Hello film lovers, /Bonjour les cinéphiles,

This American action film, which runs for 1 hour and 38 minutes, was actually released back in 2010, but it was shown on TV recently and, as I’d never seen it before, I recorded it and we watched it last night.

Ce film d'action américain, d'une durée d'1h38, date déjà de 2010, mais il est passé récemment à la télévision et, comme je ne l'avais jamais vu, je l'ai enregistré et nous l'avons regardé l'autre soir.

Source Film poster /Affiche du film

Synopsis :

For James Cullen, the racing driver, it’s the day he’s released from prison. No one has come to pick him up. He’ll have to walk a few kilometres before reaching an old car scrapyard.

He looks in a hurry, and he is. He’s eager to avenge his brother’s death. Ten years ago, they were ambushed. James is the sole survivor, but he nearly didn’t make it.

He doesn’t know who set the trap; he has his suspicions, but nothing more. In any case, he is determined to settle the score by tracking down everyone involved.

Pour James Cullen, le pilote (de voiture), c'est le jour où il sort de prison. Personne n'est venu le chercher. Il devra parcourir quelques kilomètres à pied, avant d'arriver dans une ancienne casse de voitures.

Il a l'air pressé et il l'est. Il a hâte de venger la mort de son frère. Il y a 10 ans, ils ont été piégés. James est le seul survivant, mais il a bien failli y rester.

Il ne sait pas qui a organisé ce traquenard, il a des soupçons, mais rien de plus. En tout cas, il est déterminé à faire le nettoyage, en retrouvant toutes les personnes impliquées.

My opinion and a few facts /Mon avis et petites infos :

I’m not really a fan of this sort of film. Action film, fine. But a film that shows executions to avenge the execution of one’s brother? No, that’s not for me. In his place, I would have gathered as much information as possible on the culprits, put together a case with the help of a lawyer and the police, brought them to court and had them imprisoned for life.

The names of the three main characters aren’t mentioned in the film; you can just catch a glimpse of them on certain documents, if you think to look. It’s a nod to the film The Driver, where no character names are mentioned. Here, they’re called ‘the driver’, ‘the cop’ and ‘the killer’.

Je ne suis pas trop fan de ce type de film. Film d'action, ok. Mais un film qui montre des exécutions pour venger l'exécution de son frère, non, ce n'est pas pour moi. A sa place, j'aurais plutôt réuni un maximum d'informations sur les coupables, j'aurais élaboré le dossier avec l'aide d'un avocat et de la police, pour les traduire devant le tribunal et les faire incarcérer à vie.

Les noms des 3 personnages principaux ne sont pas cités dans le film, on peut juste les apercevoir sur certains documents, si on pense à les regarder. Il s'agit d'un clin d'œil au film The Driver, où aucun nom de personnage n'est cité. Ici, ils sont nommés "le pilote", "le flic" et "le tueur".

Just by looking at the poster, you can tell who the star is, but there are other familiar names too:

Dwayne Johnson: James Cullen ‘the driver’ Billy Bob Thornton: Slade Humphries ‘the cop’, police inspector, heroin addict Oliver Jackson-Cohen: ‘the hitman’, a self-centred contract killer Carla Gugino: Cicero, police inspector, Slade’s colleague Xander Berkeley: Mallory, police commissioner, Cicero and Slade’s superior Maggie Grace: Lily, the hitman’s girlfriend and later wife Moon Bloodgood: Marina, Slade’s wife, Gary’s ex-girlfriend Mike Epps: Roy Grone Courtney Gains: Prescott Ashton, telemarketer Jennifer Carpenter: Nan Porterman, James’s ex-girlfriend Tom Berenger: the prison governor Adewale Akinnuoye-Agbaje: Alexander Jarod, ex-convict turned evangelist Matt Gerald: Gary Cullen, James’s brother Annie Corley: mother of Gary and James, widow Michael Irby: Vaquero Aedin Mincks: Tommy Humphries, son of Slade and Marina Lester Speight: Hovis Nixon ‘Baphomet’, nightclub bouncer

I don’t think this film will stay with me for long. What about you? Did you enjoy it, if you can remember it?

