Synopsis: After managing to escape the captivity he was being held hostage in, Jesse Pinkman makes one last journey to finally try to live in peace after so many problems.

In search of his own freedom, one of the most troubled characters in the entire Breakin Bad television series must first find a way to reconcile with his past, because only in this way will he have a real chance of having a better future. This movie works as a direct conclusion to Jesse Pinkman's story, which had been left open after its inconclusive ending. Everything that was not shown in the television series finds plenty of space here to show the public a more complete and much fairer outcome for this famous character.

The New York Times

Here, the public has the chance to follow what can be considered a kind of “epilogue” in relation to everything that has been shown previously. This plot, a little more “intimate” and completely centered on Pinkman and his search for his well-deserved peace, is shown slowly, but justified by the narrative elements that are presented. This doesn't make the movie anything less boring than it is (because in fact, the rhythm of the situations is very slow and very extended), but it also doesn't take away from its merit in being something very useful.

Once you have your money (which had previously been stolen) in hand again, it's time to start devising a new strategy. The options are not many, and considering his current psychological state, Pinkman is no longer able to develop any more far-fetched plans to achieve the life he so wanted when he started his life of crime in the city of Albuquerque, New Mexico. The long-awaited meth empire he wanted did not come to fruition, many people were murdered along the way and many families were destroyed. The path is still tense.

Correio Braziliense

Throughout the movie, we can follow a character lost within himself, but motivated with an insatiable thirst to finally be able to enjoy life the right way. However, achieving this will not be so easy because there are still some very dangerous obstacles in the way, and it is precisely here that the script relies on justifying the existence of this movie (which is something entirely aimed at fans of the television series, because the project does not work correctly in isolation, precisely because it is dependent on other events).

The development of the script is quite slow and few relevant things happen in the middle of its execution. However, it is necessary to mention that this rhythm is what favors the best development of the characters (including the protagonist himself). This is a trademark imprinted on the television series, which explored the essence of the characters to the maximum to make the audience have empathy for them and this tries to be replicated in this movie, but the difference is here there is no entire universe to be developed, it remains just a single character who needs a satisfying conclusion.

IGN Brasil

This makes the movie less impactful, but no less immersive. Within what the script sets out to do, it is very efficient. On the other hand, the way the events are shown and how they are connected can please (more precisely) only fans of the television series. The narrative approach is predominantly “niche” and this means that only those people who have already watched everything that was presented in a more complete way previously will understand it. Focusing only on what is presented in the movie, the material is quite specific.

Once again in the shoes of Jesse Pinkman, Aaron Paul has the chance to show more precise performances. Although he also doesn't bring anything new to his character, it is clear that there is a slightly more refined effort on the actor's part in an attempt to strengthen the drama that persists in making him a fragile but determined person. The rest of the plot is based on very random characters, and not even well-known faces (such as Pinkman's friends, Badger and Skinny Pete) can offer the deepest weight to the plot, which is very inert to any new situation.

Tristan Zelden

A weak production in more technical terms, with a deserved emphasis on photography (which is not a merit of the movie itself, but of what was seen in the television series). Vince Gilligan returns to his private universe, attentive to what needs to be done. Writing and directing El Camino: A Breaking Bad Movie, he shows that he still has total control of his work, but he also makes it clear that everything has really come to an end with his narrative wear evident, within a nostalgic proposal, but which manages to enhance even more something that he created with great simplicity.

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CRÍTICA DE PELÍCULA - “El Camino. Una película de Breaking Bad” (2019)

Sinopsis: Después de lograr escapar del cautiverio en el que lo tenían como rehén, Jesse Pinkman emprende un último viaje para intentar finalmente vivir en paz después de tantos problemas.

En busca de su propia libertad, uno de los personajes más conflictivos de toda la serie de televisión Breakin Bad deberá encontrar primero la manera de reconciliarse con su pasado, porque sólo así tendrá una posibilidad real de tener un futuro mejor. Esta película funciona como una conclusión directa de la historia de Jesse Pinkman, que había quedado abierta tras su final no concluyente. Todo lo que no se mostró en la serie de televisión encuentra aquí mucho espacio para mostrar al público un desenlace más completo y mucho más justo para este famoso personaje.

Aquí el público tiene la posibilidad de seguir lo que se puede considerar una especie de “epílogo” de todo lo mostrado anteriormente. Esta trama, un poco más “íntima” y completamente centrada en Pinkman y su búsqueda de su merecida paz, se muestra lenta, pero justificada por los elementos narrativos que se presentan. Esto no hace que la película sea menos aburrida de lo que es (porque, de hecho, el ritmo de las situaciones es muy lento y muy prolongado), pero tampoco le quita el mérito de ser algo muy útil.

Una vez que tengas de nuevo tu dinero (que anteriormente te habían robado) en tus manos, es el momento de empezar a idear una nueva estrategia. Las opciones no son muchas, y considerando su estado psicológico actual, Pinkman ya no es capaz de desarrollar planes más descabellados para lograr la vida que tanto deseaba cuando comenzó su vida delictiva en la ciudad de Albuquerque, Nuevo México. El tan esperado imperio de metanfetamina que quería no llegó a buen término, muchas personas fueron asesinadas en el camino y muchas familias quedaron destruidas. El camino sigue tenso.

A lo largo de la película podremos seguir a un personaje perdido en sí mismo, pero motivado por una sed insaciable de poder finalmente disfrutar de la vida de la manera correcta. Sin embargo, conseguirlo no será tan fácil porque aún quedan obstáculos muy peligrosos en el camino, y es precisamente aquí donde el guión se apoya para justificar la existencia de esta película (que es algo enteramente dirigido a los fans de la serie de televisión, porque el proyecto no funciona correctamente de forma aislada, precisamente porque depende de otros eventos).

El desarrollo del guion es bastante lento y suceden pocas cosas relevantes a mitad de su ejecución. Sin embargo, es necesario mencionar que este ritmo es el que favorece el mejor desarrollo de los personajes (incluido el propio protagonista). Esta es una marca impresa en la serie de televisión, que exploraba al máximo la esencia de los personajes para hacer que el público sintiera empatía por ellos y esto intenta replicarse en esta película, pero la diferencia es que aquí no hay un universo completo para ser. desarrollado, sigue siendo solo un personaje que necesita una conclusión satisfactoria.

Esto hace que la película sea menos impactante, pero no menos inmersiva. Dentro de lo que se propone el guión, es muy eficiente. Por otro lado, la forma en que se muestran los acontecimientos y cómo se relacionan puede complacer (más precisamente) sólo a los fans de la serie de televisión. El enfoque narrativo es predominantemente “de nicho” y esto significa que sólo aquellas personas que ya hayan visto todo lo que se presentó de forma más completa anteriormente lo entenderán. Centrándonos únicamente en lo que se presenta en la película, el material es bastante específico.

Una vez más en la piel de Jesse Pinkman, Aaron Paul tiene la oportunidad de mostrar actuaciones más precisas. Aunque tampoco aporta nada nuevo a su personaje, está claro que hay un esfuerzo un poco más depurado por parte del actor en un intento de potenciar el dramatismo que persiste en convertirlo en una persona frágil pero decidida. El resto de la trama se basa en personajes muy aleatorios, y ni siquiera rostros conocidos (como los amigos de Pinkman, Badger y Skinny Pete) pueden ofrecer el peso más profundo a una trama, que se muestra muy inerte ante cualquier situación nueva.

Una producción floja en términos más técnicos, con un merecido énfasis en la fotografía (que no es mérito de la película en sí, sino de lo visto en la serie de televisión). Vince Gilligan regresa a su universo privado, atento a lo que hay que hacer. Al escribir y dirigir El Camino. Una película de Breaking Bad, demuestra que aún tiene el control total de su obra, pero también deja claro que realmente todo ha llegado a su fin con su desgaste narrativo evidente, dentro de una propuesta nostálgica, pero que logra realzar aún más algo que creó con gran sencillez.

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CRÍTICA DE FILME - “El Camino: Um Filme de Breaking Bad” (2019)

Sinopse: Depois de conseguir escapar do cativeiro ao qual vinha sendo mantido refém, Jesse Pinkman faz uma última jornada para finalmente tentar conseguir viver em paz após tantos problemas.

Em busca de sua própria liberdade, um dos personagens mais conturbados de toda à série de televisão Breakind Bad precisa primeiro encontrar uma maneira de se reconciliar com o seu passado, porque apenas desta forma ele terá uma chance real de ter um futuro melhor. Este filme funciona como uma conclusão direta à história de Jesse Pinkman, que tinha ficado em aberto após o seu final inconclusivo. Tudo o que não foi mostrado na série de televisão, encontra aqui bastante espaço para mostrar ao público um desfecho mais completo e muito mais justo para este famoso personagem.

Aqui, o público tem a chance de acompanhar o que pode ser considerado como uma espécie de “epílogo” em relação a tudo o que já foi mostrado anteriormente. Essa trama um pouco mais “intimista” e totalmente centrada em Pinkman e em sua busca do seu merecido sossego é mostrada de maneira lenta, mas justificada pelos elementos narrativos que são apresentados. Isso não faz do filme algo ao menos enfadonho do que ele é (porque de fato, o ritmo das situações tem uma condução muito lenta e muito estendida), mas também não tira o mérito dele em ser algo muito proveitoso.

Tendo novamente o seu dinheiro (que havia sido roubado anteriormente) em mãos, é hora de começar a traçar uma nova estratégia. As opções não são muitas, e considerando o seu estado psicológico atual, Pinkman não está mais apto a desenvolver mais planos mirabolantes para conseguir à vida que ele tanto queria quando iniciou à sua vida de crimes na cidade de Albuquerque, Novo México. O tão sonhado império de metanfetamina que ele queria não se concretizou, muitas pessoas foram assassinadas ao longo do caminho e muitas famílias foram destruídas. O caminho ainda é tenso.

