararle sus sentimientos a Tani ya que siempre que está cerca le gana los nervios y hace el ridículo.
Of course, romance is a must every week when I review anime on my Hive Blog. You know I’m a total romantic, and I’m fascinated by love stories—especially if they’re well-told and not as generic as the vast majority of RomCom anime we see these days. That’s why I’m absolutely thrilled to bring you this particular anime, since it completely breaks the mold of generic RomComs. You and I Are Polar Opposites is one of the most entertaining shows I’ve seen so far this year.
Not only because of its innocent, sweet, and funny sense of humor, but also because of the creative way it tells this teenage love story. The first episode manages to hook us, not only because of the distinctive characters who star in this story, but also because of how it shows us that it’s different from other teenage love stories—with a declaration of love at the end that brings the emotion to its peak. However, the rest of the anime is nothing more than a series of ordinary moments experienced by teenage couples.
Cómo no, el romance no debe de faltar nunca cada semana cuando hago reseñas de animes en mi Blog de Hive. Saben que yo soy todo un romántico y me fascinan las historias de amor, aún más si están bien contadas y no son tan genéricas como la gran mayoría de animes RomCom que vemos actualmente. Es por eso que tengo el total placer de traerles este anime en especial ya que rompe por completo con dicho molde genérico de todo RomCom. You and I Are Polar Opposites es de lo más entretenido que he llegado a ver a principios de este año.
No solo por su estilo de humor tan inocente, tierno y divertido, sino también por la forma de contarnos esta historia de amor adolescente de una manera bastante creativa. Su primer episodio logra atraparnos, no solo por los característicos personajes que protagonizan está historia, sino también por la forma en la que nos demuestra que es diferente a las demás historias de amor adolescente con una declaración de amor al final que eleva la emoción hasta su máximo esplendor. Sin embargo, el resto del anime no es más que una serie de momentos comunes que viven las parejas adolescentes.
This anime doesn't stand out for having a complex, dramatic, or emotional story—quite the opposite, in fact. Its main appeal lies in that mix of innocent, teenage humor with romance and moments so sweet they can even be cloying. Even so, these romantic scenes never become awkward or so cloying as to turn anyone off; rather, this level of teenage romance actually serves as a source of humor and comedy. The humor also draws on pop culture references and even includes some narrative nods.
The characters are another strong point of this anime, especially since it centers on a teenage couple with completely opposite personalities, just as the title suggests. The premise—and the main driving force behind the plot—is watching two people with completely different personalities fall in love and start dating. The way the couple navigates various moments and common problems faced by couples in love is what makes this anime so entertaining.
Este anime no destaca por tener una historia compleja, dramática o emotiva, todo lo contrario más bien. Su detonante principal es esa mezcla de humor adolescente e inocente con romance y momentos tan dulces que llegan a ser hasta empalagosos. Aún así, dichas escenas románticas no llegan a ser incómodas o hasta tal extremo de empalagar a alguien, sino que dicho nivel de romance adolescente se vuelve incluso un recurso para el humor y la comedia que tiene. Dicho humor también utiliza algunas referencias de la cultura popular y hasta nos da ciertos guiños narrativos.
Los personajes son también otro punto a favor que tiene este anime, sobre todo al tratarse de una pareja de adolescentes que tienen personalidades completamente opuestas, tal y como lo indica su nombre. El chiste y a la vez el detonante principal de esta trama es ver cómo dos personas con personalidades completamente diferentes se enamoran y empiezan a salir juntos. La forma en la que la pareja afronta diversos momentos y problemas comunes de parejas enamoradas en sus vidas es lo que hace entretenido este anime.
But the most entertaining part is watching all the reactions and behaviors of the main character, Miyu Suzuki, who—as I mentioned above—is an outgoing and quite sociable girl. And by “outgoing,” I don’t just mean that she’s easy to get along with and so on, but also that she finds it impossible to easily contain her emotions, since every time she feels or thinks about something, she shows it quite clearly through her facial expressions. Even so, Suzuki is used to seeking social acceptance, even when it’s exhausting for her.
Setting aside all the sociocultural issues underlying this and the vast majority of anime—since they originate in Japan, a country with social standards that are quite high and difficult for someone from the developing world and another continent like me to understand—it’s entertaining to watch every romantic moment in this story. Especially because we see an outgoing girl who’s always seeking social acceptance—and who finds it impossible to hide her feelings—dating a socially introverted, solitary, unemotional, and sincere guy who isn’t afraid to say what he thinks and feels.
Pero lo más divertido es ver todas las reacciones y comportamientos que tiene la protagonista, Miyu Suzuki, quien como ya les indiqué arriba, es una chica extrovertida y bastante sociable. Y con extrovertida no solo me refiero a que es fácil de tratar y demás, sino que también le es imposible contener sus emociones fácilmente ya que cada vez que siente o piensa en algo lo demuestra bastante bien con sus expresiones faciales. Aún así, Suzuki está acostumbrada a buscarla aceptación social, aún cuando esto le resulte agotador.
Dejando de lado todo el tema sociocultural que esconde este y la gran mayoría de animes, al ser originarios de Japón, un país con un criterio social bastante alto y complicado de entender para una persona del tercer mundo y de otro continente como yo; es entretenido ver cada momento romántico que tiene esta historia. Sobre todo porque vemos a una chica extrovertida que busca ser siempre aceptada socialmente y que le es imposible esconder sus sentimientos salir con un chico socialmente introvertido, solitario, poco expresivo y sincero que no le preocupa decir lo que piensa y siente.
Yusuke Tani is that apathetic, unsociable protagonist who almost never stands out in any other romance-comedy anime. Despite his cold and introverted personality, he shows us that he has a big heart right from the first episode. His feelings and way of thinking are pure and completely clear, although his inexperience makes him doubt certain things that couples do. On the other hand, Miyu Suzuki knows how to have fun, as she’s often out with her friends shopping, partying, and attending other social gatherings.
But as I mentioned above, the problems this main couple faces aren’t complicated or hard to solve at all. It’s not like we see any infidelity, second chances, love triangles, or anything like that. Instead, they’re common problems like what to do on a first date, the first kiss, holding hands, and all those typical clichés of teenage romances. Still, it’s entertaining to watch all of this, plus we don’t just see Suzuki and Tani in every episode.
Yusuke Tani es ese protagonista apático y poco sociable que no destaca casi nunca en cualquier otro anime de romance y comedia. A pesar de su personalidad fría e introvertida, nos demuestra que tiene un gran corazón desde el primer episodio. Sus sentimientos y forma de pensar son pura y completamente claras, aunque su inexperiencia lo hace dudar de ciertas cosas de que hacen las parejas. Por otro lado, Miyu Suzuki sabe cómo divertirse ya que suele estar con sus amigos yendo de compras, fiestas y otros tipos de reuniones sociales.