Enjoy your evenings in front of the telly, and see you soon,

Rien qu'à voir l'affiche, on sait qui est la vedette, mais d'autres noms sont connus :

Dwayne Johnson : James Cullen « le pilote » Billy Bob Thornton : Slade Humphries « le flic », inspecteur de police, héroïnomane Oliver Jackson-Cohen : « le tueur », tueur à gages égocentrique Carla Gugino : Cicero, inspectrice de police, collègue de Slade Xander Berkeley : Mallory, commissaire de police, supérieur hiérarchique de Cicero et de Slade Maggie Grace : Lily, compagne puis épouse du tueur Moon Bloodgood : Marina, épouse de Slade, ex-compagne de Gary Mike Epps : Roy Grone Courtney Gains : Prescott Ashton, télévendeur Jennifer Carpenter : Nan Porterman, ex-compagne de James Tom Berenger : le directeur de la prison Adewale Akinnuoye-Agbaje : Alexander Jarod, ex-délinquant devenu évangéliste Matt Gerald : Gary Cullen, frère de James Annie Corley : mère de Gary et de James, veuve Michael Irby : Vaquero Aedin Mincks : Tommy Humphries, fils de Slade et de Marina Lester Speight : Hovis Nixon « Baphomet », videur de boite de nuit

Je ne pense pas que ce film restera gravé dans ma mémoire. Et vous ? L'avez-vous apprécié si vous vous en souvenez ?

Bonnes soirées-tv et à bientôt,

Florence

Source photo : image Qwant autorisée

I used Deepl Translator to translate French into English

Proud member of the Principality of Bastion

Lately, I’ve realized I’m drawn to stories that sit somewhere in between, romance with a darker edge, the kind that doesn’t just make your heart flutter, but also makes it ache. And that brings me to a K-drama that completely caught me off guard, The Smile Has Left Your Eyes. Honestly , this drama is no longer k-drama, let just call it a K-trauma because what the hell.

I went into it expecting something emotional, maybe even a bit intense, but nothing could have prepared me for how deeply it would affect me. This isn’t your typical love story. It’s layered, complicated, and filled with characters who feel painfully real. The kind of real that makes you uncomfortable because you start to understand them, even when you’re not sure you should.

What hit me the hardest is how the story explores the idea that people aren’t simply “good” or “bad.” Everyone carries their own wounds, their own past, and sometimes those things shape them into someone the world doesn’t quite understand. The main characters are flawed, broken in their own ways, and yet you can’t help but feel drawn to them. That emotional conflict, wanting to root for them while also fearing where their choices might lead is really exhausting in the best and worst way.

And yes, I’m not exaggerating when I say the smile really left my eyes after finishing it. This is not just a drama you watch and move on from. It lingers. It sits with you. It makes you question love, fate, and whether some people are meant to heal each other or hurt each other.

The biggest lesson I took from it is that love isn’t always enough to fix everything. That might sound pessimistic, but I think it’s honest. Sometimes, timing, circumstances, and unresolved pain get in the way. And sometimes, caring deeply for someone doesn’t guarantee a happy ending. That realization hurt, but it also felt real in a way that many stories avoid.

At the same time, it also taught me to be more empathetic. You never really know what someone has been through or why they are the way they are. People are complicated, and this story really shows that truth..

So if you’re looking for something light and comforting, this might not be it. But if you’re ready for something that will emotionally challenge you and stay in your mind long after it’s over, then maybe, just maybeyou’re ready for this K-trauma because it gets me so emotional that I don't know when I started tearing up.

All images are screenshot from the movie

Thank for checking on my blog and have a wonderful day

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Man of the People (S06E03)

Airdate: 5 October 1992

Written by: Frank Abatemarco Directed by: Winrich Kolbe

Running Time: 46 minutes

By its penultimate season, Star Trek: The Next Generation had matured into a remarkably well-oiled machine. Even when grappling with a palpable lack of inspirational fuel - a deficit that would have crippled a less assured series - the show could reliably deliver competent, watchable hours. Man of the People, the third episode of the sixth season, stands as a prime exhibit of this phenomenon. It is, in the end of the day, a largely forgettable entry, yet it remains broadly satisfactory television. One might even view it, somewhat cynically, as an extended piece of fan service, engineered to function smoothly within the established parameters of the Enterprise-D's weekly operations without challenging them unduly.

The plot mechanics engage with reliable efficiency. The Enterprise responds to a distress call from the Federation ship Dorian, which is transporting the diplomat Ves Alkar (Chip Lucia) to the planet Seronia. Alkar, a member of the empathic Lumerian species, is tasked with mediating a delicate peace between the warring worlds of Rekag and Seconia. He beams aboard with Sev Maylor (Susan French), an elderly woman he introduces as his mother. The initial intrigue is minimal, adhering to a standard template of mysterious diplomatic guests. Upon arrival at Seronia, however, Maylor exhibits sudden, virulent hostility towards Counsellor Deanna Troi before promptly dying. Alkar conducts a funeral rite where Troi touches ceremonial stones, and he then forbids an autopsy on religious grounds, despite Dr. Crusher's discovery of bizarre neurotransmitter residues in the deceased woman's system.

