Batman debe ser de los muchos superhéroes al que más veces he visto historias que se desarrollan en fechas festivas; existe numerosos ejemplos como el comic "The Long Halloween" que ha influenciado a varios films, entre ellos "The Batman" de Matt Reeves, pero no solo de esa festividad a finales de octubre es la más repetitiva en historias del Caballero de la Noche, la navidad también se hace presente en el segundo film dirigido por Tim Burton, me refiero a "Batman Return"; todas estas historias a pesar de que se relatan en esas épocas del año, en realidad no se celebran como tal, pero por primera vez pude ver una producción en dónde Batman se toma la libertad de justamente celebrar uno de esos días festivos, de celebrar Navidad.

Batman must be one of the many superheroes that I have seen more times stories that take place on holidays; there are numerous examples such as the comic "The Long Halloween" that has influenced several films, including "The Batman" by Matt Reeves**_, but not only that holiday in late October is the most repetitive in stories of the Dark Knight, Christmas is also present in the second film directed by Tim Burton**_, I mean "Batman Return"; all these stories, despite the fact that they are told during those times of the year, are not really celebrated as such, but for the first time I was able to see a production where Batman takes the liberty to celebrate one of those holidays, to celebrate Christmas.

"Merry Little Batman", film animado original de Amazon Prime Video el cual tenía nulo conocimiento, pero el momento de ver el tráiler sabía que era una de las películas que quería ver en este último mes del año; está producción nos relata la historia de "Damian Wayne", el hijo de ocho años de edad de Bruce Wayne y que a pesar de vivir en una muy pacífica Ciudad Gótica, él cree que tiene la edad suficiente para tomar el manto dejado por su padre y ser el nuevo Caballero de la Noche, pero su sobreprotector padre cree que todavía le falta para tener esa responsabilidad, pero en la noche de navidad cuando Bruce esté ausente, es Damian que deberá hacer frente a viejos enemigos y ese será el momento en que el Pequeño Batman surja para salvar la Navidad.

"Merry Little Batman", an Amazon Prime Video original animated film which I had no knowledge of, but the moment I saw the trailer I knew it was one of the movies I wanted to see in this last month of the year; this production tells the story of "Damian Wayne", the eight year old son of Bruce Wayne and that despite living in a very peaceful Gotham City, he believes he is old enough to take the mantle left by his father and be the new Dark Knight, but his overprotective father believes he still lacks to have that responsibility, but on Christmas night when Bruce is absent, Damian is Damian who must face old enemies and that will be the time when the Little Batman emerges to save Christmas.

Este film fue dirigido por Mike Roth que entre sus anteriores trabajos está el de dirigir y escribir episodios de "Regular Show", justamente el estilo de comedia y relato tiene muchas similitudes con dicha serie animada y es de lo más agradable para esta historia; también hay algo que se nota de manera inmediata y es el estilo de animación la cual me hizo recordar a esas animaciones inglesas de navidad, es un estilo muy pronunciado y también es muy positivo para la producción, es perfecto, es un estilo muy cambiante para cada escena porque mantiene la imagen de una gran metrópolis para la ciudad al momento de mostrar altas edificaciones, con mucha variedad de colores e iluminación, cosa contraria al momento de mostrar las residencias o a la misma mansión Wayne que mantiene un estilo gótico y oscuro.

El guion escrito por Morgan Evans y Jasse Rico, es una excelente oportunidad de demostrar una faceta muy diferente entre la relación de Bruce y su hijo Damian; a pesar de que la historia está relatada desde el punto de vista del joven Wayne, lo que me creó un buen primer impacto fue la versión tanto de Bruce como de Alfred, pero no solo eso, también me gustó como la Navidad tiene gran influencia en todos los personajes que aparecen en esta historia la cual es muy suave y muy alejada a lo antes visto en cada relato de Batman y su lucha por hacer justicia en su ciudad, pero la manera de relatar esta nueva aventura es tan fresca, divertida y hasta puedo decir feliz, que la convierte en una de las películas de Batman que más me ha gustado.

This film was directed by Mike Roth who among his previous works is directing and writing episodes of "Regular Show", just the style of comedy and story has many similarities with that animated series and is most enjoyable for this story; there is also something that is immediately noticeable and is the animation style which reminded me of those English Christmas animations, it is a very pronounced style and it is also very positive for the production, it is perfect, it is a very changing style for each scene because it maintains the image of a great metropolis for the city when showing tall buildings, with a variety of colors and lighting, contrary to when showing the residences or the same Wayne mansion that maintains a gothic and dark style.

The script written by Morgan Evans and Jasse Rico, is an excellent opportunity to show a very different facet between the relationship between Bruce and his son Damian; although the story is told from the point of view of the young Wayne, what created a good first impact on me was the version of both Bruce and Alfred, but not only that, I also liked how Christmas has great influence on all the characters that appear in this story which is very soft and very far from what we have seen before in every story of Batman and his struggle for justice in his city, but the way of telling this new adventure is so fresh, fun and I can even say happy, that makes it one of the Batman movies that I liked the most.

En el párrafo anterior hice referencia a la muy diferente versión que se observa de Alfred y Bruce; personalmente creo que ambos personajes en muchos momentos pareciera que tiene prohibición de ser felices, los traumas los superan y la necesidad de uno de hacer justicia y salvar al más necesitado, hace que el otro viva con el temor de perderlo por siempre, entre los dos tiene una relación definida por el compromiso, uno que no deja tregua, pero eso ha desaparecido en esta historia, ambos personajes tienen motivos, enfoques diferentes, ambos son felices, no olvidan, pero hay un factor importante que les ha ayudado a curar profundas heridas, principalmente esto es lo que más me ha gustado de la manera de que como están desarrollo estos personajes y hace que aprecie aún más la versión de Damian Wayne, el cual es divertido, amoroso, valiente y decidido; cada versión de estos personajes y de los villanos, es de lo mejor del film.

In the previous paragraph I made reference to the very different version of Alfred and Bruce; I personally believe that both characters in many moments seem to have a ban on being happy, the traumas overcome them and the need of one to do justice and save the neediest, makes the other live with the fear of losing him forever, between the two has a relationship defined by the commitment, one that leaves no truce, but that has disappeared in this story, both characters have different motives, different approaches, both are happy, they don't forget, but there is an important factor that has helped them heal deep wounds, mainly this is what I liked most about the way these characters are developed and makes me appreciate even more Damian Wayne's version, who is funny, loving, brave and determined; every version of these characters and the villains, is one of the best of the film.

Este perfecto film no solo creo que la versión de personajes principales es un factor importante, existe otro elemento y en mi opinión es la influencia y homenaje de muchas anteriores producciones basadas en El Caballero de la Noche, esto hace que para quien es fan del personaje se sienta identificado por el excelente fanservice que se hizo en esta producción, por ejemplo se observa referencias a la serie de TV de los 60' a los films dirigidos por Burton, Schumacher y Nolan, así como interpretaciones a ciertos personajes dentro de la galería de villanos que enfrenta Batman; todo eso más la música, me pareció genial y por supuesto no puedo obviar, todo lo referente a que es una historia de navidad, una historia de padres e hijos, lo importante de la imagen del padre (en esta ocasión) para tres de sus protagonistas, pero también del significado de la Navidad en dónde es una celebración para pasar en familia, en amigos y lo cual está muy bien hecho en esta breve, pero muy buena producción; los invito a ver Merry Little Batman que considero es de lo mejor en este año basado en héroes de comics y en producciones navideñas.

This perfect film not only I think that the version of main characters is an important factor, there is another element and in my opinion is the influence and tribute to many previous productions based on The Dark Knight, this makes who is a fan of the character feel identified by the excellent fanservice that was made in this production, for example references to the TV series of the 60' to films directed by Burton, Schumacher and Nolan, as well as interpretations of certain characters within the gallery of villains that Batman faces; All that plus the music, I thought it was great and of course I can not ignore everything about it being a Christmas story, a story of fathers and sons, the importance of the image of the father (this time) for three of its protagonists, but also the meaning of Christmas where it is a celebration to spend with family, friends and which is very well done in this brief, but very good production; I invite you to see Merry Little Batman which I consider one of the best in this year based on comic book heroes and Christmas productions.

Bombarded with a Christmas theme and holiday spirit, it’s that time of the year where not only drinks are made based on Christmas but also movies that come out celebrating its spirit. While new movies are around, I prefer to re-watch my favorite Christmas story. There are two that I kept watching as an adult but today I’ll be talking about The Grinch Animation rather than the Live action. Both versions have its striking contrast from colors, vibe to the portrayal of the main character even to the backstory that drives the hatred towards festivities of Christmas. I am sure there are main messages that are universal from both but after watching the animation, I think that the animation, though simplified, offers clearer reasoning, ‘if I can’t have it, neither can you’ message that makes you want to spread kindness even more.

Do you have that one person who always tries to bring you down? It’s time to show kindness and from this movie, you’ll know why.

If you didn’t know, The Grinch is the work of Dr Seus and has been adapted into many genres. You can even see the horror version of it as well. As timeless as the story is, the film is worth re-watching but also a great medium to reflect on our year. Perhaps it’s why I enjoy re-watching it. The Grinch is a representation of that one person in your life who always tries to bring you down and would not want to see you succeed. Just like in the movie, the problem might not be you but it could be them. Whether it was motivated by envy, anger, resentment, something is definitely there. While it is not your responsibility to fix them, including them in your life by showing your way and staying true to your dream, goals, and way of living might help make them realize a thing or two.

In this animated version, Even Cindy Lou's motivation was different. Given it was made around 2018, the family setting was different. In this animation Cindy Lou asks Santa to help her mom because she works so hard and she wants her to be happy. Cindy asks The Grinch to come to the feast and asks him to close his eyes so that his sadness could go away. It makes The Grinch stop and even think that he just met the “strangest” little girl. While often during Christmas, people ask for presents, this little girl asks for something that is seemingly non physical. As it does not attempt to stray from the original, the message that festivities aren't always about material is loud and clear. But for the Grinch, it takes a person like Cindy to see through it.

After awakening, The Grinch eventually said sorry and left back to his cave. From that moment, he got back to his place and gave his dog a bone. It’s a form of appreciation that he finally gives to his dog who loyally served him and became his friend throughout the years. He also got invited to the Cindy’s family feast and one part that got me the most is that

‘ it was not the Christmas I hated, it was being alone. But I am not alone anymore and I have all of you to thank for it’.

When comparing the two, I certainly got the message from the animation more than the live action. Technically as two produced in different years, it’s just that this animation has better music as well as story adaptation that makes this piece a classic Christmas must watch. While I know this animation is intended for children, watching as a teen and adult might give different impressions. For now, as an adult, I can only see that the Grinch was someone who has that crab bucket mentality that transforms his life into someone positive who no longer needs to bring others down.

Perhaps that one encounter or that one kindness could really help someone with the crab bucket mentality to move past it. Just like the encounter of Cindy Lou and The Grinch. Where for the first time, Mr Grinch finally feels included and he no longer needs to make others miserable. This is why the Grinch animation is worth watching this festive season, not only for its message but I can tell you as much, the songs are something to be enjoyed too.

Time travel stories are often so attractive, that hidden mystery, between what was or could have been, that connection between past and present, which somehow invites us to know our history, educating us, exploring that past we do not know.

This time I bring you another series based on these time travels called Kindred.

Las historias de viajes en el tiempo suelen ser tan atractivas, ese misterio oculto, entre lo que fue o pudo ser, esa conexión entre el pasado y presente, la cual de alguna forma nos invita a conocer nuestra historia, culturizándonos, explorando ese pasado que desconocemos.