Ao longo de todo o filme, nós podemos acompanhar um personagem perdido dentro de si mesmo, mas motivado com uma sede insaciável de finalmente poder aproveitar à vida da maneira correta. No entanto, conseguir isso não será tão fácil porque ainda existem alguns obstáculos muito perigosos no meio do caminho, e é precisamente aqui que o roteiro se apoia para justificar a existência desse filme (que é algo totalmente voltado para os fãs da série de televisão, porque de maneira isolada o projeto não funciona corretamente, justamente por ser dependente de outros acontecimentos).

O desenvolvimento do roteiro é bastante lento e poucas coisas relevantes acontecem no meio de sua execução. Porém, é preciso mencionar que esse ritmo é o que favorece o melhor desenvolvimento dos personagens (inclusive, o próprio protagonista). Essa é uma marca registrada impressa na série de televisão, que explorava à essência dos personagens ao máximo para fazer o público ter empatia por eles e isso tenta ser replicado neste filme, mas a diferença é aqui não há todo um universo a ser desenvolvido, resta apenas um único personagem que precisa de uma conclusão satisfatória.

Isso torna o filme em algo menos impactante, mas não menos imersivo. Dentro do que o roteiro se propõe a fazer, ele é muito eficiente. Por outro lado, o modo como os acontecimentos são mostrados e como eles são conectados, podem agradar (de maneira mais precisa) apenas aos fãs da série de televisão. A abordagem narrativa é predominantemente “nichada” e isso implica dizer que só irá entendê-la, aquelas pessoas que já assistiram a tudo o que foi apresentado de maneira mais completa anteriormente. Focando apenas no que é apresentado no filme, o material é bastante pontual.

Uma vez mais na pele de Jesse Pinkman, Aaron Paul tem a chance de mostrar atuações mais precisas. Embora também não traga de novo ao seu personagem, é notório que existe todo um esforço um pouco mais refinado por parte do ator na tentativa de fortalecer o drama que persiste em fazer dele uma pessoa frágil, mas determinada. O restante da trama é apoiada em personagens muito aleatórios, e nem mesmos rostos já conhecidos (como os amigos de Pinkman, Badger e Skinny Pete) conseguem oferecer o peso mais profundo para à trama, que fica muito inerte a qualquer nova situação.

Uma produção fraca em termos mais técnicos, com um merecido destaque para a fotografia (que não é um mérito do filme em si, mas do sim do que foi visto na série de televisão). Vince Gilligan volta ao seu universo particular atento ao que precisa ser feito. Escrevendo e dirigindo El Camino: Um Filme de Breaking Bad, ele mostra que ainda tem o controle total da sua obra, mas também já deixa claro que tudo realmente chegou ao fim com o seu desgaste narrativo evidente, dentro de uma proposta saudosista, mas que consegue enaltecer ainda mais algo que ele criou com muita simplicidade.

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¡Hola amigos! Hoy les traigo la reseña de una película postapocalíptica de esas que me gustan. En esta ocasión la raza humana se enfrentará a la inteligencia artificial. Estoy hablando de The Creator.

Hello friends! Today I bring you the review of one of those post-apocalyptic movies that I like. This time the human race will face artificial intelligence. I'm talking about The Creator.

Trama - Plot

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La película se centra en la vida de Joshua un agente encubierto que está en la misión de descubrir la identidad y la ubicación de un sujeto llamado Nirmata que es el creador de la inteligencia artificial y que ahora creó un arma capaz de acabar con la guerra entre humanos pero a favor de las inteligencias artificiales. Al mismo tiempo tendrá que lidiar con fantasmas del pasado que amenazan con cambiar todo en lo que creía hasta ahora. 

The film focuses on the life of Joshua an undercover agent who is on a mission to discover the identity and location of a guy named Nirmata who is the creator of artificial intelligence and who now created a weapon capable of ending the war between humans but in favor of artificial intelligences. At the same time he will have to deal with ghosts from the past that threaten to change everything he believed in until now.

Reseña - Review

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La trama de la película no da a conocer nada nuevo. Sin embargo, fue una buena apuesta en mi opinión, aunque no haya un elemento nuevo que destacar. Les diría que hasta cierto punto se queda corta en desarrollo y argumento, ya que hay muchas cosas que nunca se terminan de explicar y hubiera sido interesante que se hiciera. Pero me resulto atrapante.

The plot of the movie doesn't give away anything new. However, it was a good bet in my opinion, even if there is no new element to highlight. I would say that to a certain extent it falls short in development and plot, since there are many things that are never explained and it would have been interesting to do so. But I found it enthralling.

La película fue bastante sentimental, ya que se ve a las IA como más que un pedazo de metal con inteligencia. De nuevo usan la fórmula de humanizar a la máquina incluso más que a los mismos humanos. Es que en un momento yo estaba del bando de las IA porque lo que les hacían los humanos era muy cruel y también se me cayeron un par de lágrimas por ellas jajaja. Bueno, en la película se ve como las IA tienen sentimientos humanos, incluso llegan a amar y criar niños humanos que quedaron huérfanos producto de la guerra.

The movie was quite sentimental, as the AIs are seen as more than just a piece of metal with intelligence. Again they use the formula of humanizing the machine even more than the humans themselves. It's just that at one point I was on the side of the AIs because what the humans were doing to them was so cruel and I also had a couple of tears for them hahaha. Well, in the movie you see how the AIs have human feelings, they even get to love and raise human children who were orphaned by the war.

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La esposa de nuestro protagonista Joshua fue una de esas personas que fueron criadas por las IA y las ve como familia. Sin embargo, él no comparte su pensamiento, ya que sus padres murieron en un ataque provocado por las IA. Aunque la película se encarga de revertir la situación, alerta de spoiler, cuando en su misión se da cuenta que el arma que Nirmata creó es la inteligencia artificial más completa jamás creada al tratarse de una niña robótica que tiene el poder de crecer y evolucionar con el pasar del tiempo como si se tratara de una niña humana. Y esto no es todo, esta IA también será muy importante en la trama y en la vida de Joshua, pero no les diré nada al respecto para no arruinarles la película, lo van a tener que descubrir ustedes si deciden verla. 

Our protagonist Joshua's wife was one of those people who were raised by AIs and sees them as family. However, he doesn't share her thinking, as her parents were killed in an AI-induced attack. Although the movie takes care of reversing the situation, spoiler alert, when on his mission he realizes that the weapon Nirmata created is the most complete artificial intelligence ever created as it is a robotic girl that has the power to grow and evolve over time as if it were a human girl. And that's not all, this AI will also be very important in the plot and in Joshua's life, but I won't tell you anything about it so as not to ruin the movie, you will have to find out if you decide to watch it.

La verdad que en esta película nos hacen quedar muy mal a los humanos, pero bueno. También es cierto que a pesar de todo siguen usando la tecnología en contra de las mismas IA. También me parece que todas estas películas son un vistazo a una posible realidad, no sé si tan extrema, pero el ser humano sigue creando tecnología avanzada en pos de superarse día a día y ver hasta donde es capaz de llegar con ellas.

The truth is that in this movie they make us humans look very bad, but well. It is also true that despite everything they continue to use technology against the same AI. It also seems to me that all these movies are a glimpse of a possible reality, I do not know if it is so extreme, but the human being continues to create advanced technology in pursuit of overcoming day by day and see how far he is able to get with them.

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Volviendo a la película, la verdad que me pareció muy entretenida, logró engancharme desde el principio. También tiene algunos toques humorísticos que refrescan la trama. La fotografía y los efectos especiales fueron realmente hipnóticos. Lo malo es que carece de un argumento sólido en sí y no hay mucha explicación de cómo se llegó a la guerra, o la creación de esta nueva IA, o incluso de Nomad, que es como una base espacial humana que juega un rol importante en la historia.

Going back to the movie, I found it very entertaining, it managed to hook me from the beginning. It also has some humorous touches that refresh the plot. The cinematography and special effects were really hypnotic. The bad thing is that it lacks a solid plot per se and there is not much explanation of how the war came to be, or the creation of this new AI, or even Nomad, which is like a human space base that plays an important role in the story.

Seguro que pudo haber sido mejor, pero si me preguntan a mí me encantó. Así que si les gustan las películas de ciencia ficción o si son un poco sensibleros como yo, esta película les viene muy bien.

Sure it could have been better, but if you ask me I loved it. So if you like sci-fi movies or if you're a little sappy like me, this movie is right up your alley.

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Bueno amigos, esta es mi opinión sobre esta película, espero les haya interesado y se animen a verla. Gracias por llegar hasta acá y leer. ¡Hasta la próxima!

Well friends, this is my opinion about this movie, I hope it has interested you and encourage you to watch it. Thanks for coming here and reading. See you next time!

Leave alone the person who is trying to get on with his life, quietly. You don't know what burdens he carries on his back. Don't think you are invincible. Don't believe that the world is as you think it is. Don't awaken the beast in all of us. No one pays attention, the human spirit is territorial and always wants to impose itself on the seemingly weak.

Guilt. Remorse. Past. Taking refuge as far away as possible from the old life is an option. Trying to find the longed-for tranquility. But we forget that there are places where the hatred of the stranger is very great. Nobody listens to advice. That's why, when everything gets out of control, it will be too late. Every action has consequences. If you are asked for something in a good way, why don't you listen? Be aware of the consequences when that person can't take any more injustice.

This film is the feature debut of filmmaker Julian Higgins, after making some short films and working on TV series. I'm always thrilled by a director's first films, when they leave their mark of narrative identity on their work. The story may not be groundbreaking, but I notice that his images are there in force. Stay tuned for the director's upcoming projects.

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Deja en paz a la persona que intenta seguir con su vida, tranquilamente. No sabes qué cargas lleva a sus espaldas. No te creas invencible. No creas que el mundo es como tú crees que es. No despiertes a la bestia que todos llevamos dentro. Nadie hace caso, el espíritu humano es territorial y siempre quiere imponerse a los aparentemente débiles.

Culpa. Remordimiento. Pasado. Refugiarse lo más lejos posible de la vieja vida es una opción. Tratar de encontrar la ansiada tranquilidad. Pero olvidamos que hay lugares donde el odio al extraño es muy grande. Nadie escucha los consejos. Por eso, cuando todo se descontrole, será demasiado tarde. Toda acción tiene consecuencias. Si te piden algo de buena manera, ¿por qué no haces caso? Sé consciente de las consecuencias cuando esa persona no pueda soportar más injusticias.