The episode's central mystery then unfolds through Troi's disturbing transformation. As the ship nears Seronia, the empathic counsellor begins to act entirely out of character. She becomes caustic and dismissive towards her patients, such as the hapless Ensign Janeway (Lucy Boryer). Her demeanour shifts dramatically towards the predatory; she adopts provocative attire and openly seduces a young, nameless ensign (J. P. Hubbell). Concurrently, she ages at an alarming rate and develops an irrational, violent jealousy towards Alkar, even attempting to murder him as he prepares to beam down to meet his female aide, Liva (Stephanie Erb). This grotesque metamorphosis is the episode's primary engine, and it is only when Dr. Crusher finds the same alien residue in Troi as in Maylor that Captain Picard authorises an autopsy. The grim revelation follows: Maylor's internal organs were those of a much younger woman.

Confronted on the planet, Alkar coolly admits his culpability. He explains his "gift": the ability to channel all his negative emotions and ageing into a "receptacle," thereby maintaining his own objective calm for diplomacy. He is utterly unapologetic, viewing his "receptacles" as necessary tools, and refuses to help the rapidly deteriorating Troi. The resolution, concocted by Dr. Crusher, is a piece of contrived medical melodrama. Troi is induced into clinical death to trick Alkar into returning to the ship to select Liva as his next victim. Upon his arrival, Crusher releases the neurotransmitter residue, causing the process to reverse catastrophically upon Alkar himself. He ages to death in moments, while Troi recovers. The episode concludes on a sentimental note, with Commander Riker assuring Troi he would stay with her "even when you're old and grey," a line that plays directly to the audience's investment in their will-they-won't-they romance.

On a technical level, the episode is competently shepherded by series veteran Winrich Kolbe. The deficiency lies squarely in the script by Frank Abatemarco, which garnered a notably poor reputation even among the production staff. It was widely considered a rushed product, born of schedule reshufflings. Its foundational concept is a rather uninspired science-fiction gloss on Oscar Wilde's The Picture of Dorian Gray, transplanting the motif of a hidden portrait that bears the burden of sin and age into the realm of empathic parasites. The diplomatic subplot is perfunctory, serving merely as a backdrop, and the villain himself is a critical failure. Actor Chip Lucia delivers a performance of utter blandness; his Alkar is neither charismatically sinister nor intriguingly ambivalent, but simply a dull, pompous cipher. Without a compelling antagonist, the moral conflict lacks weight.

What rescues Man of the People from total mediocrity, and indeed renders it watchable, is the committed performance of Marina Sirtis. Liberated from Troi's typically serene and supportive demeanour, Sirtis visibly relishes the chance to explore her character's shadow side. Her scene berating Ensign Janeway is a highlight, crackling with a venomous pettiness entirely foreign to the ship's counsellor. Sirtis has noted she modelled this incarnation on Anne Bancroft's Mrs. Robinson from The Graduate, and that inspiration is evident in the predatory, world-weary sexuality she projects in her interactions with the younger crewman. This is fan service of a different, more effective kind: the pleasure of seeing a familiar actor tear into a rare, juicy character shift. It provides a visceral charge that the schematic plot otherwise lacks.

Furthermore, the script consciously plays upon the deep-seated romantic history between Troi and Will Riker. The final scene, with Riker's tender vow, is pure "red meat" for Troi/Riker 'shippers,' offering a tantalising hint that their long-stalled relationship could be rekindled. This emotional beat, while somewhat tacked-on, leverages the series' extensive history to generate a warmth and resonance that the A-story struggles to achieve on its own merits.

Man of the People is a textbook example of The Next Generation on autopilot. Its plot is a derivative, mechanically executed conceit, its villain is forgettable, and its resolution feels hastily contrived. Yet, the machine was so finely tuned by Season Six that even this underwhelming material produces a passable instalment. The episode is ultimately saved from oblivion by Marina Sirtis's entertaining departure from type and by the reliable emotional pull of the Troi-Riker dynamic. .