Pero como les dije arriba, los problemas que vemos que afronta esta pareja de protagonistas no son para nada complicados o difíciles de solucionar. No es que veamos alguna infidelidad, segunda declaración, triángulos amorosos y demás cosas por el estilo. Son en cambio problemas comunes como lo que hay que hacer en la primera cita, el primer beso, agarrarse de las manos y todo ese tipo de clichés comunes de romances adolescentes. Igualmente, es entretenido ver todo esto, además de que no solo vemos a Suzuki y Tani en todos los episodios.
We also meet Suzuki’s friends, among whom there are a few characters who take center stage in certain episodes. Such is the case with Kentaro Yamada, one of Suzuki’s friends who often asks Tani for help with homework and is always hanging out with her at school. His outgoing personality is similar to that of our protagonist, but he also has his own distinctive traits. One of those traits is the way he falls for a girl—as is the case with Tani’s library classmate, for example.
Another example is Suji Taira, a pessimistic and self-critical boy who gradually joins Suzuki and Tani’s group of friends throughout this first season of the anime. His personality is what sets him apart from most others, and it’s entertaining to watch him think through and analyze every detail of the protagonists’ social lives with a sense of self-loathing and envy over not having a partner. Through him, we get a glimpse into the experiences of some teenagers who put too much pressure on themselves and don’t believe they’re good at anything they set out to do in life.
También conocemos a los amigos de Suzuki quienes, de entre ellos, hay uno que otro personaje que se lleva el protagonismo en algunos episodios. Tal es el caso de Kentaro Yamada, uno de los amigos de Suzuki que suele pedirle ayuda a Tani para las tareas y siempre se la pasan juntos en la escuela. Su personalidad extrovertida es similar a la de nuestra protagonista, pero también tiene sus detalles característicos. Uno de esos detalles es su forma de enamorarse de una chica, como es el caso de la compañera de biblioteca de Tani, por ejemplo.
Otro ejemplo que tenemos es el de Suji Taira, un chico pesimista y autocrítico que poco a poco se junta con los amigos de Suzuki y Tani a lo largo de esta primera temporada del anime. Su personalidad es lo que lo destaca de la mayoría y es entretenido verlo pensar y analizar cada detalle de la vida social de los protagonistas con una sensación de odio a sí mismo y envidia por no tener pareja. Con él podemos conocer ciertos casos que viven algunos adolescentes que sufren de sobreexigirse demasiado y no creerse buenos en nada de lo que se propongan en sus vidas.
Another standout aspect of this anime is the way it sometimes tackles certain profound themes in such a natural and entertaining way that it’s fascinating to watch. For example, there’s a female character among the protagonists’ group of friends who has a rather interesting personality for a teenager her age. And the way she faces and resolves her own social and personality issues even leaves us with a valuable lesson or two.
Finally, and most notably, this anime’s audiovisual presentation is clearly one of the most remarkable aspects of any romantic comedy anime today, thanks to how well it’s crafted. The studio in charge did a spectacular job with the animation, the cute or “kawaii” art style so characteristic of the original work, and the character designs as well. The bright and varied color palette, along with the visual effects and the excellent use of light and shadow, is top-notch.
Este es otro detalle resaltante de este anime y es la forma en la que a veces trata ciertos temas profundos de una forma tan natural y entretenida de ver que resulta fascinante al mismo tiempo. Por ejemplo, hay un personaje femenino entre el grupo de amigos de los protagonistas que tiene un carácter y personalidad bastante interesante para una adolescente de su edad. Y la forma en la que ella afronta y resuelve dichos problemas sociales y de personalidad que posee nos deja hasta con una que otra lección valiosa.
Por último y lo más resaltante de este anime es evidentemente su apartado audiovisual, el cual es de lo más destacable que se puede llegar a ver de un anime de comedia romántica en la actualidad debido a lo bien hecha que está. El estudio a cargo hizo un trabajo espectacular con la animación, el estilo de dibujo todo tierno o “kawai” que es tan característico de la obra original y los diseños de los personajes también. La paleta brillante y variada de colores junto con los efectos visuales y el uso excelente de luces y sombras es de lo mejor.
Another highlight is how smooth this anime is, although it also relies heavily on the cute or “chibi” animation style, which doesn’t require as much detail in the artwork. That said, the shots, effects, and settings are well-detailed throughout this first season. Yes, as you’ve just read, this isn’t the only season they plan to release for this anime—in fact, the second season is currently airing. On the other hand, the sound effects aren’t bad either, but they’re nothing compared to the excellent soundtrack. I 100% recommend this anime.
Personally, I give it a rating of 9.5/10 in the romance and comedy genres.
Otro detalle a destacar es la fluidez tan excelente que tiene este anime, aunque también recurre mucho al estilo tierno o “chibi” de animación que no requiere de tantos detalles en su dibujo. Igualmente, los planos, efectos y escenarios están bien detallados a lo largo de esta primera temporada. Si, como acaban de leer, esta no es la única temporada que planean sacar de este anime e incluso ahora mismo se está emitiendo su segunda temporada. Por otro lado, los efectos de sonido tampoco están mal, pero nada comparado con su excelente banda sonora. 100% recomendado este anime.
Personalmente, le doy una calificación de 9.5/10 en lo que respecta al género de romance y comedia.
To wrap things up, here's the incredible opening sequence for this anime:
My name is Nattosheru. On Hive, you can find me as @nattosenpai, but you can call me Natto. I'm a young Venezuelan who likes to talk about anime, movies, and music on my Hive Blog. I'm 28 years old and I'm working toward my dream of "living doing what I love" online. My profile picture was created by Gemini AI based on the main character from the movie Blade Runner 2049, but with my real face.
Hola chic@s, hoy les traigo esta película animada que me gustó bastante, desde la animación hasta la historia y la forma en que representa la cultura asiática.
¡Comencemos!
RESUMEN
Todo comienza con Meilin Lee, una niña muy estudiosa que siempre está preocupada por tener buenas calificaciones, hacerle caso a su mamá y ser perfecta.
Ella tiene tres mejores amigas llamadas Miriam, Priya y Abby. Cada una tiene una personalidad diferente, pero las une su amistad y, especialmente, su amor por el grupo musical 4*Town.
Sus amigas siempre quieren salir y divertirse con Mei, pero ella debe regresar rápido a casa para ayudar a su madre en el templo familiar, un lugar que visitan muchas personas. Allí también debe ayudar con la limpieza y las visitas guiadas.
Como podrán imaginar, su madre es bastante estricta y controladora. Siempre quiere que Mei esté a su lado y sea responsable tanto en la escuela como en casa.
Una noche ocurre algo extraño y, al día siguiente, Mei despierta convertida en un enorme panda rojo. Al principio se asusta muchísimo, pero pronto descubre que puede volver a su forma normal cuando logra tranquilizarse y controlar sus emociones.