Esta película es el debut en el largometraje del cineasta Julian Higgins, tras realizar algunos cortometrajes y trabajar en series de televisión. Siempre me emocionan las primeras películas de un director, cuando dejan su marca de identidad narrativa en su obra. Puede que la historia no sea rompedora, pero noto que sus imágenes están ahí con fuerza. Estén atentos a los próximos proyectos del director.

Set in a deep American town, it tells a story with a modern western feel, addressing thorny issues such as racism, extreme machismo, abuse (in all its forms) and impunity in an environment where the law is a dead letter.

When I say that it has a lot of western feel to it, it is not just because it is set in a remote, cold and conservative town where carrying a gun is an everyday occurrence. The protagonist, Sandra, is the outsider who arrives in a place where she is not well regarded. A place where she will find it hard to fit in, coming from a big city where she had a former job as a law enforcement officer. So she finds herself unprotected in a land where everyone makes their own rules and those who should be in charge of dispensing justice are mere puppets in a corrupt society.

Everything has a limit. No matter how much you want to stay out of trouble. You just want to live in peace. When it is trouble that bothers you at your doorstep and you see how much abuse is going on everywhere. They will push you to forget your principles and, like them, act without caring about the consequences of your actions, seeking justice in a ruthless and cruel world.

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Ambientada en un pueblo de la América profunda se nos cuenta una historia con aires de western moderno, abordando temas espinosos como el racismo, el machismo extremo, el abuso (en todas sus formas) y la impunidad en un entorno donde la ley es papel mojado.

Cuando digo que tiene mucho de western, no es sólo porque esté ambientada en un pueblo remoto, frío y conservador donde llevar pistola es algo cotidiano. La protagonista, Sandra, es la forastera que llega a un lugar donde no está bien vista. Un lugar en el que le será difícil encajar, ya que viene de una gran ciudad en la que tuvo un antiguo trabajo como agente de la ley. Entonces se encuentra desprotegida en una tierra donde cada uno pone sus propias reglas y los que deberían encargarse de impartir justicia son meras marionetas en una sociedad corrupta.

Todo tiene un límite. No importa cuánto quieras mantenerte alejado de los problemas. Sólo quieres vivir en paz. Cuando son los problemas los que te molestan en la puerta de tu casa y además observas la cantidad de abusos que hay por todas partes. Te empujarán a olvidar tus principios y, como ellos, actuar sin importarte las consecuencias de tus actos, buscando la justicia en un mundo despiadado y cruel.

Definitivamente, el 2023 puedo considerarlo como el año en donde películas basadas en productos como juguetes, teléfonos inteligentes, zapatos deportivos y videojuegos, obtuvieron éxito al recibir el apoyo en algunos casos por la crítica especializada y en otros por la asistencia del público a las salas de cine; en los anteriores meses tuve la oportunidad de ver algunas de estas películas y puedo decir que la mayoría las he disfrutado, son buenos relatos, en dónde la mayoría tiene como similitud usar el tema de la superación, de ser historias motivadoras y en dónde por supuesto depende del estilo de film que representa y que al final enganche al público que no se considera como fiel a algunos de esos productos y de ahí está el verdadero éxito de un estilo de film que siempre ha existido, pero es ahora dónde parece obtener más notoriedad.

Definitely, 2023 can be considered as the year where movies based on products such as toys, smart phones, sports shoes and video games, were successful in receiving support in some cases by the specialized critics and in others by the attendance of the public to the movie theaters; In the previous months I had the opportunity to see some of these films and I can say that most of them I have enjoyed, they are good stories, where most of them have as similarity the theme of overcoming, being motivational stories and where of course it depends on the style of film that represents and that in the end hooks the public that is not considered as faithful to some of these products and therein lies the real success of a style of film that has always existed, but it is now where it seems to get more notoriety.

Fuente / Source

"Five Nights at Freddy's", film de terror sobrenatural, basada en un famoso videojuego del mismo nombre y que relata la historia "Mike Schmidt", un joven hombre afectado por un traumático pasado que la necesidad de obtener dinero para mantener la custodia de su pequeña hermana "Abby", le hace aceptar un trabajo como guardia de seguridad en "At Freddy Fazbear's Pizza", un lugar que en los ochenta era muy famoso por cómo la diversión ocurría vía a cuatro personajes, cuatro animatronics que animaban el lugar, pero un extraño sucedo que quedó sin esclarecer llevó a su cierre quedando completamente abandonada y dejando como asignación a quien acepte el trabajo, el mantener alejado a quien decida entrar y por supuesto sobrevivir a los terroríficos secretos de ese lugar.

"Five Nights at Freddy's", supernatural horror film, based on a famous video game of the same name and that tells the story of "Mike Schmidt", a young man affected by a traumatic past that the need to get money to keep custody of his little sister "Abby", makes him accept a job as a security guard at "At Freddy Fazbear's Pizza", a place that in the eighties was very famous for how the fun happened via four characters, four animatronics that animated the place, but a strange event that remained unclear led to its closure being completely abandoned and leaving as an assignment to whoever accepts the job, to keep away anyone who decides to enter and of course survive the terrifying secrets of that place.

Fuente / Source

Esta película fue dirigida por Emma Tammi, una directora que ha estado involucrada en producciones de terror, tanto cinematográficas como televisivas y pareciera ser propicia para este film el cual encontré muy parecido a las producciones televisivas de los 90' en dónde se explora el terror y suspenso, pero sin ser lo suficientemente gráficas, ni sangrientas, lo necesario para saber que sucede a ciertos personajes; aparte de lo antes descrito lo cual encontré correcto por parte de Tammi, ya que cumple con los requisitos de la historia, quiero también resaltar el buen trabajo en mantener ese suspenso en la primera escena y en otras dónde se enfoca en el personaje de "Mike" con el repetitivo trauma que lo afecta, puedo decir que esa son mis escenas favoritas y eso me hace decir que es un buen trabajo por parte de la directora, que posiblemente con otras decisiones u otro estilo en desarrollar el terror, seguramente pudo hacer mejor.

El guion lo puedo dividir en dos partes, una que me pareció bueno y es lo referente a la introducción de la historia, desde enseñar los peligros de un lugar abandonado y embrujado a lo que es el personaje principal por culpa de traumas del pasado y responsabilidades del presente, en eso puedo decir que esa parte de la historia la considero como un buen relato de terror, funciona de esa manera y lo cual debería preparar para algo más terrorífico, pero la realidad es que se presenta un problema que he visto en diferentes producciones y es que cuando se hace un film o se escribe el guion para un film el cual es considerado el primero de una extensa franquicia, se reprime de realizar muchas cosas que ayudan a un mejor desarrollo del primer film, justamente eso sucede en esta película la cual en calidad de historia cae en mitad del segundo acto hasta el final; está película se nota incompleta, un relato que es mal hecho, que no se entiendo cuando debería ser el mejor momento de relatar la historia, de hacerla aún más de terror.

This film was directed by Emma Tammi, a director who has been involved in horror productions, both film and television and seems to be suitable for this film which I found very similar to the television productions of the 90's where horror and suspense are explored, but without being sufficiently graphic or gory, the necessary to know what happens to certain characters; apart from the above described which I found correct by Tammi**_, since it meets the requirements of the story, I also want to highlight the good job in maintaining the suspense in the first scene and in others where it focuses on the character of "Mike" with the repetitive trauma that affects him, I can say that these are my favorite scenes and that makes me say that it is a good job by the director, which possibly with other decisions or another style in developing the terror, surely could have done better.

The script I can divide it into two parts, one that I thought was good and is what refers to the introduction of the story, from teaching the dangers of an abandoned and haunted place to what is the main character because of past traumas and responsibilities of the present, in that I can say that this part of the story I consider it as a good horror story, it works that way and which should prepare for something more terrifying, but the reality is that there is a problem that I have seen in different productions and that is that when a film is made or a script is written for a film which is considered the first of an extensive franchise, many things that help a better development of the first film are repressed, just that happens in this film which in quality of story falls in the middle of the second act until the end; this film feels incomplete, a story that is poorly done, which is not understood when it should be the best time to tell the story, to make it even more horror.

Fuente / Source

Todo el relato de la historia es desde el punto de vista de "Mike", interpretado por Josh Hutcherson, me pareció buena su actuación de alguien que está completamente afectado por su pasado, Mike es una víctima y ha perdido completamente toda noción del presente lo cual afecta la relación con su hermana menor siendo el hecho que desencadena una parte de la historia; en eso me gusta el cómo está escrito el personaje y la actuación de Hutcherson, quien sabe cómo expresar esa despreocupación personal, el abandono a su aspecto, lo afectado mentalmente, es un personaje que está cerca de la locura, en eso me convenció el actor y es de los puntos positivos del film; es una lástima que los demás personajes no estén bien desarrollados así como el final porque sería mejor película.

The whole story is told from the point of view of "Mike", played by Josh Hutcherson, I thought his performance was good as someone who is completely affected by his past, Mike is a victim and has completely lost all notion of the present which affects his relationship with his younger sister being the fact that triggers part of the story; in that I like the way the character is written and the performance of Hutcherson, who knows how to express that personal carelessness, the abandonment to his appearance, the mentally affected, is a character that is close to madness, in that the actor convinced me and is one of the positive points of the film; it is a pity that the other characters are not well developed as well as the ending because it would be a better film.

Fuente / Source

Esta era una de las películas que no quería ver en este año, siendo la principal razón de que no estoy familiarizado con el videojuego, cosa contraria a mi sobrino de ocho años de edad que me pidió el favor de ver el film y hacerle una reseña para que su padre (mi hermano) le dé permiso de ver esa película con la cual tiene una obsesión desde hace tiempo, así que se me hizo imposible negarme, convirtiéndose en el gran motivo para ver este film que me gustó el uso del tema de diferentes temas como el lidiar con un trauma, ser víctima, perder noción de lo importante de la vida y de una manera abrupta y necesaria despertar de una pesadilla para superar sus miedos; esos temas junto a buenas escenas hicieron entretenido a esta película, pero el lamentable final, lo desconcertante en el momento que otro personaje tiene el control del relato, hace que la historia no sea nada buena y lamentablemente, esta película pasa a ser parte de ese grupo de producciones con un gran potencial, pero con un mal desarrollo.