RATING: 5/10 (++)

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Released in 1984 and directed by Steven Spielberg, Indiana Jones and the Temple of Doom had the difficult job of following Raiders of the Lost Ark, one of the greatest adventure films ever made. Instead of trying to simply repeat that success, Spielberg and George Lucas chose to go in a different direction. The result was a louder, darker, and more chaotic film that has aged far better than many people admit.

Harrison Ford returns as Indiana Jones, and by this point the character was already becoming iconic. Ford brings the same mix of intelligence, toughness, and sarcasm that made Indy work so well in the first film, but here he feels even more tested. This version of Indy gets dragged through absolute madness and still somehow keeps moving forward.

The story works as a prequel, opening with Indy escaping danger in Shanghai before crashing into India, where he encounters a village whose sacred stones and missing children have been taken. What starts as a search for a mystical artifact quickly turns into a terrifying descent into the underground world of the Thuggee cult and the sinister Temple of Doom.

Kate Capshaw plays Willie Scott, the glamorous nightclub singer who gets pulled unwillingly into the adventure. Willie is often remembered for the screaming, but she also brings a frantic energy that fits the film’s over the top tone. Her chemistry with Ford creates a completely different dynamic than Marion had in Raiders, and that contrast works for this story.

Ke Huy Quan is excellent as Short Round, one of the most lovable sidekicks in the entire franchise. His loyalty, humor, and emotional connection to Indy make him far more than comic relief. In many ways, Short Round is the heart of the film, and his scenes with Ford remain some of the best in the series.

Amrish Puri as Mola Ram gives the movie one of its most memorable villains. He is not subtle, but subtle is not what this movie needs. With the rituals, the dark temple, and that unforgettable heart ripping scene, Mola Ram became nightmare fuel for an entire generation.

Spielberg directs the film with relentless energy. The pacing barely stops once the adventure begins. Mine cart chases, collapsing bridges, cult rituals, bugs, traps, and nonstop action keep the film moving at a breakneck speed. It feels like an amusement park ride before that became the standard blockbuster formula.

Visually, the movie is stunning. The underground temple sequences are filled with fire, shadows, and eerie set design that give the film a horror edge uncommon for a major adventure movie. It is probably the darkest film in the Indiana Jones series, both literally and tonally.

John Williams once again delivers an excellent score, balancing heroic adventure themes with darker, more sinister sounds for the temple sequences. The music helps sell the shift in tone and keeps the film feeling epic even in its strangest moments.

Some criticism of the film over the years focused on its darker content and its departure from the spirit of Raiders. That is fair to discuss, but it is also what makes Temple of Doom unique. It takes risks. It is not trying to be a copy of the first movie.

The film also gave us some of the franchise’s most iconic moments. The rope bridge finale alone is legendary, and the mine cart chase remains one of the best action sequences Spielberg ever directed. These scenes are pure blockbuster filmmaking at its best.

What makes Temple of Doom so good is that it embraces pulp adventure completely. It is loud, strange, dramatic, and sometimes totally insane. It does not apologize for any of it. That confidence gives it a personality many safer sequels never achieve.

Over time, the movie has been reappraised and appreciated more for what it is rather than what people expected it to be. It may not be the first Indiana Jones film people mention, but it absolutely deserves respect as an excellent film and a key part of the trilogy.

In the end, Indiana Jones and the Temple of Doom proves that sequels do not always need to play it safe. Sometimes going darker and stranger creates something even more memorable. That is exactly why this film still holds up so well today.

Hello, cinema fans. We’re continuing our Harry Potter special, this time bringing you the first sequel in this famous film franchise. It’s a perfect continuation of the story of “the boy who lived” and the movie that brings back the most memories of my childhood—after its predecessor, of course. Directed once again by the great Chris Columbus, Harry Potter and the Chamber of Secrets is also based on the novel of the same name by J.K. Rowling. It also stars Daniel Radcliffe, Rupert Grint, and Emma Watson. Discover the Harry Potter movie that left more than a few children traumatized by spiders.

Hola, fanáticos del cine. Seguimos con el especial de Harry Potter, esta vez trayéndoles la primera secuela de esta famosa franquicia cinematográfica. Una continuación perfecta de la historia del “niño que vivió” y la película que más recuerdos me trae de pequeño, después de su antecesora, claro. Dirigida nuevamente por el gran Chris Columbus, Harry Potter and the Chamber of Secrets está basada también en la novela homónima de J.K. Rowling. Cuenta también con el protagonismo de Daniel Radcliffe, Rupert Grint y Emma Watson. Conoce la película de Harry Potter que le dejó un trauma a las arañas a más de un niño.