En esta oportunidad les traigo otra serie basada en estos viajes temporales denominada Parentesco.

The series is based on a young black girl who experiences a series of time travels, taking her to a XIX century plantation, where she is involved in an era unknown to her, and because of her skin color, she is treated as a slave.

It is here where this girl must seek to understand what is happening to her, because all this happens to her, unexpectedly, and that, on the one hand, involves her mother; which she believed to be dead, but when making these trips in time, she finds that she is trapped in this era.

La serie se basa en una joven chica negra que experimenta una serie de viajes en el tiempo, llevándola a una plantación del siglo XIX, donde se ve involucrada a una era desconocida para ella, y por su color de piel, es tratada como esclava.

Es aquí donde esta chica debe buscar, comprender que le está pasando, porque le sucede todo esto, de forma inesperada, y que, por una parte, involucra a su madre; la cual ella creía muerta, pero al realizar estos viajes en el tiempo, se encuentra con que la misma, está atrapada en esta época.

The series consists of 8 chapters, a single season, is based on the novel of the same name by Octavia Butler, unfortunately it was canceled after its first season, however the series has a very interesting, intriguing and entertaining plot.

By showing this gripping story of racist exploration, involving this woman who finds herself in a place that is not hers, in a time so violent and exclusionary, with people of her skin color, placing her in a racist country, it is definitely something worth watching.

In my opinion it has a good plot, this exploration into the past, in search of her roots, seeing the horrors of her ancestors, which somehow connect with her present and future.

Kindred, as the name suggests, reflects that family relationship, with these time travels, with this young girl, looking to link it all, along with the mysterious death and disappearance of her mother.

La serie consta de 8 capítulos, de una sola temporada, es basada en la novela homónima de Octavia Butler, lamentablemente fue cancelada, tras su primera temporada, de igual forma dicha serie tiene una trama bastante interesante, intrigante, y entretenida.

Al mostrar esta apasionante historia de la exploración racista, involucrando a esta mujer que se encuentra en un lugar que no es suyo, en una época tan violenta y excluyente, con las personas de su color de piel, ubicándola en un país racista, definitivamente es algo que vale la pena ver.

En mi opinión tiene una buena trama, esta exploración al pasado, en busca de sus raíces, viendo los horrores de sus antepasados, que de alguna forma se conectan con su presente y futuro.

Parentesco, como bien lo indica el nombre, nos refleja esa relación familiar, con estos viajes en el tiempo, con esta joven chica, buscando enlazarlo todo, junto con la misteriosa muerte y desaparición de su madre.

Synopsis: In the midst of a tireless journey in search of money and power, Daniel Plainview (an ambitious American oil hunter) comes into conflict with Eli Sunday (an alienated pastor convinced of his absolute truths) when his ambitions are threatened.

Even before they are made, some movies already exude a relatively epic atmosphere due to the content they carry in their essence from the moment they are officially announced. In the case of this project, the itinerary takes place on the border of California (United States), between the end of the 19th century and the beginning of the 20th, with the race for oil (which is black gold) as its main base. On one side, a bankrupt silver miner seeking financial and social advancement within the lucrative universe of oil extraction. On the other, a greedy, manipulative and coldly calculating young pastor. Their worlds will collide, bringing many unexpected consequences for everyone around them.

There are two completely different worlds within the same narrative. Although both are completely opposite to each other, it is very interesting to see how they complement each other and manage to coexist to the point of creating an extremely convincing and skillfully conflicting argument for the audience. Mixing money, politics, religion and power, the events that build this entire story are solid, paving a dramatic path (and sometimes with an unexpectedly funny tone, which fits the plot like a glove) full of layers that are slowly peeled away as you go. throughout its projection (which is not short... as the movie is almost two and a half hours long).

The savage side of capitalist power is shown from two different perspectives. While prospector Plainview needs to learn how to be a single father, he is also pioneering the oil industry (and this is the central starting point for transforming his behavior into something obsessive about power and money). On the other side of the same coin is Pastor Sunday, who is also looking for advancement, but in this case, in the religious field and he will also stop at nothing to become an influential person, with a lot of money and power. By presenting these two narratives to the public, the script consolidates its plot steeped in human greed.

In its timid beginning, the movie shows Plainview prospecting in a mine and upon accidentally discovering oil, he then begins his journey of rise (and fall) for recognition within this gradually expansive and profitable business. After managing to buy some land with unexpected help, he begins to completely change the life of a small community and by bringing his questionable lifestyle habits to the population that lives there, his path to success becomes very thorny for because of the watchful eyes of Sunday, who is the local pastor, and dreams of building a church to speak the words of God (when in reality he just wants to control everything).

When these two worlds begin to collide, a series of situations occur that bring out the worst in these two men. The money and power they seek override any and all consequences generated by the actions they take, because in truth, they end up not caring much about what the results of their choices will be because they reach a mutual hatred (for each other), which make them blind to everything that is being said or done by others. The only thing that matters is their own motivation and everything they do to get to the top is what turns them into petty, greedy people, devoid of any feeling of guilt.

The obsession with the craft in opposing worlds clashes with a complex capitalist worldview. There is a management of activities that cannot be delegated to third parties, because both Plainview and Sunday want to be on top of everything that is happening in their territories and this effectively shows the controlling profile that builds them as “leaders” of their “herds”. From then on, the script also has a growing aspect by bringing the theme of corruption as an orbital element to connect these two men doomed to failure. The plot is also efficient in fueling psychological discussions involving potentially sensitive family dramas for both.

Daniel Day-Lewis and Paul Dano are simply incredible. Dano is very sure of the coldness of his role, while Lewis delivers an iconic and unforgettable performance in portraying a man who slowly loses his sanity without even realizing it. The duo creates turbulent and disturbing moments, showing a very high level of rapport in the scenes they share together. When separated, they are also equally efficient, because their dedication to the construction of their characters is truly something undeniable. The supporting cast has its value, but it has much less effect on the scene (although they are equally important for creating the context of this plot).

There Will Be Blood is directed with great insight and intelligence by Paul Thomas Anderson (who was also responsible for writing part of the script). Always attentive to details (although sometimes a little lost), he knew how to extract the best from the story and created very contemplative visual angles to materialize this project. Technically, it is also necessary to mention that there is an assertive elegance when portraying aspects such as photography (which in addition to being stupidly beautiful, oscillates between the excessively arid climate and the dark beauty of the oil being spouted), and an unusual (and efficient) soundtrack to contextualize human introspection distorted by false purposes.

Sinopsis: En medio de un incansable viaje en busca de dinero y poder, Daniel Plainview (un ambicioso cazador de petróleo estadounidense) entra en conflicto con Eli Sunday (un pastor alienado y convencido de sus verdades absolutas) cuando sus ambiciones se ven amenazadas.

Incluso antes de ser realizadas, algunas películas ya desprenden una atmósfera relativamente épica debido al contenido que llevan en su esencia desde el momento en que se anuncian oficialmente. En el caso de este proyecto, el itinerario se desarrolla en la frontera de California (Estados Unidos), entre finales del siglo XIX y principios del XX, con la carrera por el petróleo (que es el oro negro) como base principal. Por un lado, un minero de plata en quiebra que busca un avance financiero y social dentro del lucrativo universo de la extracción de petróleo. Por el otro, un joven pastor codicioso, manipulador y fríamente calculador. Sus mundos chocarán, lo que traerá muchas consecuencias inesperadas para todos los que los rodean.

Hay dos mundos completamente diferentes dentro de una misma narrativa. Aunque ambos son completamente opuestos, es muy interesante ver cómo se complementan y logran convivir hasta el punto de crear un argumento sumamente convincente y hábilmente contradictorio para el público. Mezclando dinero, política, religión y poder, los acontecimientos que construyen toda esta historia son sólidos, abriendo un camino dramático (y a veces con un tono inesperadamente divertido, que encaja como un guante en la trama) lleno de capas que poco a poco se van despegando a medida que avanzas. ir.durante toda su proyección (que no es corta... ya que la película dura casi dos horas y media).

El lado salvaje del poder capitalista se muestra desde dos perspectivas diferentes. Si bien el prospector Plainview necesita aprender a ser padre soltero, también es pionero en la industria petrolera (y este es el punto de partida central para transformar su comportamiento en algo obsesivo sobre el poder y el dinero). En la otra cara de la misma moneda está el Pastor Sunday, quien también busca avanzar, pero en este caso en el campo religioso y tampoco se detendrá ante nada para convertirse en una persona influyente, con mucho dinero y poder. Al presentar estas dos narrativas al público, el guión consolida su trama impregnada de la codicia humana.

En su tímido comienzo, la película muestra a Plainview explorando una mina y, al descubrir accidentalmente petróleo, comienza su viaje de ascenso (y caída) para obtener reconocimiento dentro de este negocio gradualmente expansivo y rentable. Luego de lograr comprar un terreno con una ayuda inesperada, comienza a cambiar por completo la vida de una pequeña comunidad y al acercar sus cuestionables hábitos de vida a la población que allí vive, su camino hacia el éxito se vuelve muy espinoso debido a los ojos vigilantes de Sunday, quien es el pastor local, y sueña con construir una iglesia para hablar la palabra de Dios (cuando en realidad solo quiere controlarlo todo).

Cuando estos dos mundos empiezan a chocar, ocurren una serie de situaciones que sacan a relucir lo peor de estos dos hombres. El dinero y el poder que buscan anulan todas y cada una de las consecuencias generadas por las acciones que realizan, porque en verdad, terminan sin importarles mucho cuáles serán los resultados de sus elecciones porque llegan a un odio mutuo (uno hacia el otro), que los vuelven ciegos a todo lo que dicen o hacen los demás. Lo único que importa es su propia motivación y todo lo que hacen para llegar a la cima es lo que los convierte en personas mezquinas, codiciosas y carentes de cualquier sentimiento de culpa.

La obsesión por el oficio en mundos opuestos choca con una compleja visión del mundo capitalista. Hay una gestión de actividades que no se puede delegar a terceros, porque tanto Plainview como Sunday quieren estar al tanto de todo lo que sucede en sus territorios y esto efectivamente muestra el perfil controlador que los construye como “líderes” de sus “rebaños”. A partir de entonces, el guión también tiene una vertiente creciente al traer el tema de la corrupción como elemento orbital para conectar a estos dos hombres condenados al fracaso. La trama también es eficaz a la hora de alimentar discusiones psicológicas que involucran dramas familiares potencialmente sensibles para ambos.

Daniel Day-Lewis y Paul Dano son simplemente increíbles. Dano está muy seguro de la frialdad de su papel, mientras que Lewis ofrece una actuación icónica e inolvidable al interpretar a un hombre que poco a poco pierde la cordura sin siquiera darse cuenta. El dúo crea momentos turbulentos e inquietantes, mostrando un nivel muy alto de compenetración en las escenas que comparten juntos. Cuando están separados, también son igualmente eficientes, porque su dedicación a la construcción de sus personajes es realmente algo innegable. El elenco secundario tiene su valor, pero tiene mucho menos efecto en la escena (aunque son igualmente importantes para crear el contexto de esta trama).

Pozos de ambición está dirigida con gran perspicacia e inteligencia por Paul Thomas Anderson (quien también se encargó de escribir parte del guión). Siempre atento a los detalles (aunque a veces un poco perdido), supo extraer lo mejor de la historia y creó ángulos visuales muy contemplativos para materializar este proyecto. A nivel técnico, también hay que mencionar que hay una elegancia asertiva al retratar aspectos como la fotografía (que además de estúpidamente bella, oscila entre el clima excesivamente árido y la belleza oscura del óleo que escupe), y una inusual (y eficiente) banda sonora para contextualizar la introspección humana distorsionada por falsos propósitos.