This was one of the films I did not want to see this year, being the main reason that I am not familiar with the video game, contrary to my eight year old nephew who asked me the favor to see the film and give him a review so that his father (my brother) would give him permission to see this film with which he has had an obsession for a long time, so it was impossible for me to refuse, becoming the great reason to see this film that I liked the use of the theme of different topics such as dealing with a trauma, being a victim, losing track of what is important in life and in an abrupt and necessary way to wake up from a nightmare to overcome their fears; those themes along with good scenes made this film entertaining, but the unfortunate ending, the disconcerting moment when another character takes control of the story, makes the story not good at all and unfortunately, this film becomes part of that group of productions with a great potential, but with a bad development.

Synopsis: Jaime Reyes is a young Mexican man, recently graduated from university, who returns home and joins his family. Full of dreams under his belt, he plans a better life for everyone, but destiny has a surprise in store for him that he has no idea about.

DC Comics continues to expand its particular comic book universe to the world's cinema screens and this time a Latin superhero is under the focus of this new adaptation, which initially promised to deliver a much more fun and meaningful project than it actually is. (yes, the movie is disappointing in many ways). Even opting for an approach considered “peculiar” in terms of superhero movies (but which failed miserably), DC Comics was quite bold and bet on the “surprise factor” to try to positively surprise fans, but failed.

The New York Times

Bringing part of the roots of the Latin people (in this case, the Mexicans) to the cinema screens, the script consistently tries to make the public buy into the spirit and exaggeratedly comical attitudes of a family with a behavioral content that sometimes sounds like something very inappropriate for living in society in the real world. The impression I had is that most of the protagonist's family is something that only exists in a parallel environment (because nothing justifies so much chaos, and random jokes in practically every scene in which they appear together).

This very peculiar family base ends up being the safe haven of a hero who, in search of his family and professional achievements, will face a true adventure when he “accidentally” becomes the Blue Beetle. After he maintains physical contact with the scarab (which is an ancient relic of alien biotechnology discovered by the plot's villain, Victoria Kord), he discovers that it has become a symbiotic host, and with that, he now has a large arsenal of weapons at his disposal. his willingness to fight evil and defend planet Earth from any and all major threats.

Entertainment Weekly

Within this extremely generic context, the only factor that could surprise would be the narrative tone that this approach involving the Latin American culture of Mexicans could bring. However, there is so much noise pollution (bad jokes everywhere) that it always bothers you more than it makes you laugh. In practically every moment nothing that should make you laugh works as it should. Most of the jokes are really bad and there is a use of terrible tone even in the most “reflective” moments of the movie. Contact with Mexican culture is minimal and quite forgettable.

Excluding this flawed cultural aspect, the script tries to find its support within its own narrative that is already very well known to any audience that has watched any other superhero movie. The formula is exactly the same and even the protagonist's own dilemmas are the same as so many others, failing to even try to create something with a more personal identity. Following the traditional linearity of comic books, the beginning, middle and end are very predictable, and despite delivering fun visual entertainment, the essence of the movie disappears.

DMT

Full of conventionality, the script creates situations that use and abuse “coincidences” (or just a particular “merit” to try to cause extra laughter in the audience) to explain some situations that happen and that make its characters meet at totally random moments and that don't make any sense when trying to give greater fidelity to the plot itself. This is extremely irritating, because despite sounding quite forced, it also highlights striking continuity errors and extremely lazy and tiring scene editing (removing any and all sense of urgency regarding dangers).

The characters are weak and uninteresting, and even the protagonist suffers from this same problem. However, Xolo Maridueña and Bruna Marquezine worked well together, exuded an interesting chemistry (even as poorly developed characters, as well as the rest of the cast) and managed to “carry” the movie on their shoulders. The point of disappointment in terms of the cast's performance is Susan Sarandon, who is unrecognizably terrible when giving life to a villain who is treated as a “nobody” throughout the entire movie). Over the course of practically two hours, I couldn't understand how even these central characters couldn't have proper development.

Looper

The work of director Angel Manuel Soto is well intentioned and it is clear that he was trying to deliver something with a different proposal than what is usual in DC Comics movie, but the result is very shallow and Blue Beetle is quite disposable. Unfortunately, even in aspects such as special effects and soundtrack this project fails. Although there are some cool action scenes, everything is very low-key compared to the entire movie, which doesn't really bring the roots it should to cultivate something more meaningful. The wear and tear within the same formula is quite visible.

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CRÍTICA DE PELÍCULA: “Blue Beetle” (2023)

Sinopsis: Jaime Reyes es un joven mexicano, recién graduado de la universidad, que regresa a casa y se reúne con su familia. Lleno de sueños en su haber, planea una vida mejor para todos, pero el destino le depara una sorpresa de la que no tiene idea.

DC Comics sigue expandiendo su particular universo del cómic a las pantallas de cine del mundo y en esta ocasión un superhéroe latino está bajo el foco de esta nueva adaptación, que inicialmente prometía entregar un proyecto mucho más divertido y significativo de lo que realmente es (sí, la película es decepcionante en muchos sentidos). Incluso optando por un enfoque considerado “peculiar” en términos de películas de superhéroes (pero que fracasó estrepitosamente), DC Comics fue bastante audaz y apostó por el “factor sorpresa” para intentar sorprender positivamente a los fans, pero fracasó.

Llevando parte de las raíces del pueblo latino (en este caso, los mexicanos) a las pantallas cinematográficas, el guión intenta constantemente hacer que el público compre el espíritu y las actitudes exageradamente cómicas de una familia con un contenido comportamental que a veces suena a algo muy inadecuado para vivir en sociedad en el mundo real. La impresión que tuve es que la mayor parte de la familia del protagonista es algo que sólo existe en un entorno paralelo (porque nada justifica tanto caos y bromas aleatorias en prácticamente todas las escenas en las que aparecen juntos).

Esta base familiar tan peculiar acaba siendo el refugio seguro de un héroe que, en busca de sus logros familiares y profesionales, se enfrentará a una auténtica aventura cuando “accidentalmente” se convierta en el Blue Beetle. Después de mantener contacto físico con el escarabajo (que es una antigua reliquia de biotecnología alienígena descubierta por la villana de la trama, Victoria Kord), descubre que se ha convertido en un anfitrión simbiótico, y con eso, ahora tiene un gran arsenal de armas en su disposición, su voluntad de luchar contra el mal y defender el planeta Tierra de todas y cada una de las amenazas importantes.

En este contexto tan genérico, lo único que podría sorprender sería el tono narrativo que podría aportar este acercamiento a la cultura latinoamericana de los mexicanos. Sin embargo, hay tanta contaminación acústica (chistes malos por todos lados) que siempre molesta más de lo que te hace reír. Prácticamente en cada momento nada que debería hacerte reír funciona como debería. La mayoría de los chistes son realmente malos y se utiliza un tono terrible incluso en los momentos más “reflexivos” de la película. El contacto con la cultura mexicana es mínimo y bastante olvidable.

Excluyendo este aspecto cultural defectuoso, el guión intenta encontrar su apoyo en su propia narrativa, que ya es muy conocida por cualquier público que haya visto cualquier otra película de superhéroes. La fórmula es exactamente la misma e incluso los dilemas del propio protagonista son los mismos que los de tantos otros, sin llegar siquiera a intentar crear algo con una identidad más personal. Siguiendo la linealidad tradicional de los cómics, el principio, el desarrollo y el final son muy predecibles y, a pesar de ofrecer un entretenimiento visual divertido, la esencia de la película desaparece.

Lleno de convencionalismo, el guión crea situaciones que utilizan y abusan de las “coincidencias” (o simplemente de un “mérito” particular para intentar provocar más risas en el público) para explicar algunas situaciones que suceden y que hacen que sus personajes se encuentren en momentos totalmente aleatorios y que no tienen ningún sentido al intentar dar mayor fidelidad a la propia trama. Esto es extremadamente irritante, porque a pesar de que suena bastante forzado, también resalta errores de continuidad sorprendentes y una edición de escenas extremadamente perezosa y agotadora (eliminando cualquier sentido de urgencia con respecto a los peligros).

Los personajes son débiles y poco interesantes, e incluso el protagonista sufre el mismo problema. Sin embargo, Xolo Maridueña y Bruna Marquezine trabajaron bien juntos, destilaron una química interesante (incluso como personajes poco desarrollados, al igual que el resto del elenco) y lograron “llevar” la película sobre sus hombros. El punto de decepción en cuanto a la actuación del reparto es Susan Sarandon, quien se muestra irreconociblemente terrible al dar vida a un villano que es tratado como un “don nadie” durante toda la película). En el transcurso de prácticamente dos horas, no pude entender cómo ni siquiera estos personajes centrales podían tener un desarrollo adecuado.

El trabajo del director Angel Manuel Soto está bien intencionado y se ve que intentaba entregar algo con una propuesta diferente a lo habitual en las películas de DC Comics, pero el resultado es muy superficial y Blue Beetle es bastante descartable. Desafortunadamente, incluso en aspectos como los efectos especiales y la banda sonora, este proyecto fracasa. Aunque hay algunas escenas de acción interesantes, todo es muy discreto en comparación con toda la película, lo que realmente no echa las raíces que debería para cultivar algo más significativo. El desgaste dentro de la misma fórmula es bastante visible.

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CRÍTICA DE FILME: “Besouro Azul” (2023)

Sinopse: Jaime Reyes é um jovem mexicano, recém-formado na universidade que volta para à sua casa e para o convívio de sua família. Cheio de sonhos na bagagem, ele planeja uma vida melhor para todos, mas o destino lhe reserva uma surpresa da qual ele não faz a menor ideia.