Source: FilmAffinity.

Plot

The film begins several months after the end of the previous movie. Our protagonist, Harry Potter, looks through the photo album Hagrid gave him while missing his friends Ron and Hermione, whom he hasn’t heard from all summer. While his owl, Hedwig, hoots in frustration at being cooped up in her cage all the time, his uncle Vernon Dursley calls him to tell him not to make any noise that night, as he has an important meeting with some clients. However, it will be impossible for Harry to comply with this request because, just as he returns to his room, he encounters a house-elf named Dobby.

Trama

La película empieza varios meses después del final de la película anterior. Nuestro protagonista, Harry Potter, mira el álbum de fotografías que le regaló Hagrid mientras extraña a sus amigos Ron y Hermione quienes no han sabido nada de ellos durante todo el verano. Mientras su lechuza, Hedwick, chilla por estar todo el tiempo encerrada en su jaula, su tío Vernon Dursley lo llama para decirle que no haga ningún escándalo esa noche ya que tiene una reunión importante con unos clientes. Sin embargo, a Harry le será imposible cumplir con esta petición ya que, justamente regresando a su cuarto, se encuentra con un elfo doméstico llamado Duby.

Trailer & Review

Here is the trailer for the movie:

By: Rotten Tomatoes Classic Trailers.

All the best.

By: Nattosheru.

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The Marvel Cinematic Universe would not have become the most commercially successful film series in history if its creators had not, from time to time, been willing to experiment with style and content. Among those experiments, a key role was played by an interesting narrative structure, whereby the series consisted of several sub-series devoted to individual superheroes who would only come together in special event films, guaranteed to draw revenue from several different fan bases. The formula, first applied in The Avengers in 2012, does not guarantee success in itself – as Warner Bros. and DC Comics discovered in 2017, when their attempt to copy the same model with Justice League ended in a fiasco. Even before that, Marvel itself had a similar experience: Avengers: Age of Ultron, the second big gathering of the Avengers, was one of the weakest films in the Marvel Cinematic Universe. For the third film, therefore, something new had to be attempted, and one of Marvel’s moves was to replace Joss Whedon, who had to hand the directorial reins over to brothers Anthony and Joe Russo, who had made a solid impression with the mini-gathering of the Avengers in Captain America: Civil War. Their task in the new film was delicate, given that it was intended not only as a new Avengers blockbuster but also as a kind of grand finale to the series. In keeping with today’s Hollywood customs, that grand finale was too big for a single film and was split into two parts, which – with the obligatory cliffhanger – were to be released a year apart. The moment for the first part arrived at the start of the 2018 Hollywood summer season under the title Infinity War.

Over the previous ten years and eighteen films, Marvel’s superheroes had faced all manner of megalomaniacs, alien rulers, deities and similar scum who threatened to destroy New York, Earth and various universes, but none could match Thanos in terms of the power at his disposal and his destructive intentions. The intergalactic warlord had been, for the most part implicitly, suggested and foreshadowed in previous films as the greatest and most spectacular challenge for the protagonists, and when he finally appears at the start of Infinity War, expectations are even exceeded. The spaceship carrying refugees from the destroyed Asgard is captured by Thanos (Josh Brolin) and his minions, and Hulk and Thor (Chris Hemsworth) prove completely powerless, unable to prevent Thanos from starting an orgy of killing among a crowd of innocent people. This is only the beginning of the realisation of Thanos’s diabolical plans, which encompass the entire universe and require him first to acquire all six Infinity Stones, which grant their owner control over power, mind, soul, reality, space and time. Hulk manages to reach New York and tries to warn Doctor Strange (Benedict Cumberbatch) and Iron Man (Robert Downey Jr.) of what is coming, and the Avengers mobilise to resist Thanos’s unstoppable hordes and prevent him from getting his hands on the Stones. To that end, they are forced to split into several groups and travel to several different planets, where all their powers and character will be put to the test – a test from which many, perhaps all, may not come out alive.