Sinopse: No meio de uma incansável jornada em busca de dinheiro e poder, Daniel Plainview (um ambicioso caçador de petróleo americano) entra em conflito com Eli Sunday (um pastor alienado e convicto de suas verdades absolutas) quando suas ambições são ameaçadas.

Antes mesmo de serem feitos, alguns filmes já exalam uma atmosfera relativamente épica pelo conteúdo que carregam em suas essências desde o momento em que são oficialmente anunciados. No caso deste projeto, o roteiro acontece na fronteira da Califórnia (Estados Unidos), entre o final do XIX e o início XX, tendo como base principal a corrida pelo petróleo (que é o ouro negro). De um lado, um garimpeiro de minas de prata falido que busca à ascensão financeira e social dentro do lucrativo universo da extração de petróleo. Do outro, um jovem pastor ganancioso, manipulador e friamente calculista. O mundo de ambos irá colidir, trazendo muitas consequências inesperadas para todos a seu redor.

Há dois mundos completamente diferentes dentro de uma mesma narrativa. Embora ambos sejam totalmente opostos entre si, é muito interessante ver como eles se complementam e conseguem coexistir a ponto de criar um argumento extremamente convincente e habilmente conflituoso para o público. Misturando dinheiro, política, religião e poder, os acontecimentos que constroem toda essa estória são sólidos, pavimentando um caminho dramático (e por vezes com um tom inesperadamente engraçado, que cai como uma luva na trama) repleto de camadas que vão sendo lentamente descascadas ao longo de toda à sua projeção (que não é curta... pois o filme tem quase duas horas e meia de duração).

O lado selvagem do poder capitalista é mostrado por duas óticas distintas entre sim. Enquanto o garimpeiro Plainview precisa aprender a ser um pai solteiro, ele também está desbravando o caminho da indústria petrolífera (e esse é o ponto de partida central para transformar o seu comportamento em algo obsessivo em relação ao poder e ao dinheiro). Do outro lado da mesma moeda está o pastor Sunday, que também busca ascensão, mas neste caso, no campo religioso e ele também não medirá seus esforços para conseguir se tornar uma pessoa influente, com bastante dinheiro e poder. Ao apresentar estas duas narrativas para o público, o roteiro sedimenta à sua trama mergulhada na ganância humana.

No seu início tímido, o filme mostra Plainview garimpando em uma mina e ao acidentalmente descobrir petróleo, ele começa então à sua jornada de ascensão (e queda) por reconhecimento dentro desse negócio gradualmente expansivo e lucrativo. Depois de conseguir comprar algumas terras com uma ajuda inesperada, ele começa a mudar por completo à vida de uma pequena comunidade e ao trazer os seus hábitos de vida questionáveis para a população que ali vive, o caminho dele até o sucesso se torna muito espinhoso por causa dos olhares vigilantes de Sunday, que é o pastor local, e sonha em construir uma igreja para proferir as palavras de Deus (quando na verdade ele quer apenas controlar tudo).

Quando esses dois mundos começam a colidir, acontecem uma série de situações que desencadeiam o que há de pior nestes dois homens. O dinheiro e o poder que eles buscam se sobrepõem a toda e qualquer consequência gerada pelas ações praticada por eles, porque na verdade, eles acabam não se importando muito com quais serão os resultados de suas escolhas porque eles atingem um ódio mútuo (um pelo outro), que os tornam cegos diante a tudo que está sendo dito ou feito pelos outros. A única coisa que importa é a motivação própria deles e tudo o que eles fazem para conseguir chegar até o topo é o que os torna em pessoas mesquinhas, gananciosas, e despidas de qualquer sentimento de culpa.

A obsessão pelo ofício em mundos opostos se choca com uma complexa visão de mundo capitalista. Há uma gerência de atividades que não pode ser delegadas para terceiras pessoas, porque tanto Plainview quanto Sunday querem estar por dentro de tudo o que está acontecendo em seus territórios e isso mostra efetivamente o perfil controlador que os constrói enquanto “líderes” dos seus “rebanhos”. A partir daí, o roteiro também tem um aspecto crescente ao trazer o tema da corrupção como elemento orbital para conectar esses dois homens fadados ao fracasso. O enredo também é eficiente em alimentar discussões psicológicas envolvendo os dramas familiares potencialmente sensíveis para ambos.

Daniel Day-Lewis e Paul Dano estão simplesmente incríveis. Dano está muito seguro da frieza do seu papel, enquanto Lewis entrega uma performance icônica e inesquecível ao retratar um homem que lentamente vai perdendo à sanidade sem ao menos se dar conta disso. A dupla cria momentos turbulentos e perturbadores, mostrando um nível altíssimo de entrosamento nas cenas em que compartilham juntos. Quando separados, eles também são igualmente eficientes, porque a entrega deles para a construção dos seus personagens é mesmo algo incontestável. O elenco de apoio tem o seu valor, mas é bem menos efeito em cena (embora sejam igualmente importantes para criar o contexto dessa trama).

Sangue Negro é dirigido com muito perspicácia e inteligência por Paul Thomas Anderson (que também foi responsável por escrever uma parte do roteiro). Sempre atento aos detalhes (embora às vezes um pouco perdido), ele soube extrair o melhor de toda à estória e criou ângulos visuais muito contemplativos para materializar este projeto. Tecnicamente, também é preciso mencionar que há uma elegância assertiva ao retratar aspectos como a fotografia (que além de ser estupidamente bonita, oscila entre o clima excessivamente árido e toda à beleza negra do petróleo sendo jorrado), e uma trilha sonora incomum (e eficiente) para contextualizar a introspecção humana desvirtuada por falsos propósitos.

Good morning, afternoon or evening, ladies and gentlemen. I'm always insatiable, I have to admit it, I'm always looking for something to see, anywhere I can find that something so I have to be aware of everything and I never imagined that I would remember my childhood with the work we're going to talk about next. A lot has been said about how bad Disney live actions are, but if I were to tell you that there is one in particular that has all the soul and affection in the world, would you believe me? Probably not but obviously I'm here to show you the contrary and that for obvious reasons you are wrong. The truth is I think this work is quite recognizable for making us remember a classic like Winnie the Pooh, that's right, nothing more and nothing less, that silly little gluttonous bear who loves honey. Although what really caught my attention was the proposal, it is not one of the most typical adventures, here a little bit of nostalgia is used and that obviously the public that grew up watching this little bear must already be of certain age so everything is based on the following question: What would happen if an already adult Christopher Robin met Winnie the Pooh and his friends again? If you want to know the answer stay in this brief review of the film Christopher Robin (curious that the name in the United States is just this, in Hispanic America the subtitle "an unforgettable reunion" was added, which suits it very well).

_{[_Source_](https://www.alternateending.com/2018/08/christopher-robin-2018.html)}

The movie puts us in the shoes of a young Christopher Robin about to enter boarding school, so he must say goodbye to his lifelong friends in the Hundred Acre Wood, not before telling Winnie the Pooh that he would visit them again someday and giving the important advice that sometimes doing nothing results in something much better. As Christopher Robin's journey to adulthood progresses, we see how his father dies and he becomes the man of the house at a very young age. Once he finishes boarding school, he will meet his future wife and have a daughter with her, but not before spending a lot of time outside due to the war. When Christopher returns from the war, he will get a job at a company where he will have a very hard time because his boss only assigns him tasks while he wastes time, taking into account that they are also at a breaking point where they will have to make serious decisions to save the company's course, all falling on Robin, causing Christopher to never have time for what is really important, his family, thus also seeming to have forgotten the existence of Winnie the Pooh and his friends due to his new approaches in his adult life. Christopher Robin seems to have become someone bitter and without time for his family but somehow, Pooh will arrive in London in search of help and to in turn remind Christopher what is really valuable.

_{[_Source_](https://colbybryant.com/2018/08/04/review-disneys-christopher-robin-2018/)}

Most of us already in our current life remember our childhood with great affection, where we had no worries and we only took care of playing, obviously we enjoyed a roof and food, if we were lucky also some good parents who loved us very much. Maybe if you look now you may have a home and food, you could say that nothing has changed but it is not so, as one grows everything changes and we give more priority to other things so we stop having fun or playing because we do not consider it necessary because for some they could consider it a waste of time. We are loaded with so much information and so many things to do that we get to cloud our vision and we can not think well at all, that's when the young Christopher Robin comes in, where doing nothing leads us to something better, it could be considered absurd if we take it literally but what it really refers to is that we keep calm and stop to think carefully, giving us a new perspective that we may overlook. In addition to of course giving us the final reflection that we must focus on what is really important, those things that we leave aside without realizing it and that if we do not value it at this very moment, in the present, we will regret it over the years.

_{[_Source_](https://thoroughlymodernreviewer.com/2018/08/03/christopher-robin-review/)}

It's really been great to find myself with Winnie the Pooh again, I obviously hadn't seen anything about him for years and technically I had no reason to do it but this movie encouraged me to give him a chance, I felt like I had closed a cycle in my life that I didn't know I had to close, sincerely a movie that I felt very emotional and that gives a great message to the viewer. It tries to teach that Carpe Diem philosophy, to live life, not to focus on the material and value what is necessary, something that has been lost over time due to the extreme consumerism in which today's society is immersed. As for the special effects, they are quite good, they are not false and it gives the feeling that Winnie Pooh and his friends are mostly plush toys, a section that I quite liked is that cold setting of the second world war, making it a bit tetric but that contrasts a lot with the Hundred Acre Wood. The only thing that could be reproached to the film is that it takes a while to start, we need to see many minutes where the main problem is presented to us so that we can see Pooh again together with Christopher Robin but from there everything flows normally. I must admit that I cried a lot, I absolutely recommend that you see this movie if you grew up with the adventures of Winnie Pooh.

Las películas navideñas en la mayoría de los casos son sinónimo de familia, eso es debido a que en esta época del año sucede la unión o el encuentro familiar, siendo esa característica la base de muchas de estas producciones, la cual como otras podrá usar diferentes géneros para completar el desarrollo de sus historias; justamente eso sucede en este nuevo film navideño en dónde es una simple historia familiar que trata de usar la comedia y el terror, para hacer relevante un film familiar.

Christmas movies in most cases are synonymous with family, that is because at this time of year happens the union or family reunion, being that feature the basis of many of these productions, which like others may use different genres to complete the development of their stories; just that happens in this new Christmas film where it is a simple family story that tries to use comedy and horror, to make relevant a family film.

"There's Something in the Barn", relata la historia de "Bill Nordheim" quien junto a su familia decide viajar a Noruega, país de su origen familiar, ya que heredó una granja en una zona montañosa; Bill cree que está es una decisión perfecta, es el momento de un cambio y por eso deja atrás a la soleada California para llegar a un lugar frío y cubierto de nieve, pero a la vez perfecto para pasar las navidades, pero aparte de la granja y el hogar que ha heredado, existe otra cosa más y parece que en ese lugar hay un habitante, alguien con quien deberá lidiar para vivir en tranquilidad, alguien a quien si hace enojar tal vez él junto a su familia no tenga una Noche de Paz.

"There's Something in the Barn", tells the story of "Bill Nordheim" who with his family decides to travel to Norway, country of his family origin, since he inherited a farm in a mountainous area; Bill believes that this is a perfect decision, it is time for a change and so he leaves behind sunny California to reach a cold and snowy place, but at the same time perfect to spend Christmas, but apart from the farm and the home he has inherited, there is something else and it seems that in that place there is an inhabitant, someone with whom he must deal to live in peace, someone who if he makes angry maybe he and his family will not have a Silent Night.