DC Comics continua a expandir o seu universo particular de quadrinhos para as telas dos cinemas mundiais e desta vez um super-herói latino está sob o foco dessa nova adaptação, que inicialmente prometeu entregar um projeto bem mais divertido e significativo do que na verdade ele é (sim, o filme é decepcionante em muitos aspectos). Mesmo optando por uma abordagem considerada “peculiar” em termos de filmes de super-heróis (mas que falhou miseravelmente), a DC Comics foi bastante ousada e apostou no “fator surpresa” para tentar surpreender positivamente os fãs, mas falhou.

Trazendo uma parte das raízes do povo latino (neste caso, os mexicanos) para às telas dos cinemas, o roteiro tenta de maneira consistente fazer o público comprar o espírito e as atitudes exageradamente cômicas de uma família com teor comportamental que às vezes soa como algo muito inapropriado para uma convivência em sociedade no mundo real. A impressão que eu tive é que a maior parte da família do protagonista é algo que só existe em um ambiente paralelo (porque nada justifica tanto caos, e piadas aleatórias em praticamente todas as cenas que eles aparecem todos juntos).

Essa base familiar bem peculiar acaba sendo o porto seguro de um herói que, em busca de suas realizações familiares e profissionais, irá enfrentar uma verdadeira aventura ao “acidentalmente” se tornar no Besouro Azul. Depois que ele mantém contato físico com o escaravelho (que é uma antiga relíquia de biotecnologia alienígena descoberta pela vilã da trama, Victoria Kord), ele descobre que se tornou um hospedeiro simbiótico, e com isso, agora ele possui um grande arsenal de armas à sua disposição para lutar contra o mal e defender o planeta Terra de toda e qualquer grande ameaça.

Dentro desse contexto extremamente genérico, o único fator que poderia surpreender seria o tom narrativo que essa abordagem envolvendo a cultura latino-americana dos mexicanos poderia trazer. No entanto, há tanta poluição sonora (piadas ruins por todos os lados) que sempre incomoda mais do que faz rir. Em praticamente todos os momentos nada do que deveria fazer rir funciona como deveria. A maioria das piadas é realmente ruim e há uma utilização de péssimo tom até mesmo nos momentos mais “reflexivos” do filme. O contato com cultura mexicana é mínimo e bem esquecível.

Excluindo esse aspecto cultural falho, o roteiro tenta encontrar o seu suporte dentro da sua própria narrativa que já é muito conhecido para qualquer público que já assistiu a qualquer outro filme de super-herói. A fórmula é exatamente à mesma e até mesmo os dilemas do próprio protagonista são iguais a tantos outros, falhando até mesmo em tentar criar algo com uma identidade mais pessoal. Seguindo à linearidade tradicional das estórias em quadrinhos, o início, o meio e o final são bem previsíveis, e apesar de entregar um entretenimento visual divertido, a essência do filme some.

Repleto de convencionalidade, o roteiro cria situações que usam e abusam de “coincidências” (ou apenas um “mérito” particular para tentar causar risos extras no público) para explicar algumas situações que acontecem e que fazem seus personagens se encontrarem em momentos totalmente aleatórios e que não fazem sentido algum ao tentar imprimir uma fidelidade maior à trama em si. Isso é extremamente irritante, porque apesar de soar como algo bastante forçado, evidencia também contundentes erros de continuidade e uma edição de cenas extremamente preguiçosa e cansativa (tirando todo e qualquer senso de urgência em relação aos perigos).

Os personagens são fracos e desinteressantes, e até mesmo o protagonista sofre com desse mesmo mal. No entanto, Xolo Maridueña e Bruna Marquezine funcionaram bem juntos, exalaram uma química interessante (mesmo na pele de personagens tão mal desenvolvidos, assim como todo o restante do elenco) e conseguem “carregar” o filme nas costas. O ponto da decepção em termos de atuação do elenco é a Susan Sarandon, que está irreconhecivelmente péssima ao dar vida à uma vilã que é tratada como uma “ninguém” o filme inteiro). Ao longo de praticamente duas horas, eu não consegui entender como até mesmo esses personagens centrais não conseguiram ter um desenvolvimento apropriado.

O trabalho do diretor Angel Manuel Soto é bem intencionado e percebe-se que ele estava tentando entregar algo com uma proposta diferente do que já é habitual nos filmes da DC Comics, mas o resultado é muito raso e Besouro Azul e é bastante descartável. Infelizmente, até mesmo em aspectos como efeitos especiais e trilha sonora esse projeto falha. Apesar de haver algumas cenas de ação legais, tudo é muito discreto em comparação ao filme inteiro, que realmente não traz as raízes que deveria para cultivar algo mais significativo. O desgaste dentro de uma mesma fórmula está bastante visível.

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Bueno, creo que me encontré con algo increíble y digno de asombro, la verdad que antes de finalizar el año no tenía esperanza alguna de encontrarme con una película de terror que de verdad valiera la pena, mira que en lo que respecta a dicho género soy bastante quisquilloso, técnicamente me crié con él y me sé casi que todos los clichés, aunque agradezco mucho a Scream en lo que respecta a eso, lo explican de forma chistosa y es que si te pones a ver es la realidad pero ese no es el tema en cuestión, lo que vamos a reseñar a continuación obviamente tiene esos típicos clichés pero se les da un giro de tuerca que lo hace realmente innovadora y se adapta a las generaciones más actuales, tocando temas que nos hacen sentir más representados. Estamos ante esa historia de chicos que se reúnen para jugar un juego que mantiene comunicación con los espíritus y al final alguien termina poseído o no consiguen cerrar el juego causando que el espíritu vaya provocando muerte o desesperación a los jugadores, hay muchas películas con esa descripción pero esta es simplemente diferente además de interesante, incluso podría decir que es lo suficientemente inmersiva para que en algunos momentos de la trama tuviera esa sensación de miedo por lo que podría llegar a pasar y mira que eso es muy díficil de conseguir, más sin el uso de screamers. Así que sin más dilación, hablemos un poco sobre Talk to Me.

Well, I think I found something incredible and amazing, the truth is that before the end of the year I had no hope of finding a horror movie that was really worth it, look how much I am picky about it, technically I grew up with it and I almost know all the clichés, although I really appreciate Scream in that respect, they explain it in a funny way and that if you start to see it is reality but that is not the issue at hand, what we are going to review next obviously has those typical clichés but they are given a twist that makes it really innovative and adapts to more current generations, touching topics that make us feel more represented. We are before that story of boys who meet to play a game that maintains communication with spirits and in the end someone ends up possessed or does not manage to close the game causing the spirit to go causing death or despair to the players, there are many movies with that description but this is simply different in addition to interesting, I could even say that it is immersive enough so that in some moments of the plot I had that feeling of fear for what could happen and look how difficult it is to achieve, even without the use of screamers. So without further ado, let's talk a little about Talk to Me.

_{[_Source_](https://www.wired.com/story/talk-to-me-movie-review/)}

VERSIÓN EN ESPAÑOL (click aquí)

La película nos cuenta la historia de Mia, una chica cuya madre ha fallecido hace ya muchos años y cercano se encuentra el aniversario de su muerte, su vida se basa en actuar sin ninguna emoción y la relación con su padre es prácticamente nula debido a que éste no ha sabido cómo sobrellevar la relación con su hija, provocando que Mia haya sido acogida en la casa de su mejor amiga, Jade, persona con la cual ha estado viendo unos extraños vídeos virales donde los participantes parecen ser poseídos durante unos 90 segundos haciendo cosas raras en el proceso, con tal de querer sentir algo de nuevo, Mia le dirá a Jade para asistir a uno de estos eventos donde se llevan a cabo las grabaciones de estos vídeos tan populares, Jade duda totalmente de la realidad de los mismos pero a regañadientes acepta a ir junto a su hermano menor Riley. Una vez que se encuentran en el lugar, Mia se ofrecerá como voluntaria siendo atada a una silla y siendo colocada ante ella una mano disecada, la cual deberá estrechar y decir "Háblame" para que se habra una especie de portal hacia el limbo, siendo visible para quien toca la mano un espíritu, la situación se pone más intensa cuando le dice al espíritu que puede entrar a su cuerpo, haciendo que ocurran cosas paranormales como por ejemplo que se abran puertas, para cerrar el juego, se le debe quitar la mano al jugador y apagar la vela que se prende al comienzar. Mia explica que mientras el espíritu se apodera de tu cuerpo se siente un éxtasis increíble, tal cual como si de una droga se tratase, buscando repetir esto decide hacer lo mismo en casa de Jade, dejando que el hermano menor de la misma, Riley, participe haciendo que todo acabe totalmente mal, quedando tanto como Mia y Riley afectados por el juego. La primera queda viendo espíritus sin necesidad de la mano y el otro queda gravemente herido físicamente por su posesión. El deber de Mia será intentar remediar los daños causados y solucionar el problema de Riley.

The movie tells the story of Mia, a girl whose mother died many years ago and whose anniversary is coming up soon. Her life is based on acting without any emotion and her relationship with her father is practically non-existent because he has not known how to deal with his relationship with his daughter, causing Mia to be taken in by her best friend, Jade. Jade and Mia have been watching strange viral videos where the participants seem to be possessed for about 90 seconds, doing strange things in the process, in order to feel something new, Mia will tell Jade to go to one of these events where the recordings of these popular videos are made. Jade totally doubts the reality of them but reluctantly agrees to go with her younger brother Riley. Once they are in the place, Mia will offer herself as a volunteer, being tied to a chair and a desiccated hand being placed in front of her, which she must shake and say "Talk to me" for a kind of portal to the limbo to open, being visible to the person who touches the hand a spirit. The situation gets more intense when she tells the spirit that it can enter her body, causing paranormal things to happen, such as doors opening. To close the game, the player must remove the hand and blow out the candle that is lit at the beginning. Mia explains that while the spirit takes over your body, you feel an incredible ecstasy, just like a drug, looking to repeat this, she decides to do the same at Jade's house, letting her younger brother Riley participate, making everything end up completely wrong, leaving both Mia and Riley affected by the game. The first one sees spirits without the need of the hand and the other one is physically seriously injured by his possession. Mia's duty will be to try to remedy the damage caused and solve Riley's problem.