Su madre finalmente le cuenta la verdad: una antepasada de la familia, Sun Yee, recibió el poder de convertirse en panda rojo para proteger a su familia y a su pueblo. Desde entonces, las mujeres de la familia heredan este don al llegar a cierta edad.
Mei descubre que existe una forma de sellar el panda rojo dentro de un objeto durante un ritual realizado bajo la luna roja. Mientras espera ese momento, intenta controlar sus emociones y mantener oculto su secreto.
Sin embargo, sus amigas terminan descubriendo lo que le ocurre. En lugar de asustarse, la apoyan y descubren que, cuando Mei está con ellas, puede sentirse tranquila y controlar mejor al panda.
Al mismo tiempo, las cuatro se enteran de que 4*Town dará un concierto. Como sus padres no les dan permiso para asistir, deciden conseguir el dinero por su cuenta y planean hacer una fiesta de pijamas como excusa para poder ir.
Mei comienza a aprovechar su panda rojo para ganar dinero, vendiendo fotografías y otros productos relacionados con él. Pero poco antes del ritual ocurre un problema: descubren que el concierto será exactamente el mismo día.
Durante una fiesta de cumpleaños en la que Mei se presenta como panda para ganar dinero, pierde el control de sus emociones y termina lastimando al cumpleañero. Su madre se enfurece y culpa a sus amigas, provocando que las chicas se separen.
Llega el día del ritual y toda la familia se reúne para ayudar a Mei. Sin embargo, cuando llega el momento de sellar al panda, ella se da cuenta de que no quiere deshacerse de esa parte de sí misma. El panda también representa su personalidad, su libertad y los momentos felices que vivió junto a sus amigas.
Por eso decide conservarlo y corre al concierto para reunirse con ellas.
Su madre, al descubrir lo que ha hecho, se transforma en un panda rojo gigante y va tras su hija. Allí comienza una gran batalla, mientras la familia intenta realizar nuevamente el ritual antes de que termine la luna roja.
Finalmente, Mei y su madre logran hablar sinceramente. Mei le explica que le gusta ser quien es y que no quiere vivir intentando ser perfecta. Su madre también comprende que debe dejarla tomar sus propias decisiones y reconoce que muchas de sus exigencias vienen de la forma en que ella misma fue criada.
Al final, Mei decide conservar su panda rojo y aprende a controlarlo. Su madre comienza a darle más libertad y ambas consiguen tener una relación más sana.
Así termina la película, mostrando cómo Mei aprende a aceptar quién es y cómo su familia también debe aprender a aceptar que ella está creciendo y tomando su propio camino.
TRÁILER OFICIAL
OPINIÓN PERSONAL
Es una película que tiene una historia muy bonita y en algunas partes me sentí identificada con Meilin, porque en mi caso siempre me inscribían en muchos cursos y era muy responsable en clases, con buenas notas y todo.
Aquí podemos ver cómo una niña debe hacer de todo para tener contenta a su mamá, hasta el punto de volverse muy exigente consigo misma sin saber que con eso estaba perdiendo muchas cosas.
No todo en la vida es estudiar y trabajar, tener buenas notas, un buen trabajo, también debemos prestarle atención a nuestra salud mental y física. Pero sin darnos cuenta descuidamos lo que más importa.
La madre de Meilin quería lo mejor para ella, pero no se daba cuenta de que eso no era lo que ella quería, era muy sobreprotectora y estricta con ella. No se dio cuenta que no confiaba en Mei, por eso la espiaba, quería estar siempre con ella, meterse en sus asuntos personales o hasta hacerla quedar en vergüenza con sus amigos.
Pero podemos ver que no era sólo culpa de su madre sino también de su abuela que la había criado de esa forma o aún más estricta, porque en la película podemos ver que la mamá de Meilin tenía muchos complejos de inferioridad y pensaba que nunca sería suficiente ni para su madre ni para su familia.
Creo que es toda una cadena de problemas que fueron surgiendo en cada una de las mujeres de la familia, en parte tiene mucho que ver el de ser pandas rojos, porque por esa razón es que debían ser más centradas, tranquilas y obedientes si no querían que sus pandas salieran a la luz de todos.
Es un miedo que tuvieron que cargar por muchas generaciones porque lo veían como algo malo, pero Meilin se dio cuenta que podía controlarlo y no era algo tan malo. Aquí la película hace una comparación con lo que les pasa a las niñas cuando comienza a convertirse en adolescentes, se podría decir que empieza esa etapa donde no solo cambias físicamente sino también emocionalmente.
Es cuando empiezas a llegar a la madurez y seguramente a muchas de nosotras nos ha pasado algo similar, tenemos miedo, no sabemos cómo será el mundo de los adultos, eso es lo que nos han enseñado desde pequeñas, pero si lo analizas no es tan terrible como lo pintaron.
Crecer es una etapa más de la vida, vienen nuevas cosas sí, pero no es motivo para tenerle miedo, creo que, si desde pequeñas aprendemos sobre estos cambios hormonales y también otras cosas que serían útiles que nos enseñen sobre la pubertad y demás, sería un poco más fácil afrontarlo.
En esta película también se puede ver la sobreprotección que tienen las madres con sus hijos, yo no sé cómo se siente eso, pero imagino que también es complicado porque los ves crecer muy rápido y no quieres que el tiempo siga pasando. Pero son cosas de la naturaleza, van a terminar pasando y lo mejor sería sobrellevarlo de la mejor manera.
Obviamente no es que uno se va a separar por completo de sus hijos, pero creo que a medida que van creciendo una se va convirtiendo más en guía para ellos, dándoles consejos, puntos de vista y otros elementos que nos servirán para seguir creciendo.
No estoy de acuerdo con que sólo deba importar la escuela y el trabajo, creo que uno debe pensar primero en su salud física y mental para luego realizar lo demás. Pero también se deben plantear objetivos, por qué quiero estudiar esto, por qué quiero trabajar en este lugar, sin un objetivo o fin creo que terminamos cayendo en un vacío existencial que consume toda nuestra energía vital.
Por eso creo que es importante elegir bien esas cosas y cuando ya sepas lo que quieres hacer con tu vida, meterle todas tus ganas para lograr cumplir tus sueños. Con pasión estoy segura que se logran grandes cosas.
Un concepto que siempre me gusta comentar es sobre el ikigai, es la unión entre lo que amas, con lo que el mundo necesita, con aquello en lo que eres bueno y con aquello por lo que podrían pagarte.
Se dice que cuando hallas eso es que encontraste tu razón de vivir, yo todavía estoy explorando mi propio camino, pero creo que poco a poco me estoy acercando a encontrarlo. Yo les aconsejo explorar un poco más este tema porque es súper interesante y puede ayudarles si sienten que su vida no tiene un rumbo claro.
Creo que la madre de Meilin entendió este concepto y dejó de preocuparse tanto por ella, porque además confía en que ella sabrá elegir lo mejor, pero si no es así, ella también estará a su lado para apoyarla.