Esta es una producción noruega de la cual tuve conocimiento por su participación en el "Sitges Film Festival" de este año y a pesar de recibir críticas mixtas, decidí de ver por plena curiosidad, ya que existió comparativa con un clásico de los 80' como es "Gremlins", pero para mí sorpresa, desde un comienzo encontré otras similitudes a films de esa época, me refiero a "National Lampoon's Vacation", creo que tanto el director Magnus Martens, como el guionista Aleksander Kirkwood Brown, tenían el plan de explotar la nostalgia al recrear un film que reviva ese tipo de comedia, simple, directa y física en una historia que justamente debió ser de esa manera para qué funcionará mejor.

La película en sus casi dos horas trata de cumplir con los dos géneros que debe dar validez a la producción, me refiero a la comedia y el terror; lamentablemente en esos dos factores se falla porque el desarrollo es demasiado lento, eso hace que la película se sienta extensa y por varios momentos aburridos; el terror no existe como tal y la comedia es poca, creo que en ese aspecto existe un fallo en la actuación y dirección; ahora lo que doy validez es a los factores que originan la historia, el aspecto familiar está presente y no es muy original, pero eso no evita en señalar que se hizo un buen trabajo y más aún cuando motiva a enfrentar el gran peligro en la segunda hora del film; lamento que de las tres características de esta producción solo se cumplan con una y estoy seguro de que con un buen uso de la comedia, la película sería mejor.

This is a Norwegian production of which I got to know because of its participation in the "Sitges Film Festival" this year and despite receiving mixed reviews, I decided to see it out of curiosity, since there was a comparison with a classic of the 80's like "Gremlins", but to my surprise, from the beginning I found other similarities to films of that era, I am referring to "National Lampoon's Vacation", I think that both the director Magnus Martens, and the screenwriter Aleksander Kirkwood Brown, had the plan to exploit the nostalgia by recreating a film that revives that kind of comedy, simple, direct and physical in a story that should have been just that way to work better.

The film in its almost two hours tries to comply with the two genres that should give validity to the production, I mean comedy and horror; unfortunately in these two factors it fails because the development is too slow, that makes the film feel extensive and for several moments boring; the horror does not exist as such and the comedy is little, I think that in this aspect there is a failure in the acting and direction; now what I give validity is to the factors that originate the story, the family aspect is present and it is not very original, but that does not avoid to point out that a good job was done and even more when it motivates to face the great danger in the second hour of the film; I regret that of the three characteristics of this production only one is fulfilled and I am sure that with a good use of comedy, the film would be better.

Esta película en dónde cuatro personajes tienen el peso principal del film, definitivamente cada uno debe tener un momento relevante, tener peso en la historia, creo que quien mejor lo hace es Townes Bunner como "Lucas", el miembro más joven de la familia Nordheim; transmite la inocencia y curiosidad que debería tener cada niño al encontrarse con algo inesperado, a pesar de ser el más joven, entiende todo lo que debe hacer para solventar los problemas en la granja, es un buen personaje; también debo decir que el simple trabajo de Zoe Winther-Hansen como "Nora", hermana adolescente de Lucas, es el esperado, una chica que no está contenta por el radical cambio y que solo quiere regresar a su antigua vida; con respecto a Amrita Acharia, la madrastra, quien lucha por la aceptación de sus nuevos hijos y responsabilidades, también actúa bien, es un buen personaje, pero es "Bill", Interpretado por Martin Starr, al que encontró completamente defectuoso, es quien tiene todo peso en la comedia y no hace reír, es aburrido, su manera de ser tonto es mala, muy simple, nada comprometido con el rol, es de lo peor del film.

This movie where four characters have the main weight of the film, definitely each one should have a relevant moment, have weight in the story, I think who does it best is Townes Bunner as "Lucas", the youngest member of the Nordheim family; he transmits the innocence and curiosity that every child should have when encountering something unexpected, despite being the youngest, he understands everything he must do to solve the problems on the farm, he is a good character; I must also say that the simple work of Zoe Winther-Hansen as "Nora", Lucas' teenage sister, is as expected, a girl who is not happy about the radical change and just wants to go back to her old life; regarding Amrita Acharia, the stepmother, who struggles for acceptance of her new children and responsibilities, she also acts well, she is a good character, but it is "Bill", played by Martin Starr, whom I found completely flawed, he is the one who has all the weight in the comedy and does not make laugh, he is boring, his way of being silly is bad, very simple, nothing committed to the role, he is one of the worst of the film.

Antes de ver There's Something in the Barn, leí breves reseñas que criticaron la falta de gore, escenas de terror y demás, personalmente creo que este estilo de hacer películas de este género se ha visto mucho en este año, especialmente en films como "M3GAN" y "Five Nights at Freddy's", películas que no fueron de mi completo agrado, pero creo que están dirigidas a al público en general, no a uno en específico y lo que si puedo estar de acuerdo es que está es una producción noruega que se aleja de otras en dónde el terror y la comedia es absurdo, exagerado, pero a la vez divertido, posiblemente la gran influencia en films americanos de los 80' pudo suavizar está historia que pudo ser algo más extremo; ahora en mi opinión es un film regular, me gustó la influencia de films de los 80', me gustó que sea una historia navideña, pero necesitaba más comedia y un mejor desarrollo en la segunda hora del film en dónde se debió ver el caos y una épica lucha por sobrevivir, pero lamentablemente se torna algo aburrido; este es otro film con un enorme potencial, pero que nuevamente se trabaja de manera deficiente.

Before watching There's Something in the Barn, I read short reviews that criticized the lack of gore, horror scenes and so on, personally I think that this style of making films of this genre has been seen a lot this year, especially in films like "M3GAN" and "Five Nights at Freddy's", films that were not to my complete liking, but I think they are directed to the general public, not to a specific one and what I can agree is that this is a Norwegian production that moves away from others where the horror and comedy is absurd, exaggerated, but at the same time funny, possibly the great influence in American films of the 80's could have softened this story that could have been something more extreme; now in my opinion it is a regular film, I liked the influence of 80's films, I liked that it is a Christmas story, but it needed more comedy and a better development in the second hour of the film where you should have seen the chaos and an epic struggle for survival, but unfortunately it becomes a little boring; this is another film with a huge potential, but again it works poorly.

Synopsis: Looking for a vacation, a family decides to spend a weekend in a luxurious rented house away from the chaos of the big city. However, soon after the arrival of two strangers, things quickly take a sinister turn when a cyber attack unexpectedly strikes.

Imagine the entire world is living completely in offline mode. What consequences would this bring to the world we live in today? Basically, this is the starting point that begins an intricate (and disturbing) psychological journey into the dysfunctional behavior of human beings who inhabit planet Earth today. Using a family that seeks to escape their own lives by spending a weekend in a more remote city, the plot focuses on a sequence of conflicts that is triggered after the arrival of a father and daughter in the same house as the family is staying. After a cyber-attack happens, everything changes.

“I fucking hate people.” - This is the dialogue that marks the movie's reflective opening scene seconds before the opening credits appear on the screen, and it is precisely this phrase that ends up marking the plot completely in a way that will bring about very interesting debates about how conformism and escapism can lead an entire society down the worst possible paths. Over the course of just over two hours, everything starts very slowly, but always with some aspect within the narrative that sounds provocative. This is enough to pique the curiosity and hold the attention of those who are really immersed in the plot because this apparently slow pace is very necessary.

Based on the book Leave the World Behind (written by Rumaan Alam), the movie is a project supported by none other than former President of the United States, Barack Obama and his wife, Michelle Obama, through Higher Ground (which is their movie production company) in their first production within this genre. In comparison to the book, the events are very faithful for the most part (which makes this script an adaptation centered on elements easily associated with the original material), but the script opts for creative freedom by inserting new situations to liven up the events. This ends up working very well, helping to break up the tepid rhythm of the context.

There is a very acidic criticism within a social reality about how people (in this case, Americans are at the center of this discussion) are seen for being directly - or indirectly - to blame for causing civil wars. Specifically, the script makes use of the american way of life to work on some narratives that are a more direct result of the consequences of this behavior in relation to the world population. Even though the plot doesn't have such a wide expansion (because everything happens in an isolated location), it is extremely obvious that at the end of it all, anything can happen to people, around the world to the detriment of what is presented in the final moments.

Divided into five chapters, the movie basically has two cores. Unfortunately, as a set, they are not well developed. Despite having a competent cast, the movie's strength lies in just two characters: Amanda and G.H., who are respectively played by Julia Roberts and Mahershala Ali. While Amanda represents what seems like the typical stereotype of the American who always seems to be at odds with to life and distrusting anyone who seems “strange” to him, G.H. represents another typical American stereotype that seems to influence other people with its speeches immersed in conspiracy theories that are exaggeratedly heavy and “fictional”.

Ironically, both characters bring a little truth to their constructions. Although not everything is true, it is clear that the script uses and abuses these concepts to develop this duo very efficiently (which does not happen with the rest of the cast, who still deliver acceptable performances). Roberts and Ali deliver quality performances (as usual), and here, they are directly connected with their antagonistic essences, but at some point they converge on the same line of thought (although they never directly agree with each other). The behavioral dualism that represents them is dynamic, and brings great moments of tension to the plot.

Precisely, there are two very intriguing scenes (one involving Amanda and the other involving G.H.) that highlight the dependence of the modern world on an internet signal and the barriers that this can cause us in the long term. These scenes are quite important because literally everything the movie wants to discuss is included in them. In addition to this more technological issue, there is also an environmental issue that is addressed within the script with the presence of animals that function as a kind of “warnings” for the great secret of the plot (something that I personally found very didactic and very interesting, especially how everything fits very cohesively into situations).

Directed (and also partially written) by Sam Esmail, I can say that despite all its slow and methodical construction (with some camera angles copied from other filmmakers, although it also has its most original moments that really work), Leave the World Behind is a well-directed movie. Esmail didn't do his best, but he delivered something very solid and decent, capable of effectively touching on human wounds that are still open and will always continue, because the plot is not about a world in random collapse, it's about a world in collapse caused by human beings themselves. Purposefully full of ambiguities and an inconclusive ending, chaos exists.

Sinopsis: Buscando unas vacaciones, una familia decide pasar un fin de semana en una lujosa casa alquilada lejos del caos de la gran ciudad. Sin embargo, poco después de la llegada de dos extraños, las cosas rápidamente toman un giro siniestro cuando ocurre inesperadamente un ciberataque.

Imagine que el mundo entero vive completamente en modo off-line. ¿Qué consecuencias traería esto para el mundo en el que vivimos hoy? Básicamente, este es el punto de partida que inicia un intrincado (e inquietante) viaje psicológico hacia el comportamiento disfuncional de los seres humanos que hoy habitan el planeta Tierra. Utilizando una familia que busca escapar de sus propias vidas pasando un fin de semana en una ciudad más remota, la trama se centra en una secuencia de conflictos que se desencadena tras la llegada de un padre y una hija a la misma casa en la que se quedó la familia. Después de que ocurre un ciberataque, todo cambia.

"Maldita sea, odio a la gente." - Este es el diálogo que marca la reflexiva escena inicial de la película segundos antes de que aparezcan en pantalla los créditos iniciales, y es precisamente esta frase la que termina marcando por completo la trama de una forma que suscitará debates muy interesantes sobre cómo funciona el conformismo y el escapismo. puede llevar a toda una sociedad por los peores caminos posibles. A lo largo de poco más de dos horas, todo comienza muy lentamente, pero siempre con algún aspecto dentro de la narrativa que suene provocativo. Esto es suficiente para despertar la curiosidad y mantener la atención de quienes están realmente inmersos en la trama porque este ritmo aparentemente lento es muy necesario.