Given a whole decade of promotional build-up for the series’ grand finale, the creators of Infinity War did not have to try very hard if they wanted it to be crowned with box-office records. Fortunately, that did not stop them from actually making an effort, learning from the mistakes of their own and other franchises – above all those of the DC Extended Universe and the last, ill-fated Star Wars trilogy. The fundamental challenge for the new Avengers instalment was to avoid repetition, that is, to offer the audience something that – unlike other franchises – would neither be too experimental nor feel like an endless rehash of the same thing. In this case, that is reflected in the decision not to assemble the Avengers in the literal sense; instead, they are divided into three different groups waging their own battles in different worlds. The narrative structure is thus “borrowed” from The Empire Strikes Back, the film from the original Star Wars trilogy with which Infinity War is often compared by critics and cinephiles. This not only makes it easier for the audience to follow the plot – including the spectacular action scenes – but also allows the film to display variety in set design, costumes and general atmosphere, as well as offering far more opportunities to demonstrate the capabilities of modern CGI technology in depicting alien ships and worlds.

Infinity War also shares another important detail with The Empire Strikes Back, one that sets it apart from nearly every other film in the series. Given that the big showdown must surpass all that came before, the stakes must also be higher, and the audience must be made to understand that some of the usual rules no longer apply. Right from the start, we see not only that Thanos is invincible and unstoppable, but also that characters whose deaths were unthinkable in any other film will fall as his collateral victims. The killing of characters – regardless of how popular they are among fans or how prominent a place they occupy on the poster – continues throughout the film, culminating in a spectacular finale with a mass slaughter and one of the darkest and most depressing cliffhangers in film history, in which the embodiment of genocidal Evil achieves an almost complete victory.

The Russo brothers were also fortunate that the script gave them one of the most impressive villains in film history. Thanos stands out not only for the top-notch CGI that makes his figure – physically larger than the wretched, powerless Avengers – utterly convincing, but also for the superb performance of Josh Brolin, an actor who has often been unlucky in his choice of roles but for whom this hyper-villain role represents a career high. Thanos is also one of the best-conceived and best-written villains in recent memory. Unlike most cinematic bad guys, his crimes are motivated by something more complex and “purer” than dark passions; behind them lies a certain worldview and a conviction that he is doing everyone – including his victims – a favour. What makes Thanos frightening is not only his willingness to show inconsistent and often irrational mercy, but also the fact that, if you think about it, he has equivalents in real life – and precisely in those offices and armchairs from which the greatest damage can be done. Thanos’s goal, in fact, is not fundamentally different from the goal espoused by many nominal supporters of Greta Thunberg – although, unlike Thanos, they are neither able nor willing to admit that, in achieving it, they would be as apocalyptically consistent as the main antagonist of Infinity War.

Infinity War is on the whole a very good film that will achieve its aim and provide the audience with a solid two and a half hours of entertainment. However, that entertainment will be limited exclusively to an audience that was already willing to shovel its money into Marvel’s pockets. Because it relies on already established characters and has no time for their personal problems, Infinity War is comprehensible only to viewers who have seen most, if not all, of the films in the Marvel series. Moreover, the occasional – and often not entirely successful – attempts to offset the dark atmosphere with humour sometimes come across as “fan service” bordering on bad taste, one example being the casting of Peter Dinklage in an otherwise entertaining and spectacular scene. Some scenes stray into melodramatic territory, and one might say the same even of the finale, where some viewers will find the rather too obvious “cliffhanger” and the preparation for the second half a bit grating. Still, in the end, one must acknowledge that Marvel has succeeded in what has become an impossible mission for some once-untouchable franchises like Star Wars.

RATING: 7/10 (+++)

(Note: The text in the original Croatian version is available here.)

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This is a cross post of @gwajnberg/something-very-bad-is-going by @gwajnberg.

My review about Something Very bad is going to happen

And Now His Watch Has Ended (S03E04)

Airdate: 21 April 2013

Written by: David Benioff & D. B. Weiss Directed by: David Benioff

Running Time: 52 minutes

One of the defining traits that elevated Game of Thrones above its television contemporaries was its ruthless subversion of episodic pacing. Unshackled from the tradition of reserving cataclysmic events for season finales, the series conditioned its audience to expect seismic shifts at any moment—a narrative daring that thrilled both newcomers and those versed in George R.R. Martin’s source material. And Now His Watch Has Ended, the fourth episode of Season 3, is a quintessential example of this philosophy. While far from the political heart of Westeros, it orchestrates a stunning reversal of fortune that irrevocably alters the balance of power on a continental scale, proving that the show’s most transformative moments could arrive not with a cliffhanger’s fanfare, but as a mid-season declaration of intent.