Además, su madre ya no se sentirá estresada por ser siempre perfecta en todo, porque se dio cuenta que no es lo más importante, sino ella misma como mujer y después su familia.
Otro punto importante fueron las amigas de Mei, quienes a pesar de que no eran iguales entre ellas encontraron cierta armonía, cada una, desde su propia personalidad, logró aportar para formar un bonito grupo de amigas.
Lo que más me gusta es que siempre la apoyaron, no la juzgaron por ser diferente, todo lo contrario, les terminó gustando mucho su panda, así se supone que debe ser una amistad verdadera, estar en las buenas y en las malas juntas.
Hay muchos temas bonitos que pude rescatar de esta película, por eso me llegué a identificar mucho y seguramente muchas mujeres también podrán sentirse identificadas con ella.
La recomiendo para verla con amigas y familia.
ENGLISH VERSION
TURNING RED (2022): BETWEEN GROWING UP, BEING PERFECT, AND DISCOVERING WHO YOU ARE
Hi, everyone! Today I’m sharing this animated movie that I really liked—from the animation to the story and the way it portrays Asian culture.
Let’s get started!
SUMMARY
It all starts with Meilin Lee, a very studious girl who’s always worried about getting good grades, listening to her mom, and being perfect.
She has three best friends named Miriam, Priya, and Abby. Each has a different personality, but they’re united by their friendship and, especially, their love for the band 4*Town.
Her friends always want to go out and have fun with Mei, but she has to rush home to help her mother at the family temple, a place visited by many people. There, she also has to help with cleaning and giving guided tours.
As you can imagine, her mother is quite strict and controlling. She always wants Mei to be by her side and to be responsible both at school and at home.
One night, something strange happens, and the next day, Mei wakes up transformed into a huge red panda. At first, she’s terrified, but she soon discovers that she can return to her normal form when she manages to calm down and control her emotions.
Her mother finally tells her the truth: a female ancestor of the family, Sun Yee, was given the power to turn into a red panda to protect her family and her village. Since then, the women in the family have inherited this gift when they reach a certain age.
Mei discovers that there is a way to seal the red panda inside an object during a ritual performed under the red moon. While she waits for that moment, she tries to control her emotions and keep her secret hidden.
However, her friends end up finding out what’s happening to her. Instead of being scared, they support her and realize that, when Mei is with them, she can feel calm and better control the panda.
At the same time, the four of them learn that 4*Town is giving a concert. Since their parents won’t let them go, they decide to raise the money on their own and plan a sleepover as an excuse to attend.
Mei starts using her red panda to make money by selling photos and other panda-related merchandise. But shortly before the ritual, a problem arises: they discover that the concert will be on the exact same day.
During a birthday party where Mei dresses up as a panda to make money, she loses control of her emotions and ends up hurting the birthday boy. Her mother becomes furious and blames her friends, causing the girls to drift apart.
The day of the ritual arrives, and the whole family gathers to help Mei. However, when the time comes to seal away the panda, she realizes she doesn’t want to get rid of that part of herself. The panda also represents her personality, her freedom, and the happy moments she shared with her friends.
So she decides to keep it and runs to the concert to reunite with them.
When her mother discovers what she has done, she transforms into a giant red panda and goes after her daughter. A great battle ensues as the family tries to perform the ritual once more before the red moon sets.
Finally, Mei and her mother manage to have a heart-to-heart talk. Mei explains that she likes who she is and doesn’t want to spend her life trying to be perfect. Her mother also realizes that she must let her make her own decisions and acknowledges that many of her expectations stem from the way she herself was raised.
In the end, Mei decides to keep her red panda and learns to control it. Her mother begins to give her more freedom, and the two develop a healthier relationship.
This is how the movie ends, showing how Mei learns to accept who she is and how her family must also learn to accept that she is growing up and forging her own path.
OFFICIAL TRAILER
PERSONAL OPINION
It’s a movie with a very beautiful story, and in some parts I identified with Meilin, because in my case, I was always signed up for lots of classes and was very responsible in school—getting good grades and everything.
Here we see how a girl has to do everything she can to make her mom happy, to the point of becoming very hard on herself without realizing that, in doing so, she was missing out on a lot.
Life isn’t all about studying and working, getting good grades, or having a good job—we also need to pay attention to our mental and physical health. But without realizing it, we neglect what matters most.
Meilin’s mother wanted the best for her, but she didn’t realize that wasn’t what Meilin wanted; she was very overprotective and strict with her. She didn’t realize that she didn’t trust Mei, which is why she spied on her, always wanted to be with her, meddled in her personal affairs, and even embarrassed her in front of her friends.
But we can see that it wasn’t just her mother’s fault—it was also her grandmother’s, who had raised her that way or even more strictly. In the movie, we see that Meilin’s mother had many inferiority complexes and thought she would never be good enough for either her mother or her family.
I think it’s a whole chain of problems that arose in each of the women in the family; in part, it has a lot to do with being red pandas, because that’s why they had to be more composed, calm, and obedient if they didn’t want their red panda nature to be exposed to everyone.
It’s a fear they’ve had to carry for many generations because they saw it as something bad, but Meilin realized she could control it and that it wasn’t such a bad thing after all. Here, the movie draws a parallel to what happens to girls as they begin to enter adolescence—you could say it’s the stage where you change not only physically but also emotionally.
It’s when you start to reach maturity, and surely many of us have experienced something similar: we’re afraid, we don’t know what the adult world will be like—that’s what we’ve been taught since we were little—but if you think about it, it’s not as terrible as they made it out to be.
Growing up is just another stage of life; new things do come along, yes, but that’s no reason to be afraid of it. I think that if, from a young age, we learn about these hormonal changes—and other useful things they should teach us about puberty and so on—it would be a little easier to deal with.
In this movie, you can also see how overprotective mothers are of their children. I don’t know what that feels like, but I imagine it’s also complicated because you watch them grow up so fast and you don’t want time to keep passing. But these are just the ways of nature—they’re bound to happen—and the best thing would be to cope with them as best as we can.
Obviously, it’s not like you’re going to completely cut yourself off from your children, but I think that as they grow up, you gradually become more of a guide for them—giving them advice, different perspectives, and other insights that will help them continue to grow.
I don’t agree that school and work should be the only things that matter; I think you should prioritize your physical and mental health first and then focus on the rest. But you also need to set goals—why do I want to study this, why do I want to work at this place? Without a goal or purpose, I think we end up falling into an existential void that drains all our vital energy.
That’s why I think it’s important to choose these things wisely, and once you know what you want to do with your life, to pour all your energy into making your dreams come true. With passion, I’m sure great things can be achieved.
One concept I always like to talk about is ikigai—the intersection of what you love, what the world needs, what you’re good at, and what you could get paid for.
They say that when you find that, you’ve found your reason for living. I’m still exploring my own path, but I think I’m slowly getting closer to finding it. I encourage you to explore this topic a little more because it’s super interesting and can help you if you feel like your life lacks a clear direction.