Basada en el libro Leave the World Behind (escrito por Rumaan Alam), la película es un proyecto apoyado nada menos que por el ex presidente de los Estados Unidos, Barack Obama y su esposa, Michelle Obama, a través de Higher Ground (que es su película productora) en su primera producción dentro de este género. En comparación con el libro, los acontecimientos son muy fieles en su mayor parte (lo que hace de este guión una adaptación centrada en elementos fácilmente asociables con el material original), pero el guión opta por la libertad creativa insertando nuevas situaciones para amenizar los acontecimientos. Esto acaba funcionando muy bien, ayudando a romper el tibio ritmo del contexto.

Hay una crítica muy ácida dentro de una realidad social sobre cómo se considera que las personas (en este caso, los estadounidenses están en el centro de esta discusión) son directas - o indirectamente - culpables de causar guerras civiles. En concreto, el guion hace uso del american way of life para trabajar algunas narrativas que son resultado más directo de las consecuencias de este comportamiento en relación con la población mundial. Si bien la trama no tiene una expansión tan amplia (porque todo sucede en un lugar aislado), es sumamente obvio que al final de todo, cualquier cosa puede pasarle a las personas, en todo el mundo, en detrimento de lo presentado en los momentos finales.

Dividida en cinco capítulos, la película tiene básicamente dos núcleos. Desafortunadamente, como conjunto, no están bien desarrollados. A pesar de contar con un reparto competente, el punto fuerte de la película reside en sólo dos personajes: Amanda y G.H., interpretados respectivamente por Julia Roberts y Mahershala Ali, mientras que Amanda representa lo que parece ser el típico estereotipo del americano que siempre parece estar en desacuerdo con ante la vida y desconfiando de cualquiera que le parezca “extraño”, G.H. representa otro típico estereotipo estadounidense que parece influir en otras personas con sus discursos inmersos en teorías conspirativas exageradamente pesadas y “ficticias”.

Irónicamente, ambos personajes aportan un poco de verdad a sus construcciones. Aunque no todo es cierto, está claro que el guión utiliza y abusa de estos conceptos para desarrollar a este dúo de manera muy eficiente (cosa que no ocurre con el resto del elenco, que aún así ofrece actuaciones aceptables). Roberts y Ali ofrecen actuaciones de calidad (como siempre), y aquí están directamente conectados con sus esencias antagónicas, pero en algún momento convergen en la misma línea de pensamiento (aunque nunca están directamente de acuerdo entre sí). El dualismo conductual que los representa es dinámico y aporta grandes momentos de tensión a la trama.

Precisamente, hay dos escenas muy intrigantes (una que involucra a Amanda y otra a G.H.) que resaltan la dependencia del mundo moderno de la señal de Internet y las barreras que esto puede ocasionarnos a largo plazo. Estas escenas son bastante importantes porque literalmente todo lo que la película quiere discutir está incluido en ellas. Además de este tema más tecnológico, también hay un tema medioambiental que se aborda dentro del guion con la presencia de animales que funcionan como una especie de “avisos” del gran secreto de la trama (algo que personalmente me pareció muy didáctico y muy interesante, especialmente cómo todo encaja muy coherentemente en las situaciones).

Dirigida (y también parcialmente escrita) por Sam Esmail, puedo decir que a pesar de toda su lenta y metódica construcción (con algunos ángulos de cámara copiados de otros cineastas, aunque también tiene sus momentos más originales y que realmente funcionan), Dejar el mundo atrás es una película bien dirigida. Esmail no hizo lo mejor que pudo, pero entregó algo muy sólido y decente, capaz de tocar efectivamente las heridas humanas que aún están abiertas y que siempre continuarán, porque la trama no trata sobre un mundo en colapso aleatorio, sino sobre un mundo en colapso causado por los propios seres humanos. Deliberadamente lleno de ambigüedades y un final inconcluso, el caos existe.

Sinopse: Em busca de férias, uma família decide passar um final de semana em uma luxuosa casa alugada afastada do caos da cidade grande. No entanto, logo após a chegada de dois estranhos, as coisas rapidamente começam a caminhar para um rumo sinistro quando um ataque cibernético acontece inesperadamente.

Imagine que o mundo inteiro está vivendo completamente em modo off-line. Quais seriam as consequências que isso traria para o mundo em que nós vivemos hoje? Basicamente, esse é o ponto de partida que dá início a uma jornada psicológica intricada (e perturbadora) sobre o comportamento disfuncional dos seres humanos que habitam o planeta Terra atualmente. Utilizando uma família que busca fugir de suas próprias vidas ao passar um final de semana em uma cidade mais afastada, a trama se concentra em uma sequência de conflitos que é desencadeada após a chegada de um pai e uma filha na mesma casa em que a família se hospedou. Depois que um ataque cibernético acontece, tudo muda.

“Porra, eu odeio as pessoas.” - Esse é o diálogo que marca a reflexiva cena inicial do filme segundos antes dos créditos iniciais aparecerem na tela, e é justamente essa frase que acaba marcando à trama por completo de uma maneira que trará debates muito interessantes sobre como o conformismo e o escapismo pode conduzir toda uma sociedade para os piores caminhos possíveis. Ao longo de pouco mais de duas horas, tudo começa de maneira muito lenta, mas sempre com algum aspecto dentro da narrativa que soa como algo provocativo. Isso é o suficiente para aguçar a curiosidade e prender à atenção de quem está realmente imerso na trama porque esse ritmo aparentemente lento é bem necessário.

Baseado no livro Leave the World Behind (escrito por Rumaan Alam), o filme é um projeto apoiado por ninguém menos do que o ex-presidente dos Estados Unidos, Barack Obama e sua esposa, Michelle Obama, através da Higher Ground (que é a produtora cinematográfica deles) em sua primeira produção dentro deste gênero. Em comparação ao livro, os acontecimentos são bem fieis em sua grande maioria (o que faz deste roteiro uma adaptação centrada em elementos facilmente associáveis ao material original), mas o roteiro opta por uma liberdade criativa ao inserir situações inéditas para dinamizar os acontecimentos. Isso acaba funcionando muito bem, ajudando a quebra o ritmo morno do contexto.

Há uma crítica bastante ácida dentro de uma realidade social sobre como as pessoas (neste caso, os americanos estão no centro dessa discussão) são vistas por serem diretamente - ou indiretamente - culpadas por causarem guerras civis. Em específico, o roteiro faz uso do american way of life para trabalhar algumas narrativas que são um resultado mais direto das consequências desse comportamento em relação a população mundial. Mesmo que a trama não tenha uma expansão tão ampla (porque tudo acontece em um local isolado), é extremamente óbvio que ao final de tudo, qualquer coisa pode acontecer com as pessoas, ao redor do mundo em detrimento do que é apresentado nos momentos finais.

Dividido em cinco capítulos, o filme tem basicamente dois núcleos. Infelizmente, enquanto conjunto, eles não são bem desenvolvidos. Apesar de ter um elenco competente, a força do filme reside apenas em dois personagens: Amanda e G.H., que são respectivamente interpretados por Julia Roberts e Mahershala Ali. Enquanto Amanda representa aquele que parece o típico estereótipo do americano que parece sempre estar de mal com à vida e desconfiando de qualquer pessoa que lhe pareça “estranha”, G.H. representa outro típico estereótipo também americano que parece influenciar outras pessoas com seus discursos imersos em teorias de conspiração que são exageradamente pesadas e “ficcionais”.

Ironicamente, os dois personagens trazem um pouco de verdade em suas construções. Embora nem tudo seja verdade, é claro que o roteiro usa e abusa desses conceitos para desenvolver essa dupla de maneira muito eficiente (o que não acontece com o restante do elenco, que ainda sim entregam performances aceitáveis). Roberts e Ali entregam atuações de qualidade (como de costume), e aqui, estão diretamente conectados com suas essências antagonistas, mas que em algum momento convergem em uma mesma linha de pensamento (ainda que nunca concordem diretamente um com o outro). O dualismo comportamental que os representa é dinâmico, e traz ótimos momentos de tensão para à trama.

Precisamente, há duas cenas muito intrigantes (uma envolvendo Amanda e outra envolvendo G.H.) que evidenciam a dependência do mundo moderno à um sinal de internet e as barreiras que isso podem nos causar a longo prazo. Essas cenas são bastante importantes porque, literalmente, tudo o que o filme quer discutir está inserido nelas. Além dessa questão mais tecnológica, existe também uma questão ambiental e que é trabalhada dentro do roteiro com à presença de animais que funcionam como uma espécie de “avisos” para o grande segredo da trama (algo que eu particularmente achei muito didático e bem interessante, principalmente como tudo se encaixa de maneira muito coesa nas situações).

Dirigido (e também parcialmente escrito) por Sam Esmail, eu posso dizer que apesar de toda à sua construção lenta e metódica (com alguns ângulos de câmeras copiados de outros cineastas, embora também tenha seus momentos mais originais e que realmente funcionam), O Mundo Depois de Nós é um filme bem conduzido. Esmail não fez o seu melhor, mas entregou algo muito sólido e decente, capaz de efetivamente tocar em feridas humanas que ainda estão abertas e sempre irão continuar, porque à trama não é sobre um mundo em colapso aleatório, é sobre um mundo em colapso causado pelos próprios seres humanos. Propositalmente cheio de ambiguidades e um final inconclusivo, o caos existe.

Unlike regular cafe that you might visit, this cafe has a mystery surrounding it. While it is known as urban legend around town, people can’t believe that this cafe would be able to transform them to the past, to the time they wishes they could change something in their life. Nobody has tried nor actually prove it until, a 20-something female professional who is in love with her job, was adamant in trying going back to the past. The time when her love interest, confessing that she wanted t go to the US. She is Fumiko, one of the center character in this film. This film explores slices of life problem that might seem trivial but actually harbor complexities and shows us the intricacies of human's live and emotions.

Entirely in Japanese there is a sub version that you can check out, so you don’t have to worry of not understanding entirely of the film. Still when compared to the book adaptation, I get the tense and thrill from reading the book rather than watching the film. For those of you who haven’t read the book, it’s best to actually read the book than watching the film!

A mix of mystery, thriller as well as philosophical theme, this film makes an interesting and provocative film to watch. It is based on the book, “ Before The Coffee gets cold” byToshikazu Kawaguchi.However, the film adaptation, was simplified and was made less scary than the book. There are certainly difference between the two but being able to visualize the magic world of Cafe funicula was something. It is exactly how it was described in the book, a vintage ish cafe that in modern time would render as tacky.

In this movie, while you might not be too familiar with the actress or the actors, it's the story that hooks you. The complexicities of life that actually, while shrouded in mystery, we're close yet sometimes life makes us apart. Sometimes we also easily focuses on the past rather than the present moment. It invites you with a warm coffee, to look inward, whether you're also like the characters, too much focusing on regrets, the past, rather than the present moment and trying to fix it.

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With a journey into the past, present and future, a story of science fiction, crime, and suspense, with a puzzle to put together, it is certainly worth a watch.

Con un viaje al pasado, presente y futuro, una historia de ciencia ficción, crimen, y suspenso, con un rompecabezas que armar, sin duda, vale la pena mirar.

Bodies or Cadáver is a series of Netflix, an intriguing science fiction thriller, which is shown in different times, 1890, 1941, 2023 and 2053; in all these, four detectives find a corpse, the same victim, in the same place, in a London neighborhood, which leads them to discover this mysterious murder, which apparently encompasses a conspiracy that spans over 100 years.