_{[_Source_](https://www.augustman.com/sg/entertainment/film-tv/talk-to-me-2-sequel-a24-movie/)}

VERSIÓN EN ESPAÑOL (click aquí)

El mensaje es bastante claro, no hay que pensarlo mucho (aunque quizás un poco sí), la mano que estrecha la protagonista representa la búsqueda de ese contacto humano que desea la sociedad en la actualidad, donde cada vez estamos más separados los unos a otros a través de la tecnología. Se puede observar cómo el usar la tecnología para reemplazar el afecto humano trae consecuencias graves las cuales son muy difíciles de remediar, el reemplazo que encontremos incluso se puede volver en una especie de adicción que para nada nos hace bien. En vez de buscar a una persona que nos apoye decidimos tomar el camino de las redes sociales y la viralidad, hecho en el que incurre Mia al acceder el famoso reto que tanto ha visto. La otra parte de la película trata de mostrar el cómo es lidiar con el duelo de un ser querido, ese sentimiento de soledad y de no pertenecer, a pesar de que la famila de su mejor amiga la aprecia mucho, dejándose llevar por la apariencia de un espíritu que luce como su madre, en esa búsqueda de afecto que perdió y que tanto añora, provocando que poco a poco vaya perdiendo la cordura debido a las manipulaciones ejecutadas por el espíritu. El transcurso de la trama y el desarrollo de los personajes está bastante bien logrado, hay una sensación de inmersión debido a las dudas que te van surgiendo, no puedes dejar de pensar en eso hasta que obtienes las respuestas, la cuales aparecen casi que finalizando la obra, lo más interesante es que se logra un final satisfactorio que además da para una secuela y precuela pero fácilmente podría terminarse de esa forma, no es un final abierto.

The message is quite clear, you don't have to think about it too much (although maybe a little bit), the hand that shakes the protagonist represents the search for that human contact that society wants today, where we are more and more separated from each other through technology. You can see how using technology to replace human affection has serious consequences that are very difficult to remedy, the replacement we find can even become a kind of addiction that does us no good. Instead of looking for a person who supports us, we decide to take the path of social networks and virality, something Mia does when she accesses the famous challenge she's seen so much. The other part of the movie is about how to deal with the loss of a loved one, that feeling of loneliness and not belonging, despite the fact that her best friend's family appreciates her a lot, letting herself be carried away by the appearance of a spirit that looks like her mother, in that search for affection she lost and that she misses so much, causing her to gradually lose her sanity due to the manipulations executed by the spirit. The course of the plot and the development of the characters is quite well done, there is a sense of immersion due to the doubts that arise, you can't stop thinking about it until you get the answers, which appear almost at the end, the most interesting thing is that a satisfactory ending is achieved which also gives for a sequel and prequel but it could easily be finished that way, it is not an open ending.

_{[_Source_](https://www.dazeddigital.com/film-tv/article/60422/1/talk-to-me-a24-teen-horror-michael-philippou-review-interview)}

VERSIÓN EN ESPAÑOL (click aquí)

Lo que he de destacar de sobremanera es el hecho de que hay decidido hacer los efectos de forma práctica en vez que con computadora, el maquillaje está tan bien logrado que es muy realista, causando un repelús increíble y más cuando se hacen énfasis hacia ciertos espíritus, los cuales algún escalofrío te pueden llegar a sacar debido a la tensión con la cual está cargada la escena en cuestión. Otra cosa a destacar es sin dudas la actuación del actor de Riley, quien sin él no existiría la mitad de la película, todos concordamos que un maquillaje puede ser aterrador pero lo que lo hace verdaderamente aterrador es saberlo actuar y el actor lo consigue a la perfección, esas escenas donde está poseído y se auto lesiona son increíbles, están muy bien logradas, en específico la de la ducha, esa te llega a poner realmente incómodo que puede que hasta te haga apartar la mirada de la pantalla. Una cosa extraña o gusto particular de los directores es una especie de humor negro que simplemente no llegué a comprender, solo noté una escena que podría encajar como humor pero es más extraña o bizarra que otra cosa, igualmente este humor no es impedimento para nada al momento de ver la obra ya que no es tan relevante y como tal solo conté un momento como ese. Me encanta la forma en la que se van presentando las cosas, haciendo que después todo agarre un significado, la presentación de misterios para la posterior resolución, aunque ciertamente hay cosas que no llegan a explicar del todo y termina a interpretación del espectador, aunque no llega a ser tan complicado llegar a tus propias conclusiones. En definitiva, una película de terror que deben ver sí o sí, de este año es de las mejores sin dudas.

What I have to highlight above all is the fact that they have decided to make the effects practically instead of with a computer, the makeup is so well achieved that it is very realistic, causing an incredible repulsion and more when they emphasize certain spirits, which some chill can get you out due to the tension with which the scene in question is loaded. Another thing to highlight is undoubtedly the performance of the actor of Riley, who without him half the movie would not exist, we all agree that makeup can be terrifying but what really makes it terrifying is knowing how to act and the actor manages it perfectly, those scenes where he is possessed and self-injures They are incredible, they are very well achieved, specifically the one in the shower, that one gets you really uncomfortable that it can even make you look away from the screen. A strange or particular taste of the directors is a kind of black humor that I simply did not understand, I only noticed one scene that could fit as a joke but it is more strange or bizarre than anything else, nevertheless this humor is not an impediment to anything when watching the work since it is not so relevant and as such I only counted one moment like that. I love the way things are presented, making everything afterwards make sense, the presentation of mysteries for the subsequent resolution, although there are certainly things that are not fully explained and ends up interpretation of the spectator, although it is not so complicated to reach your own conclusions. In short, a horror movie that you must see yes or yes, this year is one of the best without a doubt.

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

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Recently released on Netflix, Daily Dose of Sunshine revolves around the story of Jung Da-Eun, a nurse who recently transferred from the internal medicine to neuropsychiatry department. While working at internal medicine, Da-Eun was considered quite a nuisance and slow to her co-workers. As a nurse in internal medicine, she was also seen as “too kind”. While transferring to neuropsychiatry, her kindness could be a double-edged sword as she navigates the fascinating world of people who deal with mental challenges. There are 12 episodes in this series and it is based on a webtoon titled 정신병동에도 아침이 와요. This series is also directed by the same All Of Us Are Dead director, Lee Jae Kyu. Since its release, this series has been on the top 5 list in Netflix Indonesia which indicates that a lot of people in the country are taking an interest in this series. Now, as the title suggests, I have been wanting to discuss 12 episodes vs 6 episodes series especially in South Korean production. Should Daily Dose of Sunshine be shorter than 12 episodes or was 12 episodes justified for the story and pacing? Let’s dive into that!

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In the first episode, we’ll be taken into an introduction of the characters. Jung Da-Eun (Park Bo-Young) was seen getting into a mental ward and was about to start her first day at the new department. Inside the department, there are some nurse staff as well as the potential love interest of the main character, Dong Go-Yun, a proctology doctor who went to the psychiatry ward to get an assessment of his alleged OCD. In the first episode, we will also be introduced to the first case: Bipolar disorder.

In the second and all the following episodes, while still tying the story to bipolar disorder, we are also introduced to the many facets of mental challenges. It attempts to portray that people from all-walksof- life are also susceptible to it. At the same time, we are also shown that the caregiver/nurse such as Dae-Eun is also not an exception. While navigating her depression, we are shown how important it is to have a strong support system as well as the willingness to recover. The story is quite slow paced in that each episode contains two stories that intertwine and attempt to find its resolution. While it’s good that we’re given different examples of mental illnesses, I personally think 12 episodes was quite too much as some story could have been cramped into one episode along with its resolution. While the pros of 12 episodes, the character development is a lot better, it could feel quite boring to watch similar events unfold and the pacing was rather slow.

The story could have been a 6 episodes series from the start when Dae-Eun moves to the department, introducing a few mental health challenges, to perhaps episode 4 where Dae-Eun struggles with depression and eventually recovers from it. But I suppose, they want to cover as many cases as possible, which is why they’re doing 12 episodes instead of 6.

The cons of longer episodes is that introducing more characters is often not necessary causing the focus to stray from the main character if it's not done well. In this series case, I think the dash of triangle love as well as too many cases sort of stray from its main protagonist which is Dae-Eun. A lot of South Korean series that are longer tend to fall flat in the middle while those with shorter series possess more anticipation and have a room for expanding it to season 2 which to be fair, in terms of business, it could be good.

The shorter series such as D.P, Home Sweet Home, The Nurse Files, all have a few protagonists and storyline that are quite solid. Despite only having shorter episodes, it was packed enough to fit in a whole frame of plot, character development and resolution of the conflict to the audience. Although one of the shorter series is that more often than not, the second episode quality tends to be lower than the first one. It sort of ruins the experience as often we have to wait a few years before the next season comes.

In the case of Daily Dose of Sunshine, I would suggest watching it if you’re interested in a series that talks about mental health challenges. It asks us to be more empathetic and learn from people who are suffering that a lot of us can be in the same situation all of sudden. While there is a mix of balance between veteran actors and rookie actors, the overall acting was quite okay. The character development, storyline as well as the resolution of the conflict are still worth following. I definitely suggest checking out this one among the recent release on Netflix.

La venganza de un hombre contra quiénes le asesinaron a su perro se convirtió en la premisa de una historia que captó la atención de muchas personas en lo que parecía una simple y repetida película de acción, pero la realidad es que el desarrollo de la exitosa franquicia de "John Wick", ha demostrado que el principal hecho que origina toda, abrió las puertas a un mundo con un potencial enorme a desarrollar y después de pasar cierto tiempo, los creadores de ese mundo de asesinos, reglas, orden y demás, han decidido expandir con historias que profundizarán más en elementos importantes en la franquicia siendo la primera producción enfocada en un personaje ya conocido como obtuvo sus dominios.

The revenge of a man against those who murdered his dog became the premise of a story that captured the attention of many people in what seemed like a simple and repeated action movie, but the reality is that the development of the successful franchise of "John Wick", has shown that the main fact that originates all, opened the doors to a world with a huge potential to develop and after spending some time, the creators of that world of killers, rules, order and so on, have decided to expand with stories that will deepen more important elements in the franchise being the first production focused on a character already known as he got his domain.