I think Meilin’s mother understood this concept and stopped worrying about her so much; she trusts that Meilin will know how to make the best choices, but knows that if things don't go as planned, she will be right there to support her.
Furthermore, her mother will no longer feel stressed about having to be perfect at everything, as she realized that perfection isn't what matters most—what truly counts is her own well-being as a woman, followed by her family.
Another important aspect was Mei’s friends; despite their differences, they found a certain harmony. Each of them, bringing her own unique personality to the mix, contributed to forming a wonderful group of friends.
What I love most is that they always supported her and never judged her for being different—quite the opposite, in fact; they ended up really liking her panda form. That is how true friendship is supposed to be: sticking together through the good times and the bad.
There are many beautiful themes I took away from this movie; that’s why I connected with it so deeply, and I’m sure many other women will relate to it as well.
When people were watching this, I didn't watch, now imagine how many years later that I decided I was going to see this Arrow, and so far I'm still at season 1 and all I can say is wooow, I like the whole concept surrounding the movie, I was telling my partner the other day that I really did like the show and I wonder why I didn't get to see it since.
Like genuinely, where was I when this show was airing? what was I doing that was so important that I missed this? Because sitting down and watching it now, I feel like I owe myself an apology. A sincere one.
For those who do not know, Arrow is about Oliver Queen billionaire, a bit of a mess personally, went missing for five years on a dangerous island and came back as a completely different person,On the outside he is still the rich guy, still the charming face, still the son of a powerful family, but underneath all of that he is now a trained vigilante with a bow and arrow, cleaning up his city one corrupt person at a time, that is the basic idea but trust me when I say the execution is anything but basic.
What got me first was the storytelling structure, Every episode moves between present day Oliver and flashbacks of what happened to him on that island, so you are watching two timelines at the same time and both of them are interesting, that is not easy to pull off but Arrow does it so well that you are never bored, the moment the present day gets intense, you cut to the island, the moment the island gets heavy, you are back in the city, It keeps you locked in without even realizing it.
Stephen Amell as Oliver Queen is doing something special here, He is not just playing a superhero, he is playing a man who is deeply broken, carrying things nobody around him fully understands, trying to be the person his city needs while barely holding himself together privately, you see it in the way he moves, the way he speaks, even the way he goes silent sometimes, there is so much happening underneath the surface and Amell carries it convincingly.
The action sequences are another thing entirely, for a TV show because let us remember this is not a movie with a massive budget the fight scenes are genuinely impressive, Raw, physical, fast. Oliver does not fight like a superhero who cannot be touched, he gets hit, he bleeds, he struggles, and somehow that makes every fight more exciting to watch because you are never fully sure how it ends.
The supporting characters are holding their own too, there's Diggle, Felicity, Laurel each of them brings something different to the story and none of them feel like they are just there to fill space around the main character. Even the villains in season 1 have weight to them, you understand why they are doing what they are doing even when you are rooting against them.
I am still in season 1 and I am already fully invested, already asking questions about what happens next, already annoyed when an episode ends and I have to wait the few seconds before the next one loads.
The crazy part is this show has eight seasons, Eight, which means I have so much ahead of me and honestly I am not even mad about the hours that is going to take, so better late than never I suppose, but mostly I am just glad I finally showed up.
BORN WINNER| I things I know &I learn/Nature lover/witness interviewer /founder of hive witnes interview /Tech enthusiast/sport lover/Architect/ Heal the World
I grew up in a Christian home where we watch different deliverance sessions on live TV from some pastors around the world, where they lay their hands on people and some starts shaking, some fallen and some talking and trying to resist, so sometimes time, when one of my friends posted a part of this movie on his WhatsApp status, that was when I got to know that there was a while Hollywood movie that was built entirely around catholic, Vatican exorcist, I was very curious to see how exactly they do their casting out of demons compared to war I have seen of live television.
Pope's Exorcist is the title, and it was released sometime around 2023, and the director was Julius Avery. This movie starred a popular face I know, Russell Crowe, who took the role of Father Gabriele Amorth. But I don't think I've seen the rest before. Father Gabriele was the main figure in this movie because he has served for decades as the chief exorcist at the Vatican, and a young priest who goes by the name Daniel served as his assistant, and Franco as the main Pope.
This movie follows Father Gabriele digging deep on the case of a young boy who got possessed at an old abbey in Spain during their visit. And this whole situation started like a simple horror set-up, but gradually, it started revealing a much deeper, centuries old conspiracy the Vatican has apparently been keeping from the public.
Maybe one of the biggest mistakes I made was watching this movie alone at night, because originally, I am not a big fan of horror movies or anything related to them. I know that decision wasn't right by me and my perspective, seeing how different Russell Crowe's Amorth felt from every priest character that I have to see around. He gives some kind of jokes even during the exorcism, rides a Vespa, and confronts the Vatican directly like someone who truly knows what he stands for. And merely watching this gave the feeling that the Catholic Church looks less like a monolith and more like an actual work environment that is always governed by its own official politics from higher power.
At some point, I was lost in this movie; maybe the writer was trying to prove something; I don't know because it got to a stage where it started feeling like two different movies rather than the initial movie I had been watching from the start. But as the movie was drawing towards the end, the final confrontation, it fully commits to its own madness, and if I am being honest, I respected the boldness even where it stopped making complete sense.
Compared to what I grew up watching on live TV, because I have never been to or witnessed any live deliverance where everything seems loud, very instant, communal, and procedural, which looks overly strange to sit with but genuinely interesting.
Not a fan of mystery or horror movies, like I said, but this movie was mainly carried by Crowe, who played his role to the fullest and best of his ability.
Saludos amigos, felíz viernes para todos! Hoy volvemos con una nueva reseña, se trata de la película Si yo tuviera 30 más que una comedia nos deja un mensaje de reflexión para nuestra vida, fué publicada en el año 2004 como protagonistas tenemos a Jennifer Garner y Mark Ruffalo, es una mezcla de sentimientos, risas y diversión, pero al final entenderás el verdadero mensaje.
Greetings, friends—happy Friday to everyone! Today we’re back with a new review, this time of the movie 13 Going on 30. More than just a comedy, it offers a message that gives us food for thought regarding our own lives. Released in 2004 and starring Jennifer Garner and Mark Ruffalo, the film is a blend of emotions, laughter, and fun—but by the end, you’ll grasp its true message.
Jenna Rink es una adolescente de 13 años como toda jóven busca encontrar su propia identidad además trata de encajar en el grupo de amigas populares del colegio, quiénes dicen ser sus amigas son algo pesadas y no se relacionan con todo el mundo, Jenna tiene un amigo de la infancia llamado Matt, un joven interesado por la fotografía y por la música que siempre trató de sorprender y hacer cosas para agradar a Jenna. Pero la diferencia es que estas cosas que él hacía por ella realmente salían de su corazón y no por interés.