The episode’s title is characteristically deceptive, referencing a storyline that, in the grand geopolitical machinations, appears almost peripheral. “And now his watch has ended” is the funeral chant for the fallen of the Night’s Watch, and Lord Commander Jeor Mormont gets to utter it over his dead men at Craster’s Keep. Seeking shelter for his wounded, starving rangers, Mormont clashes with the vile Craster, whose refusal to host them longer stirs a mutinous fury among the broken men. This sequence, led by the vicious Karl Tanner (Burn Gorman) and the craven Rast (Luke Barnes), is a brutal study in societal collapse. Stripped of discipline and hope, these men regress to their base selves—murderers, rapists, and thieves—killing both their host and their commander. It’s a grim, effective vignette on the fragility of honour when survival is at stake, with Samwell Tarly’s desperate flight with Gilly and her newborn providing its only sliver of hope. Yet, for all its violence, this plot feels precisely like the minor tragedy its title suggests, a brutal coda to the disastrous Great Ranging rather than a central pivot.

This theme of psychological torment is explored more inventively, if unevenly, in the North. Theon Greyjoy’s “rescue” by a mysterious ally, to whom he confesses his profound regret over betraying the Starks and reveals Bran and Rickon’s survival, is a brilliant example of cruel manipulation. The revelation that his escape was an elaborate ruse, culminating in his return to the very torture chambers he fled, is a devastating blow. However, the plot’s execution is somewhat drawn out and confusing, its impact diluted by stretching across multiple episodes. A tighter, more concentrated treatment might have amplified the horror without sacrificing narrative clarity. Similarly, Bran Stark’s dream sequence, which recalls his fateful fall in the series premiere, feels overly self-referential and ponderous, adding little to his character arc at this juncture.

In the Riverlands, another captive, Jaime Lannister, endures physical and humiliating abuse at the hands of Locke’s men. His desperate, left-handed grab for a sword—a bid for a clean death over continued degradation—is a powerful moment of broken pride. The dynamic with Brienne deepens here; her stern counsel that he must live to exact revenge marks a pivotal shift in their relationship, transforming mutual contempt into a grudging, foundational respect. Meanwhile, Arya’s arrival at the Brotherhood Without Banners introduces the charismatic Beric Dondarrion (Richard Dormer) and sets the stage for a trial by combat that further explores the series’ evolving relationship with faith and justice.

King’s Landing provides the episode’s political engine, and here the writing is consistently sharp. Tywin Lannister, administering equal doses of disdain to his children, dismisses Cersei’s inability to control Joffrey, subtly praising Margaery Tyrell’s superior manipulation. This sparks the episode’s most intriguing alliance: the Queen of Thorns, Olenna Tyrell, and Lord Varys. Their scene is a delicious confluence of wit and realpolitik, as they conspire to neutralise Littlefinger’s ambitious, dangerous plot involving Sansa Stark. Margaery’s subsequent, gently manipulative meeting with Sansa, hinting at a future with Loras, is a fine example of the show’s layered courtly intrigue.

Varys, in particular, benefits from superb exposition. His monologue to Tyrion about his childhood castration by a sorcerer is delivered with a potent mix of vulnerability and chilling resolve. It effectively establishes his motives—a deep, personal vendetta against magic and chaos—and reframes his support for the Lannister regime as a pragmatic bulwark against Stannis and the sinister Melisandre. The grisly detail of the sorcerer imprisoned in a crate, lifted directly from the novels, feels not schlocky but profoundly unsettling, a perfect symbol of Varys’s singular, patient vengeance. This is character exposition at its most effective, seamlessly integrating backstory with present motivation.

Where the episode occasionally falters is in its original, non-literary additions. The running gag regarding Podrick Payne’s inexplicable sexual prowess, while a mild amusement in its first appearance, here feels like a jarring, juvenile distraction amidst weightier material. The joke has overstayed its welcome. Similarly, the expanded role of Ros, a series-original character, as Varys’s informant delivers necessary exposition but lacks the depth and resonance of the canon-driven storylines surrounding her. These elements highlight a recurring minor flaw in the adaptation: when inventing material to pad the runtime, the writers sometimes resorted to titillation or functional dialogue that lacked the textured authenticity of Martin’s plots.