In this plot we will see different timelines, which focus on this mysterious corpse with a bullet in one eye, the curious thing about the case, is that it appears suddenly, bringing as a consequence a series of events, to such an extent, that will put at risk the lives of these detectives.

This series consists of a single season, with 8 chapters, intense, with good performances, in which each detective will be involved in this plot, being part of this conspiracy, which spans decades, which could cause the death of hundreds of people.

Bodies o Cadáver es una serie de Netflix, un intrigante thriller de ciencia ficción, la cual se muestra en distintas épocas, 1890, 1941, 2023 y 2053; en todas estas, cuatro detectives encuentran un cadáver, la misma víctima, en el mismo lugar, en un barrio londinense, lo que los conlleva descubrir este misterioso asesinato, el cual al parecer abarca una conspiración que se extiende por más de 100 años.

En esta trama veremos diferentes líneas temporales, las cuales se centran en este misterio cadáver con una bala en un ojo, lo curioso del caso, es que aparece así, de repente, trayendo como consecuencia una serie de sucesos, a tal punto, que pondrá en riesgo la vida de estos detectives.

Dicha serie consta de una sola temporada, con 8 capítulos, intensos, con buenas actuaciones, en el que cada detective, se verá envuelto en esta trama, formando parte de dicha conspiración, la cual se traspasa por décadas, que podría causar la muerte de cientos de personas.

This series is intriguing from the first chapter, starting with time travel, showing the different scenarios, and as it progresses, we will see how these detectives must find a way to try to stop the conspiracy led by a man who will not rest until he achieves his purpose.

Let's talk a bit about the characters and their performances, which I must say were top notch, along with every scene.

Amaka Okafor plays Shahara Hassan, a detective in 2023, committed to her job, a strong, brave woman, who plays an important role in this plot.

Jacob Fortune Lloyd gives life to Charles Whiteman, who works in 1941, and is characterized by moral doubts, he is a lonely man, who only seeks to survive, ruthless, but in his quest for justice he will also play his role.

Kyle Soller plays Alfred Hillinghead, an inspector in 1890, who follows the rules of the law to the letter, a man of principle, who strives to maintain order.

Shira Hass is Iris Maplewood, a young detective of the future, of 2053, which is a key piece in all this plot, this is something that I did not understand well, her role, only at the end is that we will see well her participation.

Finally we have Stephen Graham, who plays Elias Manix, this is the man who creates all this chaos, this character we will see him in all timelines, and his actions are the ones that will generate this impact on the plot of the series.

Esta serie es intrigante desde el primer capítulo, empezando por los viajes en el tiempo, mostrando los distintos escenarios, y a medida que avanza, veremos como estos detectives deben buscar la manera de intentar detener dicha conspiración encabezada por un hombre, el cual no descansara hasta lograr su propósito.

Hablemos un poco de los personajes y sus actuaciones, las cuales debo decir fueron de primera, junto con cada escena.

Amaka Okafor interpreta a Shahara Hassan, una detective del 2023, comprometida con su trabajo, una mujer fuerte, y valiente, la cual tiene un papel importante esta trama.

Jacob Fortune Lloyd da vida a Charles Whiteman, este trabaja en 1941, y se caracteriza por mostrar dudas morales, es un hombre solitario, que solo busca sobrevivir, despiadado, pero que en su búsqueda por la justicia también cumplirá su papel.

Kyle Soller interpreta a Alfred Hillinghead, un inspector en 1890, que sigue las normas de las leyes, al pie de la letra, es un hombre de principios, el cual se esfuerza por mantener el orden.

Shira Hass es Iris Maplewood, una joven detective del futuro, de 2053, la cual es una pieza clave en toda esta trama, esto es algo que yo no entendía bien, su papel, solo al final es que veremos bien su participación.

Por último tenemos a Stephen Graham, el cual interpreta a Elias Manix, este es el hombre que crea todo este caos, este personaje lo veremos en todas las líneas temporales, y sus acciones son las que generarán este impacto en la trama de la serie.

En este mes de diciembre, he decidido ver algunos filmes navideños, especialmente producciones nuevas, pero también quiero volver a ver películas que considero clásicos y algunas que son del gusto de muchas personas y que nunca les he dado oportunidad; ahora con respecto a las nuevas películas, a pesar de ser navideñas, estás producciones usan otros géneros para completar sus historias, como por ejemplo comedia, terror y acción, justamente doy comienzo a esta temporada, mi favorita del año, con una historia muy navideña, pero también con muchas muertes como regalo.

In this month of December, I have decided to watch some Christmas films, especially new productions, but I also want to see again movies that I consider classics and some that are liked by many people and that I have never given them a chance; now with respect to the new movies, despite being Christmas, these productions use other genres to complete their stories, such as comedy, horror and action, I just start this season, my favorite of the year, with a very Christmas story, but also with many deaths as a gift.

"It's a Wonderful Knife" es un slasher navideño que relata la historia de "Winnie Carruthers", una joven chica quien vive en el pequeño pueblo de Angel Falls, quien un año atrás sobrevivió al ataque de un enmascarado asesino en la noche de navidad; en ese terrorífico evento, Winnie perdió a personas que ella amaba y eso le ha afectado completamente, su mundo quedó estancado, nada le sale bien, todos es una decepción y ese por eso que en la noche de navidad, decide pedir un deseo que cambiará no solamente su vida, sino la de todo Angel Falls, llevándola a un lugar aterrorizado por un ángel de la muerte.

"It's a Wonderful Knife" is a Christmas slasher that tells the story of "Winnie Carruthers", a young girl who lives in the small town of Angel Falls, who one year ago survived the attack of a masked killer on Christmas Eve; In that terrifying event, Winnie lost people she loved and that has affected her completely, her world is stagnant, nothing goes well, everyone is a disappointment and that is why on Christmas night, she decides to make a wish that will change not only her life, but that of all Angel Falls, taking her to a place terrorized by an angel of death.

Este film es dirigido por Tyler MacIntyre, del cual había visto un anterior trabajo, "Tragedy Girls" (2017), un film slasher del cual me pareció excelente; en esta oportunidad sigue en este género que en mi opinión encaja en cualquier historia y está película es otro ejemplo más; lamentablemente el trabajo de dirección no lo considere el mejor y creo que es por la pobre producción del film, las escenografías, la iluminación, la edición y la poca diversión e impacto de las escenas de las muertes, crearon cierta decepción; la historia tiene un ritmo rápido, posiblemente sea eso la causa del pobre plan para desarrollar las escenas de las muertes, escenas que me gusta valorar en este tipo de films y que en esta oportunidad no son de lo mejor.

El guion fue escrito por Michael Kennedy quien co-escribió el guion de "Freaky" (2020), una comedia slasher y en este film trata de implementar ese género en un film muy influenciado por un clásico de navidad como es "It's a Wonderful Life" (1946), posiblemente esto facilitó el trabajo de Kennedy el cual solo tuvo que implementar los típicos clichés del género como el asesino, el motivo y las víctimas, a eso, sumo que estás historia usa lo sobrenatural, el viaje a otra línea temporal y eso también generara reglas lo cual están en la historia, pero también existe otro elemento, importante y ese es el navideño, el cual también está presente y es lo que más me ha gustado, en específico en la parte final en dónde de una manera extraña los tres géneros confluyen creando una extraña escena que considero lo mejor de este regular film.

This film is directed by Tyler MacIntyre, of which I had seen a previous work, "Tragedy Girls" (2017), a slasher film of which I thought was excellent; in this opportunity he continues in this genre that in my opinion fits in any story and this film is another example; unfortunately the direction work I do not consider it the best and I think it is because of the poor production of the film, the scenery, lighting, editing and the little fun and impact of the scenes of the deaths, created some disappointment; the story has a fast pace, possibly that is the cause of the poor plan to develop the scenes of the deaths, scenes that I like to value in this type of films and that in this opportunity are not the best.

The script was written by Michael Kennedy who co-wrote the script of "Freaky" (2020), a slasher comedy and in this film he tries to implement that genre in a film very influenced by a Christmas classic like "It's a Wonderful Life" (1946), possibly this facilitated the work of Kennedy who only had to implement the typical clichés of the genre like the killer, the motive and the victims, to that, I add that this story uses the supernatural, the trip to another timeline and that will also generate rules which are in the story, but there is also another element, important and that is the Christmas, which is also present and is what I liked the most, specifically in the final part where in a strange way the three genres converge creating a strange scene that I consider the best of this regular film.

Un grave problema de esta película es las actuaciones, personalmente no soy muy exigente con respecto a este elemento de un film slasher, me refiero a que la mayoría de personajes son víctimas y tendrán un tiempo breve, su función es ser parte de los clichés del género y pongo más énfasis es en la protagonista y en esta oportunidad, no sentí que el personaje de "Winnie" sea lo suficientemente fuerte para, creo que la actuación de Jane Widdop es afectada por el mal desarrollo de su personaje en los dos últimos actos, pero no solo el de ella, sino el de los demás, no se nota un compromiso, no hay drama, terror ni comedia, es un acumulado de malas actuaciones.

A serious problem with this film is the performances, personally I'm not very picky about this element of a slasher film, I mean most characters are victims and will have a short time, their function is to be part of the clichés of the genre and I put more emphasis is on the protagonist and in this opportunity, I did not feel that the character of "Winnie" is strong enough to, I think the performance of Jane Widdop is affected by the bad development of her character in the last two acts, but not only hers, but the others, there is no commitment, there is no drama, horror or comedy, it is an accumulation of bad performances.

It's a Wonderfull Knife es un decepcionante slasher, posiblemente también en lo que respecta a los viajes temporales; es una historia mal desarrollada, es otra producción más que tiene un gran potencial, una buena idea destruida porque se hace mal en todos los ámbitos del film; esto lo digo porque no es terrorífica, no es divertida, las muertes no son impactantes, el asesino y su diseño no es el mejor, las actuaciones son malas, la dirección y el guion es pobre; es una verdadera lástima porque el primer acto es prometedor, es de lo mejor del film, funciona, pero todo es desechado por el ritmo tan rápido y poco atractivo de la historia, nuevamente repito que con mejores escenas de muertes, mejores actuaciones o una mejor protagonista pudo ser un buen film slasher y es una lástima porque en el término de ser un film navideño, en mi opinión si funciona, pero mis expectativas eran de ver un film de terror navideño y lamentablemente no cumplió con género que considero más importante.

It's a Wonderfull Knife is a disappointing slasher, possibly also in terms of time travel; it is a poorly developed story, it is yet another production that has great potential, a good idea destroyed because it is done badly in all areas of the film; I say this because it is not terrifying, it is not funny, the deaths are not shocking, the killer and his design is not the best, the performances are bad, the direction and the script is poor; it is a real shame because the first act is promising, it is the best of the film, it works, but everything is discarded by the fast pace and unattractive story, again I repeat that with better death scenes, better performances or a better protagonist could be a good slasher film and it is a shame because in the term of being a Christmas film, in my opinion if it works, but my expectations were to see a Christmas horror film and unfortunately did not meet the genre that I consider more important.

Synopsis: In this new adaptation of a true classic, the plot focuses specifically on the adventures of a young Willy Wonka, how he met the Oompa-Loompas during one of his first adventures and also, on his struggle to defeat some unexpected enemies.