Jenna Rink is a 13-year-old teenager who, like any young girl, is trying to find her own identity. She also tries to fit in with the popular group of girls at school, who claim to be her friends but are a bit intense and don't socialize with everyone. Jenna has a childhood friend named Matt, a young man interested in photography and music who always tried to surprise and do things to please Jenna. But the difference is that the things he did for her truly came from his heart, not out of self-interest.
Jenna es humillada por su grupo de amigas, en ese momento también se pelea con Matt, en su deseo de tener 30, ser coqueta y próspera, mágicamente aparece en su nueva vida llena de perfección, lujos y siendo editora de la revista Poise, Jenna estuvo confundida ya que recordaba el pasado cuando tenía 13 años como si fuese ayer, tiene que adaptarse a nueva vida de adulta. Debido al deseo de creer rápido y de unirse al circulo de la popularidad ella se vuelve algo fría, distanciada de su familia y de Matt, dejando atrás la esencia de sus valores, olvidando lo que es importante como el amor verdadero tanto de su familia y de la persona que siempre amó.
Jenna is humiliated by her group of friends, and she also has a fight with Matt. In her desire to be 30, flirtatious, and successful, she magically finds herself in a new life filled with perfection and luxury, working as the editor of Poise magazine. Jenna is confused because she remembers her past as a 13-year-old as if it were yesterday. She has to adapt to her new adult life. Driven by a desire to grow up fast and join the popular crowd, she becomes cold and distant from her family and Matt, abandoning her core values and forgetting what's truly important, like the love of her family and the person she's always loved.
Ella pasa por varias situaciones dónde ve su realidad, ha sido odiada hasta por sus propios compañeros luego de volverse tan superficial, solo desea volver a su adolescencia y corregir los errores que le pueden pasar factura más adelante. Muchas veces olvidamos que debemos vivir cada etapa, el apuro de ser grande quizás no sea como lo imaginaste, para mí transmite una lección en dónde a medida que vamos creciendo podemos tener prosperidad, ser coquetas, pero nunca dejar nuestra verdadera esencia, principios y sobre todo la bondad que nos caracteriza, en la película Jenna se da cuenta que quiere el amor de Matt por lo que decide cambiar su actitud dando valor a las cosas importantes y dejando atrás lo superficial.
She goes through several situations where she confronts her reality. She's even hated by her own classmates after becoming so superficial. She just wants to return to her adolescence and correct the mistakes that could cost her dearly later on. We often forget that we must live each stage of life. The rush to grow up might not be what you imagined. For me, it conveys a lesson: as we grow, we can prosper, be flirtatious, but never lose our true essence, principles, and above all, the kindness that defines us. In the film, Jenna realizes she wants Matt's love, so she decides to change her attitude, valuing what's important and leaving superficiality behind.
I needed a movie to unwind for the weekend last friday and I came across this movie by chance. Ryan Reynolds was the only reason I decided to see the movie because I've always been a fan of his versatile acting, especially his sense of humour even during intense scenes.
Another reason to see the movie is the title, I thought I was in for some drama with good action when I decided to download it but it turned out to be more of drama and comedy with an expected twist. As I've said, the movie wasn't recommended to me but it was a good movie to see randomly on a cool friday night.
"The Proposal" is a romantic and comedy movie for family time, released in the year 2009 starring Ryan Reynolds and Sandra Bullock. It has the regular kind of love stories found in a workplace. The story explores the life of a boss lady and her assistant, a decision unexpected and unprepared for and a change of heart along the story.
The story begin with the scene where Andrew is late, rushing to his workplace with a cup of coffee. Margaret came right on time to not catch him being late and he informed the other workers of her arrival. She is portrayed as to be too strict and uptight but she doesn't see any issue with that. The next scene is her firing one of her employee and the next, she is asked to give up her office as she will be deported to her country.
It turns out she has been living in Canada longer than she should and randomly, she thought up a plan to stay and that is marrying her assistant. The two gets into an agreement that slowly begins to get too serious and unexpectedly beautiful especially to her. They fall in love without realizing it and the wedding finally came but a twist happens that gave a beautiful ending.
Ryan Reynolds as Andrew did not disappoint with his sense of humour on those one, its my best part of the movie and I'll say Sandra Bullock also did well with her sense of humour too. I also had a nice time watching the supporting characters like the Grandmother of Andrew and her tactics.
It's not a special kind of movie but I'll recommend if you're interested in something light, funny and a bit romantic. I'll rate it with 7.5/10 because even though it's old, it's not as interesting as some old movies I've seen. Still, it was a good one for unwinding as I decided to watch it for.
**Synopsis**: *The blind desire fueled by a sense of revenge (after being humiliated at the school dance) “shapes” the personality of a teenager who, as he grows up, decides to take revenge on the four girls who traumatized him*.
Some people believe that love kills, and in fact, they're right. When this feeling is distorted into a conception detached from reality, yes, love can become the fuel that drives different kinds of revenge... And that's precisely what this movie tries to explore. However, the screenplay does so in a sloppy (and very lazy) way. Even though it has a few good moments, the narrative execution that tries to hold it together is misguided (to say the least), and frequently relies on poor decisions to pave the way toward a disappointing outcome.
Following the rulebook of movies where the main threat is a masked serial killer (yes, you've seen this before), this time the screenplay tries to justify the existence of a trashy thriller based on a new argument: loving, without limits (rooted in unrequited love, combined with an event where humiliation takes center stage). On paper, the idea is interesting. On the other hand, visually the project becomes a shallow mess that fails to find inspiration even in the very movies that served as the basis for its "individual conception".
It all begins at the high school prom, when Jeremy is publicly humiliated (by a group of girls). He grows up nurturing a desire for revenge, and not even his introspective personality will make him change his mind. His goal is to make Dorothy, Paige, Lily and Kate pay for what they did to him, even if it costs them their lives. They are all in Jeremy's sights, as he has planned a disturbing act of revenge that will certainly destroy all of their plans (which are inevitably “connected” to the same past).
Wearing a Cupid mask (because it reminds him of what happened during the humiliation at the school prom), he begins to threaten and - *quite literally* - hunt down his former classmates. However, nothing is random. After meticulously planning how to attack each one of them, even the "collateral damage" that crosses his path becomes extra motivation to carry out his mission. Love is in the air, and it is "potentially harmful" to those who don't know how to love properly. I like how the movie tries to play with this idea... But it never becomes immersive.
There is a kind of "symbolism" surrounding **Valentine's Day** that makes perfect sense within the story, but it ultimately serves only as a random pretext to try to create a "new identity" for a movie that already has such a familiar premise. Up to a certain point, this works and gives the movie a different kind of fuel, but when we dive into its narrative structure, the project reveals itself as a generic example of everything that has already been done before. The problem isn't necessarily repeating ideas that have already been used, but rather failing to add or bring anything new.