All these threads, however, are but a prelude to the episode’s magnificent, game-changing climax in Astapor. Directed with assured grandeur by Alex Graves, the sequence showcases the increased production budget Season 3 enjoyed, a boon evident throughout. The CGI work is notably more elaborate and spectacular, particularly in realising the city of Astapor and the dragons. This allows for a visual epicness previously constrained. Daenerys Targaryen’s transaction with Kraznys mo Nakloz is a tense masterpiece of misdirection. Appearing the naïve buyer, she trades a dragon for the Unsullied army. The moment she turns and addresses the soldiers in fluent Valyrian is arguably the series’ first truly iconic, crowd-pleasing twist. It is a radical act of emancipation, offering the Unsullied freedom and choice. Their instantaneous, brutal slaughter of the slavers and the city’s liberation is short, visceral, and utterly cathartic.

This finale is indeed more spectacular than previous combat scenes, including the acclaimed Blackwater. It is less a battle than a swift, righteous massacre, its power derived from surprise and symbolic justice rather than prolonged strategy. The final scene, with thousands of Unsullied marching in perfect unison behind Daenerys, finally delivers on the epic scale the series’ title always promised. It formally establishes Game of Thrones as a cinematic saga of conquest and liberation.

And Now His Watch Has Ende is an episode of pronounced dichotomies. Its King’s Landing intrigue and the revolutionary climax in Astapor represent Game of Thrones at its most ambitious and confident, brilliantly synthesising complex character work with sweeping cinematic spectacle. Conversely, its more drawn-out original subplots and occasional reliance on weak humour reveal the writers’ comparative struggles when deviating from the source material’s dense architecture. Yet, the episode’s legacy is ultimately secure. By placing its most monumental power shift at the mid-season mark, it reinforced the show’s foundational narrative audacity. More importantly, with the thunderous march of the Unsullied, it announced that the show’s period of relatively constrained, interior-focused storytelling had ended. The era of epic, continent-shaping spectacle had definitively begun.

RATING: 7/10 (+++)

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**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

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If there's one thing I enjoy learning about, it's the diverse beliefs people hold throughout history and around the world, whether they belong to established religions or are the product of sects invented by the minds and cunning of some individuals. Many of these latter beliefs are documented online, but today we're going to talk about the "Shakers," a religious movement founded by Ann Lee in England in the 1700s. The Testament of Ann Lee tells the story of someone who, due to certain traumas she suffered in her life, developed a very particular way of understanding faith.

The star of this film is Amanda Seyfried, who, I can tell you now, delivers a phenomenal performance, as we've come to expect from her. She portrays a woman who, in the 18th century, suffered the loss of several children, which led to a decline in her mental state and, above all, a loss of faith. After experiencing various events, precisely in her search for answers and a different path, she ends up in prison. It is there that she receives the first visions that she is destined to be the "female Jesus Christ" in what would be his second coming. This is how Ann Lee begins a process of evangelization, capitalizing on the discontent of some with the Catholic Church and using her trauma to assert that permanent celibacy is the only path to salvation.

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Having lost several children during childbirth, I suppose she suffered some trauma that prevented her from having relationships with anyone, even her husband, hence the proclamation of her movement. She went so far as to say that sexual relations are the root of all of society's evils. With that in mind, she gained followers to the point that she emigrated to the United States to expand this "society." The film, as I mentioned, tells us a bit about Ann Lee's short life and everything she ends up going through in the USA. Personally, I found it all incredibly interesting because I enjoy learning about these things; for me, it's fascinating how the human mind can work when we talk about cults and that need to belong to something, searching for who knows what.

I admit I didn't watch it at first because I thought it was a musical, but it turns out it isn't. There are several scenes where it might seem like one, but those songs and choreography were typical of the Shakers, so they're used to better understand the story and provide more context. The lyrics of these songs evoke the ideology championed by Ann Lee. These dances and lyrics can be mesmerizing because of how well they're executed, the emotion they convey, and of course, because the level of devotion these people had for this woman and her words is truly intriguing. It's important to clarify that this isn't the entire film, but it is one of the most interesting parts.

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The cinematography is spectacular, the set design, costumes, lighting; everything is perfectly crafted to truly immerse you in the era. Amanda Seyfried's performance is top-notch, completely inhabiting the role. This is a historical drama, so that's all you'll see. Being a biography as well, the film's pacing isn't exactly slow, but it is typical of the genre. If you really enjoy learning about these kinds of stories, I highly recommend the film. I went in with somewhat low expectations, but in the end, it turned out to be a great film with a very worthwhile plot to delve into. After watching it, you're left with the inevitable question: did these people truly have faith in their hearts despite the novelty of the movement, or was there a bit of fanaticism? The more political answer is perhaps a bit of both, but I don't know. What do you think? For me, it's an 8/10. I've included the trailer below.

***

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

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!