Originally based (although with much less explicit references) on the work written by the Welsh author by Roald Dahl, this new version has arrived bringing a completely new atmosphere to the journey of a young dreamer and chocolate connoisseur who has the dream of opening a chocolate shop based in his creations somewhat outside the standards of sweets that were known by society until then. Unlike the book and also any version that has previously been made for cinemas, here the script tries to take a completely different path, which at first glance may cause a feeling of “strangeness” in the audience, but will certainly captivate everyone.

Within its own “bubble”, the script invests in many creative freedoms to find its reason for existing. Starting with the fact that the movie is a musical. Until then, the project had been sold as anything other than a musical. Although the marketing strategy to promote this project was not the best, the essence of the story is good. Investing in interesting musical numbers full of good sound orchestrations (with some good lyrics being sung with satisfactory vocal qualities), as well as lots of vibrant colors and creative choreography spread across quite fun scenes (some even genuinely exciting and plural).

Completely moving away from practically all the ideas that were previously presented in the book, and in other well-known movies, this time, the plot is focused on a young and dreamy Willy Wonka, who dreams of opening his chocolate shop in the city where he lives. lives. However, for this to happen, he needs to fight against his enemies (who form a cartel of “chocolate magnates” known for dominating the chocolate manufacturing scene within the same space where Wonka wants to begin his journey, also as a chocolatier). In the midst of all this, Willy ventures into other situations, one of which is his meeting with the Oompa-Lommpas, and the beginning of a friendship.

Even though in the middle of its execution there are some exaggerations of clichés and abuse of formulas already used in other movies of the musical genre, what the script tries to do here is almost like a kind of recorded musical theater, and this brings a good impact to to the narrative in terms of argumentation and also helps with the visual aspect of the project (which is really very captivating). Betting on a more “complex” plot, the narrative has a dynamic that places the protagonist in the middle of a conspiracy planned by the trio of villains who recognize young Willy Wonka as a true threat, because in fact, his revolutionary ideas about the world of sweets represents a “threat”.

Not just because a young man is so good at the art of making chocolate, but mainly because of the way he does it (which is considered by them as something “unethical” and can disrupt the villains' business operations). This is reason enough for the cartel that dominates the confectionery industry to decide to stop it, and for that to happen, they will spare no effort. Once this Galera Gourmet chocolate empire is threatened, Willy Wonka will need to find a way to fight to make his dream come true, and show that people in the city can have access to very innovative sweets, with multicultural flavors and textures that even so they were never imagined by anyone.

A true explosion of creativity appears on the screen. The directing work done by Paul King is visibly of excellent quality, precisely because he knows exactly what he wants to show the public, and demonstrates a lot of caution, as well as a lot of knowledge in the work he is doing. Almost everything is very precise in terms of organization of ideas, execution of angles and a very solid convergence of arguments. Furthermore, he manages to get the best out of the cast he has, because the performances are really very interesting (even in the less expressive moments of the plot) and make this project something very fun to watch.

Musically speaking, I was positively surprised by practically all the songs (which are much above average than I was expecting) and how they all fit into the scenes to create an engaging narrative. In terms of acting, Timothée Chalamet delivers a simple work, but it is still convincing and full of sentimentality. It is also worth mentioning two other important names: Olivia Colman (who is always great at what she does) and Hugh Grant (who, despite being an actor of questionable quality, delivers a decent performance here). The supporting cast also has its qualities, and they help pave the way that builds all the magic of the movie.

Wonka is a much happier, sweeter and more unique version (although in the general context somewhat generic compared to the whole universe of musicals) than its predecessor movies. Strongly helped by its great technical quality (the practical and technical special effects are amazing, in addition to the tender soundtrack and an efficient art direction), the script has some brilliant moments that make it a unique experience. Creating its peculiar “identity” (fueled by a “sentimentalist madness”), the movie entertains without having to make an effort to do so. Purposefully extravagant, this is a high-quality imaginative show that manages to develop the value of art as a dream very well.

Sinopsis: En esta nueva adaptación de un verdadero clásico, la trama se centra específicamente en las aventuras de un joven Willy Wonka, cómo conoció a los Oompa-Loompas durante una de sus primeras aventuras y también, en su lucha por derrotar a algunos enemigos inesperados.

Basada originalmente (aunque con referencias mucho menos explícitas) en la obra escrita por el autor galés Roald Dahl, esta nueva versión llega trayendo una atmósfera completamente nueva al viaje de un joven soñador y conocedor del chocolate que tiene el sueño de abrir una chocolatera. tienda basada en sus creaciones un tanto fuera de los estándares de golosinas que conocía la sociedad hasta entonces. A diferencia del libro y también de cualquier versión realizada anteriormente para cines, aquí el guión intenta tomar un camino completamente diferente, que a primera vista puede provocar una sensación de “extrañeza” en el público, pero que sin duda cautivará a todos.

Dentro de su propia “burbuja”, el guión invierte en muchas libertades creativas para encontrar su razón de existir. Empezando por el hecho de que la película es un musical. Hasta entonces, el proyecto se había vendido como algo más que un musical. Aunque la estrategia de marketing para promocionar este proyecto no fue la mejor, la esencia de la historia es buena. Apostando por números musicales interesantes y llenos de buenas orquestaciones sonoras (con algunas buenas letras cantadas con cualidades vocales satisfactorias), así como muchos colores vibrantes y coreografías creativas repartidas en escenas bastante divertidas (algunas incluso genuinamente emocionantes y plurales).

Alejándose por completo de prácticamente todas las ideas que se expusieron anteriormente en el libro, y en otras películas muy conocidas, en esta ocasión, la trama se centra en un joven y soñador Willy Wonka, que sueña con abrir su chocolatería en la ciudad donde él vive vive. Sin embargo, para que esto suceda, necesita luchar contra sus enemigos (que forman un cartel de “magnates del chocolate” conocidos por dominar la escena de la fabricación de chocolate dentro del mismo espacio donde Wonka quiere comenzar su andadura, también como chocolatero). En medio de todo esto, Willy se adentra en otras situaciones, una de las cuales es su encuentro con los Oompa-Lommpas, y el inicio de una amistad.

Si bien en medio de su ejecución hay algunas exageraciones de clichés y abuso de fórmulas ya utilizadas en otras películas del género musical, lo que el guión intenta hacer aquí es casi como una especie de teatro musical grabado, y esto aporta una buena Impacta a la narrativa en términos de argumentación y también ayuda con el aspecto visual del proyecto (que es realmente muy cautivador). Apostando por una trama más “compleja”, la narrativa tiene una dinámica que sitúa al protagonista en medio de una conspiración planeada por el trío de villanos que reconocen al joven Willy Wonka como una verdadera amenaza, porque en realidad, sus ideas revolucionarias sobre el mundo de dulces representa una “amenaza”.

No sólo porque un joven sea tan bueno en el arte de hacer chocolate, sino principalmente por la forma en que lo hace (lo cual es considerado por ellos como algo “poco ético” y puede perturbar las operaciones comerciales de los villanos). Esta es razón suficiente para que el cártel que domina la industria de la confitería decida frenarlo, y para ello no escatimarán esfuerzos. Una vez amenazado este imperio del chocolate Galera Gourmet, Willy Wonka necesitará encontrar la manera de luchar para hacer realidad su sueño, y demostrar que la gente de la ciudad puede tener acceso a dulces muy innovadores, con sabores y texturas multiculturales que aún así Nunca fueron imaginados por nadie.

Una auténtica explosión de creatividad aparece en pantalla. El trabajo de dirección realizado por Paul King es visiblemente de excelente calidad, precisamente porque sabe exactamente lo que quiere mostrar al público y demuestra mucha prudencia, además de mucho conocimiento en el trabajo que realiza. Casi todo es muy preciso en cuanto a organización de ideas, ejecución de ángulos y una convergencia de argumentos muy sólida. Además, logra sacar lo mejor del elenco que tiene, porque las actuaciones son realmente muy interesantes (incluso en los momentos menos expresivos de la trama) y hacen de este proyecto algo muy divertido de ver.

Musicalmente hablando, me sorprendieron positivamente prácticamente todas las canciones (que están muy por encima del promedio de lo que esperaba) y cómo encajan en las escenas para crear una narrativa atractiva. En términos interpretativos, Timothée Chalamet ofrece una obra sencilla, pero igualmente convincente y llena de sentimentalismo. También vale la pena mencionar otros dos nombres importantes: Olivia Colman (que siempre es excelente en lo que hace) y Hugh Grant (que, a pesar de ser un actor de calidad cuestionable, hace aquí una actuación decente). El reparto secundario también tiene sus cualidades, y ayudan a allanar el camino que construye toda la magia de la película.

Wonka es una versión mucho más feliz, dulce y única (aunque en el contexto general algo genérica en comparación con el universo de los musicales) que sus películas predecesoras. Fuertemente ayudado por su gran calidad técnica (los efectos especiales prácticos y técnicos son geniales, además de la tierna banda sonora y uma dirección de arte eficiente), el guión tiene algunos momentos brillantes que lo convierten en una experiencia única. Creando su peculiar “identidad” (alimentada por una “locura sentimental”), la película entretiene sin necesidad de esforzarse en ello. Decididamente extravagante, se trata de un espectáculo imaginativo de gran calidad que consigue desarrollar muy bien el valor del arte como sueño.

Sinopse: Nesta nova adaptação de um verdadeiro clássico, a trama se concentra especificamente nas aventuras de um jovem Willy Wonka, em como ele conheceu os Oompa-Loompas durante uma de suas primeiras aventuras e também, na luta dele para derrotar alguns inimigos inesperados.

Originalmente baseado (ainda que com muito menos referências explícitas) na obra escrita pelo autor galês por Roald Dahl, esta nova versão chegou trazendo uma atmosfera completamente nova para a jornada de um jovem sonhador e apreciador de chocolates que tem o sonho de abrir uma chocolateria baseada em suas criações um tanto quanto fora dos padrões de doces que eram conhecidos pela sociedade até então. Diferente do livro e também de qualquer versão que já tenha sido anteriormente feita para os cinemas, aqui o roteiro tenta por um caminho totalmente diferente, que à primeira vista pode causar uma sensação de “estranhamento” no público, mas certamente conseguirá cativar a todos.

Dentro de uma “bolha própria”, o roteiro investe em muitas liberdades criativas para encontrar à sua razão de existir. Começando pelo fato de que o filme é um musical. Até então, o projeto havia sido vendido como qualquer outra coisa, menos como sendo um musical. Embora à estratégia de marketing para promover esse projeto não tenha sido das melhores, a essência da estória é boa. Investindo em números musicais interessantes e repletos de boas orquestrações sonoras (com algumas boas letras sendo entoadas com qualidades vocais satisfatórias), além de muitas cores vibrantes e coreografias criativas espalhadas por cenas bastante divertidas (algumas até genuinamente emocionantes e plurais).

Se afastando completamente de praticamente todas as ideias que já foram anteriormente apresentadas no livro, e nos outros filmes já conhecidos, desta vez, a trama é focada em um jovem e sonhador Willy Wonka, que sonha em abrir à sua loja de chocolates na cidade onde vive. No entanto, para isso acontecer, ele precisa lutar contra seus inimigos (que formam um cartel de “magnatas chocolateiros” conhecidos por dominar o cenário da fabricação de chocolates dentro do mesmo espaço que Wonka quer começar à jornada dele, também como chocolateiro). No meio disso tudo, Willy se aventura por outras situações, sendo uma delas o encontro dele com os Oompa-Lommpas, e o início de uma amizade.