At the same time that all the murders are taking place, a police investigation also helps uncover who's behind the mask. Ironically, what should have added a more interesting layer to the movie - *where suspense ought to have been essential* - instead makes room for a subplot with little explanation (and one that becomes completely unnecessary since the protagonist has no connection to it), with very weak developments. In fact, everything gets even worse when "comic reliefs" are thrown into the mix... Diluting the suspense and stripping it of its impact.
I can't deny that there are a few very effective chase scenes (like the bathtub scene, which mixes tension with *sex appeal* by placing **Denise Richards** in a bikini... trying to escape the killer while being held "hostage"), but they really aren't enough to make this movie into anything relevant (not even when the *trashy* elements come into play). The good intentions are there, but as the saying goes: the road to hell is paved with good intentions. No movie survives on good ideas thrown together at random; they need to be brought together and made to work.
***Valentine*** also features **Marley Shelton**, **Jessica Capshaw**, **Katherine Heigl**, **Jessica Cauffiel** and **David Boreanaz** in its cast. Although no one delivers even a minimally decent performance, that doesn't really hurt the movie itself (because it's already bad). Directed by **Jamie Blanks**, this is an example where the idea is better than its entire execution, with even its most visually shocking aspects squandered by a powerless production that, in its final move, delivers an inconclusive third act by relying on ambiguity regarding the killer's identity.
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CRÍTICA DE PELÍCULA: “Un San Valentín de Muerte” (2001)Sinopsis: El deseo ciego alimentado por el sentimiento de venganza (después de haber sido víctima de una humillación en el baile de la escuela) “moldea” la personalidad de un adolescente que, al crecer, decide vengarse de las cuatro chicas que lo traumatizaron.
Algunas personas creen que el amor mata, y de hecho, tienen razón. Cuando ese sentimiento se distorsiona dentro de una concepción alejada de la realidad, sí, amar puede convertirse en el combustible que impulsa diferentes tipos de venganzas... Y eso es precisamente lo que esta película intenta explorar. Sin embargo, el guion lo hace de una manera descuidada (y muy perezosa). Aunque tiene algunos buenos momentos, la ejecución narrativa que intenta sostenerla es equivocada (por decir lo menos), y con frecuencia apuesta por malas decisiones para pavimentar un camino decepcionante.
Siguiendo el manual de las películas donde la principal amenaza es un asesino en serie enmascarado (sí, ya has visto esto antes), esta vez el guion intenta justificar la existencia de una película de suspenso trash basándose en un argumento nuevo: amar, sin límites (partiendo de un amor no correspondido, combinado con un episodio de humillación pública). Sobre el papel, la idea es interesante. En cambio, visualmente el proyecto se convierte en un desorden superficial que ni siquiera logra encontrar inspiración en las películas que sirvieron para su “concepción individual”.
Todo comienza en el baile de graduación de la escuela, cuando Jeremy es humillado públicamente (por un grupo de amigas). Creció alimentando un deseo de venganza, y ni siquiera su personalidad introspectiva logrará hacerlo cambiar de opinión. Su objetivo es hacer que Dorothy, Paige, Lily y Kate paguen por lo que le hicieron, aunque sea con sus propias vidas. Todas ellas están en la mira de Jeremy, quien ha planeado un acto de venganza perturbador que, sin duda, acabará con los planes de todas ellas (que están inevitablemente “conectadas” por el mismo pasado).
Usando una máscara de Cupido (porque le recuerda lo que ocurrió durante la humillación en el baile de graduación), comienza a amenazar y - literalmente - a cazar a sus antiguas compañeras de clase. Sin embargo, nada es aleatorio. Después de planificar meticulosamente cómo atacar a cada una de ellas, incluso los “efectos colaterales” que aparecen en su camino se convierten en una motivación adicional para cumplir su misión. El amor está en el aire, y es “potencialmente dañino” para quienes no saben amar correctamente. Me gusta cómo la película intenta jugar con esa idea... Pero nunca llega a ser inmersiva.
Existe una especie de “simbología” en torno al Día de San Valentín que tiene todo el sentido dentro de la historia, pero termina siendo apenas un pretexto aleatorio para intentar crear una “nueva identidad” para una película que ya parte de una premisa tan conocida. Hasta cierto punto eso funciona y alimenta la película con un elemento diferenciador, pero cuando nos sumergimos en su estructura narrativa, este proyecto se revela como un ejemplo genérico de todo lo que ya se había visto antes. El problema no es necesariamente repetir ideas que ya se han usado, sino no aportar ni ofrecer nada nuevo.
Al mismo tiempo que ocurren todos los asesinatos, una investigación policial también ayuda a descubrir quién está detrás de la máscara. Irónicamente, lo que debería añadir a la película una capa más interessante - donde el suspenso tendría que ser indispensable - deja espacio para una subtrama sin mayores explicaciones (y que se vuelve totalmente innecesaria, ya que la protagonista no tiene ninguna relación con ello), con desarrollos muy precarios. De hecho, todo empeora cuando se introducen “alivios cómicos”... diluyendo el suspenso y haciéndole perder fuerza.
No puedo negar que hay unas pocas escenas de persecución muy eficaces (como la escena de la bañera, que mezcla tensión con sex appeal al mostrar a Denise Richards en bikini... intentando escapar del asesino mientras permanece como “rehén”), pero realmente no son suficientes para convertir esta película en algo relevante (ni siquiera cuando se evocan los elementos trash). La buena intención existe, pero como dice el dicho: de buenas intenciones está lleno el infierno. Ninguna película sobrevive solo con buenas ideas lanzadas de manera aleatoria; es necesario reunirlas todas y hacer que funcionen.
*** Un San Valentín de Muerte*** también cuenta en su reparto com Marley Shelton, Jessica Capshaw, Katherine Heigl, Jessica Cauffiel y David Boreanaz. Aunque nadie ofrece una actuación mínimamente decente, eso no termina perjudicando demasiado a la película en sí (porque ya es mala). Dirigida por Jamie Blanks, aquí tenemos un ejemplo en el que la idea es mejor que toda su ejecución, donde incluso los aspectos visualmente más impactantes son desaprovechados por un trabajo impotente que, en su jugada final, entrega un tercer acto inconcluso al apostar por la subjetividad en torno a la identidad del villano.
CRÍTICA DE FILME: “O Dia do Terror” (2001)
**Sinopse**: *O desejo cego alimentado pelo sentimento de vingança (após ter sido vítima de humilhação no baile da escola) “molda” a personalidade de um adolescente que, ao crescer, decide se vingar das quatro garotas que o traumatizaram*.