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"The Continental" o también conocida como "The Continental: From the World of John Wick", es el primer spin-off de la franquicia de uno de los mejores personajes en los últimos nueve años en el género de acción y que ahora tiene la oportunidad de expandir ciertos orígenes de personajes que tiene protagonismo en la historia principal como por ejemplo "Winston Scott" que es conocido por ser dueño y manager de "The Continental" en la ciudad de Nueva York, pero que en esta oportunidad veremos una historia situada en los 70' la cual relata cómo llegó a esa posición; seremos testigo de su origen, de como fue su ascenso, sus motivos, sus aliados y por supuesto sus enemigos; todo dividido en una miniserie de tres episodios.

"The Continental" or also known as "The Continental: From the World of John Wick", is the first spin-off of the franchise of one of the best characters in the last nine years in the action genre and now has the opportunity to expand certain origins of characters that has a leading role in the main story such as "Winston Scott" who is known for being the owner and manager of "The Continental" in New York City, but this time we will see a story set in the 70's which tells how he reached that position; We will witness his origin, his rise, his motives, his allies and of course his enemies; all divided into a three-episode miniseries.

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Los tres episodios que conforman esta producción, cada uno, tiene una duración de más de una hora de metraje; cuentan con la dirección de Albert Hughes quien dirige tanto el primer como tercer episodio y de Charlotte Brändström quien dirige el segundo episodio; ambos directores tiene la necesidad de crear impacto en la manera de relatar una misma historia desde diferentes puntos de vista, en dónde posiblemente sea más atrayente la realizada por Hughes en dónde contará con más escenas de acción, las cuales considero buenas aunque con aspectos caricaturescos, pero con buena edición, en especial el primer episodio. Del segundo episodio, nos demuestra una pausa o enfoque en otros personajes que deben ser desarrollados, pero eso no evita que tenga una buena y simple secuencias de peleas, ambas muy bien coordinadas y diferentes; con esto digo que ambos directores realizaron un buen trabajo.

Este relato del origen del personaje de "Winston" es algo caótico y disperso; eso es debido a la cantidad de subtramas que ocurren en esta breve historia; en mi opinión es lo menos atrayente de esta producción porque se pierde lo importante y es profundizar en la actitud de este personaje importante dentro de esta franquicia; está indicación de mi parte con respecto a lo disperso de la narrativa es más que nada por el protagonismo de ciertos personajes que no tendrá influencia en el futuro de Winston y que le quitan tiempo en el desarrollo de este personaje en una edad joven; seguramente se quería demostrar más imágenes de ese mundo criminal que de una manera u otra debe estar bajo el régimen de algo más poderosos que parece invisible, pero nuevamente repito, no tiene una gran influencia en lo que el personaje principal hará en el futuro.

The three episodes that make up this production, each one has a duration of more than an hour of footage; they are directed by Albert Hughes who directs both the first and third episode and Charlotte Brändström who directs the second episode; both directors have the need to create impact in the way of telling the same story from different points of view, where it is possibly more appealing the one made by Hughes where it will have more action scenes, which I consider good although with cartoonish aspects, but with good editing, especially the first episode. From the second episode, it shows us a pause or focus on other characters that should be developed, but that does not prevent it from having a good and simple fight sequences, both very well coordinated and different; with this I say that both directors did a good job.

This story of the origin of the character of "Winston" is somewhat chaotic and scattered; that is due to the amount of subplots that occur in this brief story; in my opinion it is the least appealing of this production because it misses the important thing and that is to deepen the attitude of this important character within this franchise; this indication on my part regarding the dispersed narrative is mostly due to the prominence of certain characters that will not influence Winston's future and that take time away from the development of this character at a young age; surely they wanted to show more images of this criminal world that in one way or another must be under the regime of something more powerful that seems invisible, but again I repeat, it does not have a great influence on what the main character will do in the future.

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En el renglón de las actuaciones o más que nada la aparición de nuevos personajes, no hay ninguna duda que el trabajo hecho por Mel Gibson como "Cormac" quien para esta historia es el regente de The Continental, es lo mejor en la actuación, posiblemente tuvo la facilidad en su creación porque este personaje es todo lo contrario a lo que vemos de "Winston" en los films de John Wick; me refiero a que Cormac es un poderoso personaje, el cual no solo demuestra poder en un lugar lleno de letales personas, sino también en una ciudad en dónde el peligro es latente y la esperanza es escasa; pero regresando a lo que representa la actuación de Gibson, me gusta que demuestre que es un ser sofisticado, pero a la vez violento, vil, despiadado, que usa la mentira como una poderosa arma y con esto puedo no haber tanta diferencia con el próximo dueño de ese gran hotel, pero el respeto por las reglas es la gran diferencia entre él y la versión de un Winston maduro. Con respecto a Colin Woodell quien interpreta a un joven "Winston Scott"; me gusta que no sea una fiel copia, que tenga algo que le pueda suministrar al personaje aunque sea muy poco y es que lamentable no tiene el tiempo para desarrollar a esa versión del personaje y eso me hace pensar que se pudo hacer una historia mejor de su origen.

In the line of performances or more than anything the appearance of new characters, there is no doubt that the work done by Mel Gibson as "Cormac" who for this story is the regent of The Continental, is the best in acting, possibly had the ease in its creation because this character is the opposite of what we see of "Winston" in the John Wick films; I mean Cormac is a powerful character, who not only demonstrates power in a place full of lethal people, but also in a city where danger is latent and hope is scarce; but going back to what Gibson's performance represents, I like that he shows that he is a sophisticated being, but at the same time violent, vile, ruthless, who uses lies as a powerful weapon and with this there may not be so much difference with the next owner of that great hotel, but the respect for the rules is the big difference between him and the version of a mature Winston. Regarding Colin Woodell who plays a young "Winston Scott"; I like that he is not a faithful copy, that he has something to give to the character even if it is very little and it is unfortunate that he does not have the time to develop that version of the character and that makes me think that a better story of his origin could have been done.

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Esta fue una extraña producción, al momento de verla pensaba sobre cuál era la importancia de esta historia, me refiero a lo necesaria y es que siendo sincero, me costó poder enganchar con la historia y creo que a pesar de ser tan solo tres episodios, no siento que haya disfrutado de la historia y es que lamentable a pesar de ser una producción de acción, crimen y drama, no hay nada en la historia de los personajes que haya creado en mí un interés sobre ellos, esto hace que en mi opinión se pierda una oportunidad de hacer algo bueno, no me refiero a diferente u original, hablo de algo bien hecho, bien escrito para que sea el gran complemento en la producción de esta miniserie y ojalá que en el futuro, en las próximas producciones que son parte de ese universo de "John Wick", puedan desarrollar mejores historias que hagan crecer a la franquicia y no sean parte de un innecesario desgaste de una gran y entretenida historia.

This was a strange production, at the moment of watching it I was thinking about what was the importance of this story, I mean necessary and being honest, it was hard for me to get hooked with the story and I think that despite being only three episodes, I do not feel that I enjoyed the story and unfortunately despite being a production of action, crime and drama, there is nothing in the story of the characters that has created in me an interest in them, I don't mean different or original, I'm talking about something well done, well written to be the great complement in the production of this miniseries and hopefully in the future, in the next productions that are part of the universe of "John Wick", they can develop better stories that make the franchise grow and not be part of an unnecessary wear of a great and entertaining story.

I have to say that from a point a view compared to previous season one might think they ran out of ideas but the truth is that I think this is going to be the last season and it would be fine if it is, after all going to Mars has been the ultimate planet to conquer and so far here we are stuck at Earth, after getting to Mars on season three now they want to develop the idea of what would be building up a colony in the red planet for this to happen other tech need to advance exponentially like they engines they constantly talk about since season two because it would not be possible, aka one of the reasons we are still on Earth; on this episode they mention that workers going to Mars is at least a two year tour. So far the main topic of the episode/season is mining the space, most likely on Mars there wont be the same minerals necessary to build infrastructure now the crew that grew into a small town called Happy Valley looks for new options and recently discover a meteorite with tons of minerals mostly metal that would serve to build this infrastructure they talk about, we might think why not import it from Earth or other close planets and I guess transport is a one problem, second importing from Earth would be like exploding one planet that is already hurt to build a second one, the most efficient way to move forward with this is to leave Earth alone and let it heal, at least to me this are they things that make series like this attractive to me, imagine what could be and how may happen, they all using suits at Mars when going outside so when are they going to create an atmosphere? an on going topic on many Sci-Fi series.

On this post I wanted to try something different, I have been looking how to make it more attractive and describe scenes not just with a screenshot and a long text that most people are not interested in reading so I thought make it more visually descriptive, so basically you get the idea right from the images and words remain as my opinion and not necessary describing the entire scene also try to reduce the amount of snapshots on one post, it took me twice the time compare to my previous posts but it was a lot of fun, this are two things I like editing images and writing.

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Happy Valley has grown since season three and now is looking to expand, bringing in workers from Earth to start building that infrastructure, on this episode on a few scenes we an see things like the dorms are like small room of metal and everything is interconnected by cylinders, a small modular city, most likely the big dome the one that looks darker might be the main entrance and to the left another white dome but smaller I guess could be control center, usually all those bigger cylinders to the right are use to grow plants and fish, self sustain quadraphonic systems, I think its very unlikely the season give a tour of Happy Valley but for sure will start to see the different sections through the episodes.

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Main character Edwin Baldwin comes back with his good old soviet cosmonaut friend Grigory, Edwin is now Captain in charge of the ship that will take the asteroid to Mars and Grigory the man who sets food first in the asteroid and start deploying a platform that will anchor the rock to the ship so it can be push to Mars. Edwin looks very old and I have to say for some reason the way he looks old has a vibe like he age under a different environment, I guess if humans every life in another planet at first might live longer because you are not going to get all the pollution, contamination, food probably healthier or at least under a better control, if you look at them both look very old but like they are still rolling and kicking.