Mesmo no que no meio de sua execução hajam alguns exageros de clichês e abusos de fórmulas já utilizadas em outros filmes do gênero musical, o que o roteiro tenta fazer aqui é quase como uma espécie de teatro musical gravado, e isso traz um bom impacto para à narrativa em termos de argumentação e também ajuda no aspecto visual do projeto (que é realmente muito cativante). Apostando em uma trama mais “complexa”, à narrativa tem uma dinâmica que coloca o protagonista em meio a uma conspiração planejada pelo trio de vilões que reconhece o jovem Willy Wonka como uma verdadeira ameaça, porque de fato, as ideias revolucionárias dele sobre o mundo dos doces representa uma “ameaça”.

Não apenas pelo fato de um jovem ser tão bom na arte de fazer chocolate, mas principalmente pela maneira como ele faz (que é considerada por eles como algo “antiético” e que pode atrapalhar as operações comerciais dos vilões). Isso é motivo suficiente para que o cartel que domina a indústria confeiteira decida impedi-lo, e para isso acontecer, eles não medirão esforços. Uma vez que esse império dos chocolates da Galera Gourmet se vê ameaçado, Willy Wonka precisará encontrar uma forma de lutar para realizar o seu sonho, e mostrar que as pessoas da cidade podem ter acesso a doces muito inovadores, com sabores multiculturais e texturas que até então nunca foram imaginadas por ninguém.

Uma verdadeira explosão de criatividade aparece na tela. O trabalho de direção feito por Paul King é visivelmente de ótima qualidade, justamente porque ele sabe exatamente o que ele quer mostrar ao público, e demonstra ter bastante cautela, além de muito conhecimento no trabalho que ele está fazendo. Quase tudo é muito bem preciso em termos de organização de ideias, execução de ângulos e uma convergência de argumentos bastante sólida. Além disso, ele consegue extrair o melhor do elenco que ele tem mãos, porque as performances são realmente muito interessantes (até mesmo nos momentos menos expressivos da trama) e torna esse projeto em algo muito divertido de ser assistido.

Musicalmente falando, eu me surpreendi positivamente com praticamente todas as músicas (que são muito acima da média do que eu estava esperando) e como todas elas foram encaixadas nas cenas para criar uma narrativa envolvente. Na parte da atuação, Timothée Chalamet entrega um trabalho simples, mas ainda sim é algo convincente e repleto de sentimentalismo. Vale à pena também mencionar outros dois nomes importantes: Olivia Colman (que é sempre ótima no que ela se faz) e Hugh Grant (que apesar ser um ator de qualidade questionável, aqui entrega uma atuação decente). O elenco de apoio também tem suas qualidades, e ajudam a pavimentar o caminho que constrói toda a magia do filme.

Wonka é uma versão muito mais alegre, mais doce e mais única (ainda que no contexto geral algo um tanto quanto genérico se comparado ao universo dos musicais) do que seus filmes antecessores. Fortemente ajudado por sua grande qualidade técnica (os efeitos especiais práticos e técnicos são ótimos, além da trilha sonora terna e uma eficiente direção de arte), o roteiro tem alguns momentos brilhantes que o tornam em uma experiência singular. Criando à sua “identidade” peculiar (alimentada por uma “loucura sentimentalista”), o filme diverte sem ter que fazer esforço para isso. Propositalmente extravagante, este é um espetáculo imaginativo de alta qualidade e que consegue desenvolver muito bem o valor da arte como um sonho.

Martin Scorsece. A living legend of the seventh art. Is it necessary to introduce him? No. All film fans know very well who he is and his work. At his eighty-one years, he is still active. Let's hope he continues to maintain that energy and desire to work, because each of his films is a pleasure. No one can deny it. Even those who say they don't like any of his films. I prefer one bad Scorsese film to ten good but soulless ones, because this filmmaker loves what he does, he loves cinema.

Immediately after finishing shooting The Irishman, the director got to work on this film. There is no time to waste. He knows he's old, so he wants to work as long as he can. He has said so himself in numerous interviews. He returns to work with two of his favorite actors, De Niro and Di Caprio. Other movie monsters who will leave an indelible legacy in several generations of moviegoers. I can't be objective, sorry, my predilection for the filmmaker and these actors is too great.

Unfortunately I was not able to see it in a movie theater. But I enjoyed it all the same. And everyone should know that it is an adaptation of the book written by David Grann, inspired by terrible real events. A heinous crime, despicable, especially because of the motive of these despicable men. The main role is played by Leonardo DiCaprio, an actor who wanted to be one of the best of his generation and has succeeded. According to many news reports, at first his character was that of the budding FBI agent, but the entire script was rewritten when he decided he would play the character of Ernets Burkhart.

Some have criticized the change. Apparently, in the novel, the common thread is the FBI agent, so with this modification, those who want a more faithful adaptation are complaining. I have the novel in digital format, but have not read it. This year I have been very lazy with reading, I think I have only read four books and I have many pending, this is one of them.

Other changes were made. Scorsece stated in interviews that he modified the entire shoot, realizing that he was telling a story through the eyes of white men. He talked to the descendants and authorities of the Indian community where the events took place and made a work that respected them. Of course not everyone has been satisfied, some from that community have criticized some decisions and presentations, while another group from that community speaks very positively of the result.

Martin Scorsece. Una leyenda viva del séptimo arte. ¿Es necesario presentarlo? No. Todos los aficionados al cine saben muy bien quién es y su obra. A sus ochenta y un años, sigue en activo. Esperemos que siga manteniendo esa energía y esas ganas de trabajar, porque cada una de sus películas es un placer. Nadie puede negarlo. Incluso aquellos que dicen que no les gusta ninguna de sus películas. Prefiero una mala película de Scorsese a diez buenas pero sin alma, porque este cineasta ama lo que hace, ama el cine.

Inmediatamente después de terminar el rodaje de The Irishman, el director se puso a trabajar en esta película. No hay tiempo que perder. Sabe que es viejo, así que quiere trabajar todo lo que pueda. Él mismo lo ha dicho en numerosas entrevistas. Vuelve a trabajar con dos de sus actores favoritos, De Niro y Di Caprio. Otros monstruos del cine que dejarán un legado imborrable en varias generaciones de cinéfilos. No puedo ser objetivo, lo siento, mi predilección por el cineasta y estos actores es demasiado grande.

Lamentablemente no pude verla en una sala de cine. Pero la disfruté igualmente. Y todo el mundo debería saber que es una adaptación del libro escrito por David Grann, inspirado en terribles hechos reales. Un crimen atroz, despreciable, sobre todo por el móvil de estos hombres despreciables. El papel principal lo interpreta Leonardo DiCaprio, un actor que quiso ser uno de los mejores de su generación y lo ha conseguido. Según muchas noticias, al principio su personaje era el del incipiente agente del FBI, pero se reescribió todo el guión cuando decidió que interpretaría al personaje de Ernets Burkhart.

Algunos han criticado el cambio. Al parecer, en la novela, el hilo conductor es el agente del FBI, así que con esta modificación se quejan los que quieren una adaptación más fiel. Yo tengo la novela en formato digital, pero no la he leído. Este año he estado muy vago con la lectura, creo que solo he leído cuatro libros y tengo muchos pendientes, este es uno de ellos.

Se hicieron otros cambios. Scorsece declaró en entrevistas que modificó todo el rodaje, al darse cuenta de que estaba contando una historia a través de los ojos de los hombres blancos. Habló con los descendientes y las autoridades de la comunidad india donde ocurrieron los hechos e hizo una obra que los respetara. Por supuesto no todos han quedado satisfechos, algunos de esa comunidad han criticado algunas decisiones y presentaciones, mientras que otro grupo de esa comunidad habla muy positivamente del resultado.

Three and a half hours of film and I didn't want it to end. What a pleasure, what ecstasy to enjoy a film with that opacity that I miss so much. The master does not disappoint. Stop complaining about the pain in your ass from sitting for three hours. When you drink beer at the bar you spend up to six hours at a wooden table. That pain in the buttocks passes quickly, but the pleasure of watching a play like this one lingers in the memory.

The greed. The damn money. It doesn't matter if you have enough to live well. Greed eliminates any scruples you might have and you'll want to gobble it all up. Leave no one behind. Take from others what you've been taught belongs to you. When in reality it doesn't. Descendants of colonists, who having the force at their side, the power of the most powerful weapons, committed genocides, murdering entire peoples, eliminating indigenous ethnicities, stealing their lands, their wealth, their history.

Greed and blood, these are the pillars on which America was built. Do not be angry if it is your land. We cannot change history. Scorsece knew the potential of the real events on which the story is based. Power, money, that's what drives the world. It is the greatest ambition of human beings. The Osages were blessed and cursed by fate at the same time. Black gold. I know very well, I am from a country that has a lot of black gold, but what could have been a blessing for welfare, has been a nightmare. Just like the Osage, the province made them owners of that precious black liquid. Ennobling them to have mu-cho, like the former white oppressors. Something many would not like, plus they wish to have what they think they deserve in the name of God.

There are many psychopaths embedded in society. Even the one you may think the least, may actually be a heartless, unscrupulous, simply adapted, but what happens when several greed-filled psychopaths have a common goal. There will always be someone who acts as leader and issues the orders, following a plan. The plan to annihilate the Osage and seize their wealth is a wicked plan that requires planning and time. Taking advantage of the good will of many, who were not able to see that the worst enemy was right there in front of them, as if he was a friend, but was just waiting to eat the whole flock.

Tres horas y media de película y no quería que acabara. Qué placer, qué éxtasis disfrutar de una película con esa opacidad que tanto añoro. El maestro no defrauda. Deja de quejarte del dolor de culo por estar sentado tres horas. Cuando bebes cerveza en el bar pasas hasta seis horas en una mesa de madera. Esa molestia en las nalgas pasa rápido, pero el placer de ver una obra como esta, perdura en la memoria.

La codicia. El maldito dinero. No importa si tienes suficiente para vivir bien. La codicia elimina cualquier escrúpulo que puedas tener y querrás engullirlo todo. No dejar a nadie. Tomar de los demás lo que te han enseñado que te pertenece. Cuando en realidad no es así. Descendientes de colonos, que teniendo la fuerza a su lado, el poder de las armas más poderosas, cometieron genocidios, asesinando pueblos enteros, eliminando etnias indígenas, robándoles sus tierras, sus riquezas, su historia.

Avaricia y sangre, estos son los pilares sobre los que se construyó América. No os enfadéis si se trata de vuestra tierra. No podemos cambiar la historia. Scorsece conocía el potencial de los hechos reales en los que se basa la historia. Poder, dinero, eso es lo que mueve el mundo. Es la mayor ambición del ser humano. Los Osage fueron bendecidos y maldecidos por el destino al mismo tiempo. Oro negro. Lo sé muy bien, soy de un país que tiene mucho oro negro, pero lo que podría haber sido una bendición para el bienestar, ha sido una pesadilla. Al igual que a los Osage, la provincia los hizo dueños de ese preciado líquido negro. Ennobleciéndolos a tener mu-cho, como los antiguos opresores blancos. Algo que a muchos no les gustaría, además de que desean tener aquello que creen merecer en nombre de Dios.

Hay muchos psicópatas integrados en la sociedad. Incluso el que menos te parezca, en realidad puede ser un desalmado sin escrúpulos, simplemente adaptado, pero que pasa cuando varios psicópatas llenos de codicia tienen un objetivo común. Siempre habrá alguien que actúe como líder y emita las órdenes, siguiendo un plan. El plan de aniquilar a los Osage y apoderarse de sus riquezas es un plan perverso que requiere planificación y tiempo. Aprovechándose de la buena voluntad de muchos, que no fueron capaces de ver que el peor enemigo estaba ahí mismo, delante de ellos, como si fuera un amigo, pero sólo estaba esperando para comerse a todo el rebaño.