Algumas pessoas acreditam que o amor mata, e de fato, elas estão certas. Quando esse sentimento é deturpado dentro de uma concepção fora da realidade, sim, amar pode se tornar o combustível que move diferentes tipos de vinganças... E é precisamente isso que esse filme tenta explorar. No entanto, o roteiro faz isso de uma maneira desleixada (e muito preguiçosa). Ainda que haja alguns bons momentos nele, a execução narrativa que tenta mantê-lo em pé é equivocada (para dizer o mínimo), e frequentemente aposta nas decisões para ruins para pavimentar um caminho decepcionante.
Seguindo a cartilha dos filmes onde a principal ameaça é um assassino em série mascarado (sim, você já viu isso antes), desta vez, o roteiro tenta justificar a existência de um filme de suspense trash com base em um argumento novo: amar, sem limites (tendo como base um sentimento não correspondido, aliado um evento onde a humilhação ganha o centro das atenções). No papel, a ideia é interessante. Por outro lado, visualmente o projeto se torna uma bagunça superficial e que não consegue encontrar inspiração nem mesmo nos filmes que foram usados para à sua “concepção individual”.
Tudo começa ainda no baile de formatura escolar, quando Jeremy é publicamente humilhado (por um grupo de amigas). Ele cresceu alimentando um desejo de vingança, e nem mesmo à sua personalidade introspectiva irá conseguir fazê-lo mudar de ideia. O foco é fazer com que Dorothy, Paige, Lily e Kate paguem pelo que elas fizeram com ele, ainda que seja com suas próprias vidas. Todas elas estão sob a mira de Jeremy, que planejou um ato de vingança perturbador, e que certamente vai acabar com os planos de todas elas (que estão inevitavelmente “conectadas” ao mesmo passado).
Usando uma máscara de Cupido (porque isso o faz lembrar do que aconteceu na humilhação do baile de formatura na escola), ele começa a ameaçar e - *literalmente* - caçar as suas ex-colegas de turma. No entanto, nada é aleatório. Após meticulosamente planejar como atacar cada uma delas, até mesmo os “efeitos colaterais” que chegam ao seu caminho se tornam uma motivação extra para que ele realize à sua missão. O amor está no ar, e ele é “potencialmente danoso” com quem não sabe amar corretamente. Eu gosto como o filme tenta brincar com isso... Mas a ideia nunca é imersiva.
Há uma espécie de “simbologia” envolvendo o **Dia dos Namorados** que faz todo o sentido dentro da história, mas isso acaba sendo apenas um pretexto aleatório para tentar criar uma “nova identidade” para um filme já tem uma premissa tão conhecida. Até certo ponto isso funciona, e abastece o filme com um combustível diferenciado, mas quando vamos mergulhar na estrutura narrativa, esse projeto se revela como um exemplo genérico de tudo o que já foi visto lá atrás. O problema não é necessariamente repetir ideias que já foram usadas, mas sim, não acrescentar ou trazer nada novo.
Ao mesmo tempo em que todos os assassinatos vão acontecendo, uma investigação policial também ajuda a desvendar quem está por trás da máscara. Ironicamente, o que deveria adicionar ao filme uma camada mais interessante - *onde o suspense deveria ser indispensável* - dá espaço para uma subtrama sem maiores explicações (e que se torna totalmente desnecessária uma vez que a protagonista não tem qualquer relação com isso), com desenvolvimentos bem precários. Aliás, tudo fica pior quando “alívios cômicos” são colocados na mesa... Diluindo o suspense e fazendo-o perder a força.
Não posso negar que há algumas poucas cenas de perseguições muito eficientes (como a cena da banheira, que mistura tensão com *sex appeal* ao colocar **Denise Richards** de biquini... tentando escapar do assassino enquanto ela é mantida como “refém”), mas elas realmente não o suficiente para tornar esse filme em algo relevante (nem mesmo quando as inserções *trash* são evocadas). A boa intenção existe, mas é como diz o ditado: de boas intenções, o inferno está cheio. Nenhum filme sobrevive de boas ideias jogadas de maneiras aleatórias; é preciso juntar todas elas e fazê-las funcionar.
***O Dia do Terror** também traz no seu elenco **Marley Shelton**, **Jessica Capshaw**, **Katherine Heigl**, **Jessica Cauffiel** e **David Boreanaz**. Embora ninguém entregue uma atuação minimamente decente, isso acaba não prejudicando tanto o filme em si (porque o mesmo já é ruim). Dirigido por **Jamie Blanks**, eis aqui um exemplo onde a ideia é melhor que toda sua execução, onde até mesmo os aspectos visualmente mais chocantes são mal aproveitados por um trabalho impotente, que numa cartada final entregou um terceiro ato inconclusivo por apostar na subjetividade sobre a identidade do vilão.
[Source](https://www.amazon.com/gp/video/detail/0JUWBAHB9THYLKRAXKHDX6K8VG?ref_=atv_dp)
[Source](https://www.amazon.com/gp/video/detail/0JUWBAHB9THYLKRAXKHDX6K8VG?ref_=atv_dp)
[Source](https://www.amazon.com/gp/video/detail/0JUWBAHB9THYLKRAXKHDX6K8VG?ref_=atv_dp)
[Source](https://www.amazon.com/gp/video/detail/0JUWBAHB9THYLKRAXKHDX6K8VG?ref_=atv_dp)
[Source](https://www.amazon.com/gp/video/detail/0JUWBAHB9THYLKRAXKHDX6K8VG?ref_=atv_dp)
The ending is where it becomes obvious the movie never really figures out Kara, because it wants us to accept a change that her own choices do not back up, because for most of the trip Kara stops Ruthie from killing the man who destroyed her family, telling her that revenge will not take away the pain and might leave her carrying something even worse. Everything falls into a deep "Do as I say, not as I do", so all that tracks for the person Kara might be trying to become, except the movie never shows her learning to live by that advice herself, she just keeps preaching something she never becomes and least on this movie. She sends Ruthie away and then kills the villain herself without thinking it twice, at least that I like because finally goes savage mode, then heads back to Earth ready to stop running and take her place next to Superman. Those two choices do not fit together well and gives me this feeling she will go back to the same old Kara. The movie can let Kara stay angry and willing to kill or it can show her choosing to be Supergirl and trying to be better, you know good girl Supergirl, but it cannot treat both like the same step forward without explaining what actually changed in her. Its that gap that makes the entire point of Ruthie being in the story feel weaker, Kara protects Ruthie from taking revenge and then takes it herself, so the lesson lands less like growth and more like the movie trying to create this hard ending for Kara like she "has" to accept her life as Supergirl over who she is or how she feels better, its like she dont want to be Supergirl. Alcock still makes those last scenes work because she gives Kara real sadness and enough warmth to make you think there is probably hope in the future, I just do not think the story earns it. There are good pieces here, a damaged lead, a strong lead performance and some decent ideas about grief and responsibility, but the movie keeps grabbing the easiest version of each one duct tape it together and turning the pain Kara carries into a rescue mission, her anger into bar fights here and there, and her shot at real change into an ending that does not match what she just did, both Kara and Milly deserves a better story than this one.