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At first things look very simple but from the start I felt this was going to be more complicated than normal, only those you have jerry rig things with duct tape and zip ties will have a better understanding without having to be an engineer, before getting into that part, Grigory from the start turn on Edwin's yet when he is about to jump to the asteroid he mention how Edwin is always second, this makes reference to the first time Edwin got close to the moon on season one he hesitate and lost the opportunity to be the first man to land on the moon, this open the Pandora Box to a never ending sensation of been second and continuously taking very high risks on missions, some times necessary some other not so much and the outcome of this risk not always pays off but its the times that work make people feel they can get away wit it again.

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The asteroid has a series of cables attack to it with anchors but from the start of the episode you can tell the asteroid is not so compact, when Grigory touch it for the first time or when they set the anchors the surface crumbles also the structure they use to push the asteroid seems to thin and long also small compare to the size of the rock, speculating not that I know anything about space ships you will need a good amount of torque to create momentum to push and then enough tension on the cables for both push and then slow down, the cables work as net that traps the rock, if the cables become loose then the long thin structure that connects the ship with the rock will wobble or even snap.

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As I was watching the episode I started to get the feeling of what was going to happen the excited part was what are they going to do under such circumstances, Edwin is in charge so there is no way he is going to loose the rock, besides they are paying them a bonus to get the rock to Mars, probably big enough to risk their life, cables start to become loose as the asteroid crumbles and anchors detach, the torque generated by the ship makes the platform unstable on the asteroid side.

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Grigory and Tom who work setting up the platform as the asteroid decide to go out and try to set the cables back in place to keep the tension but this was ridiculous, they facing a platform the size of the building, first they need to stop the wobble if the platform doesn't kill them first and then set the cables back in place, stopping and object in space is not the same as stooping a car, there is no grip so things don't just stop when propulsion cuts off, not only the structure they build look stupid but now their plan to fix it is worst, that's exactly what happens, Tom and Gregory didn't make it to episode two so right from the start they cut off two characters, Tom gets stab from the back by part of the structure that snap and Grigory leg is trapped plus in the process his suit rips and now has a hole in it on top of that he didn't recharge his oxygen this leaves him with very little oxygen to breath and time to be rescue, Edwin had no other option to detach the ship from the asteroid and let Grigory die.

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NASA is piss off at Edwin, not the first time his risky maneuvers don't pay off well and now they are looking into replace him, besides he has been for too long, other pilots are either dead or back at Earth and he is the only OG that remain in Mars, his step daughter Kelly and her son are waiting for him but its always excuse after excuse for not coming back, he probably feels there is nothing exciting at Earth besides could also be a bit hurt after his ex wife died on season three when the NASA building suffer a terrorist attack with a bomb that killed her also brought down half of the building. Eli is the man in charge of NASA and calls in Danielle, she is a great pilot that knows the boundaries not like Edwin and for this reasons they had their arguments in the past, Eli calls her to offer Danielle to replace Edwin, she at first didn't want to but then start to reconsider.

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The Queen of Darkness, as Molly another ex pilot use to call her; Margo, ex NASA director is at Russia, I suspect this after she got blackmail by the Russians because she gave them Aleida engines design in exchange they don't hurt Sergei the ex Russian Space Program director, probably to avoid been judge for treason too, she move to Russia and is suppose to be a consultant but they don't want her in the program, she constantly feel some one is after her, watching her, spying on her and seems she was right, every day she goes to the same park and eats at a bench and all of the sudden this lady start talking to her and ends up with "I know you" like we have been watching you, is she with the Russians? is she with a US agency?

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Last but not least, Miles, a man who has been a worker all his life, experience with machines on construction sites, who has financial problems and also problems at home with his wife wanting to divorce due to the chaos that is their financial situation, it looks like she feels Miles either can't or don't want to solve this financial problems, in a desperate decision he decides to look for a job at the moon after a friend told him they hiring but when he gets to the interview face the problem that it takes months for him to get trained and go up there to what he can't wait, as a last resource he is offer a job at Mars, high risk high reward; its more time but few want the job.

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Both Miles an Danielle take the job, Danielle on her way to Happy Valley to get things under control, I don't think she is going to get there with the I'm The Boss attitude since she knows very well Edwin, she will try to help him get the mining mission complete so he can come back home but I think she doesn't know she probably traveling with her worst nightmare, Miles gives me the impression is going to become a pain in the ass at first been the new Edwin Baldwin in terms of doing things how he wants to.

Episode one of season four was mostly focus on a single scene, this is expected because on this type of series is hard you get actions more than two action scenes during the episode after all they are in space, this is not star wars where you got extreme unrealistic ships that move at the speed of light, things happen at a certain pace. Its nice that if this is the last season Edwin the main star of the show close it with his last mission and I hope he doesn't die, the shots at space look awesome this is a tv series with a good quality both the story and scenes are very good, both on a big screen say 50 inch tv the spaces scenes look awesome and with a VR headset even better, over all this is one of my favorite series in the past five years, top 10 for me.

Not everything is great, there are things I did not enjoy much like both the structure that they build to push the asteroid, it was build to fail; and their plan to get it back together, may be in the moment of the heat you wont notice this things because your dopamine is through the roof, specially using VR headset; with all the space scenes and the depth of things on the black void, but their plan to fix the structure was very stupid, they should have never go out, at best Edwin had to try to stop the asteroid from moving first if not let it go because one way or another the structure was going to break, it flex but the movement was too drastic and the arms snap that's why Tom was killed.

It took me some time to create this post, a couple of hours; taking all this images, editing, putting them together to make some sense takes way more time than it took me to make a regular post but I do like it and enjoy it more, creating posts for me is the fun part of Hive, I'm not really after getting upvotes but its nice when people do and show appreciation for the time I put on my posts, profits I let that to my investment and up voting others people post.

Another film I was looking forward to. After having a couple of masterpieces, David Fincher is a fascinating filmmaker whose entire career I have followed. I love everything he does. I'm not a blind fan. He also has works that haven't made an impact on me, but it's undeniable that he has a knack for transforming a simple story into a visual delight.

The Killer is very Fincher. I even think the director embodies something of himself in the character. It is known from many interviews and publications that Fincher is a perfectionist filmmaker. Every camera shot, framing, movement and the smallest detail within the frame, is very careful. A very methodical filmmaker, as is the film's killer.

Fincher's career began directing music videos for several well-known singers. Rick Springfield, George Michael, Billy Ido. Paula Abdul, Madonna. There he perfected his style. He knows that a picture is worth a thousand words, that's why it bothers me a bit that in The Killer the voice-over of the protagonist is so excessive.

When Fincher adapted The Girl with the Dragon Tattoo he knew how to save a lot of explanations from the book. He didn't need so much dialogue for the scenes in which the viewer tied up loose ends with the protagonist. I understand that in The Killer it is different, as his idea is to explore the mind of this methodical killer. I believe this comes from the source material, the graphic novel by Alexis No-lent, also known as Matz. I looked for it on the internet in my language but did not find it, I only got information where critics rate it as an excellent graphic novel. have you read it?

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Otra película que esperaba con ganas. Después de tener un par de obras maestras, David Fincher es un cineasta fascinante del que he seguido toda su carrera. Me encanta todo lo que hace. No soy un fan ciego. También tiene obras que no me han impactado, pero es innegable que tiene un don para transformar una simple historia en una delicia visual.

El asesino es muy Fincher. Incluso creo que el director encarna algo de sí mismo en el personaje. En muchas entrevistas y publicaciones se sabe que Fincher es un cineasta perfeccionista. Cada plano de cámara, encuadre, movimiento y el más mínimo detalle dentro del encuadre, está muy cuidado. Un cineasta muy metódico, como lo es el asesino de la película.

La carrera de Fincher comenzó dirigiendo vídeos musicales para varios cantantes conocidos. Rick Springfield, George Michael, Billy Ido. Paula Abdul, Madonna. Allí perfeccionó su estilo. Sabe que una imagen vale más que mil palabras, por eso me molesta un poco que en El asesino la voz en off del protagonista sea tan excesiva.

Cuando Fincher adaptó La chica del dragón tatuado supo ahorrarse muchas explicaciones del libro. No necesitaba tanto diálogo para las escenas en las que el espectador ataba cabos con la protagonista. Entiendo que en El asesino es diferente, ya que su idea es explorar la mente de este metódico asesino. Creo que esto viene del material original, la novela gráfica de Alexis No-lent, también conocido como Matz. La busqué en internet en mi idioma pero no la encontré, sólo conseguí información donde los críticos la califican como una excelente novela gráfica. ¿La ha leído?

Forget Seven, Zodiac or the extraordinary Mindhunter. The Killer is a thriller that tries to put us in the mind of a very careful professional killer, but who makes a serious mistake that triggers the chain of deaths we see in the story. This part is a little funny to me. So much emphasis is placed on the coldness of the killer, he brags about his technique, patience and that the key to his success is that he doesn't give a shit about anything, but this is false. We will discover that what he tells himself is a lie, he is such a psychopath that he believes his own lie.

Empathy is weakness. Empathy makes you vulnerable. Everyone has someone or something they love, that they care about. That is the Achilles heel that enemies will exploit to destroy you. If you're in the business of killing people, you might as well not care about anything at all. When you make a mistake, the consequences will hurt.

The stereotype of the perfect assassin. Quiet. Observant. Agile in the fight. Clever. Resourceful. We've seen this many times in countless movies. We have also seen thousands of revenge stories, a theme that always excites fans of this type of story. Fincher is not inventing anything new, I remind you that this is an adaptation of a graphic novel. But it was still a pleasure to watch his new film, which didn't move me as much as others, but it's hard not to admire the brilliance of his narrative technique and the beauty of his framing.

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Olvídese de Seven, Zodiac o la extraordinaria Mindhunter. The Killer es un thriller que intenta ponernos en la mente de un asesino profesional muy cuidadoso, pero que comete un grave error que desencadena la cadena de muertes que vemos en la historia. Esta parte me hace un poco de gracia. Se hace tanto hincapié en la frialdad del asesino, presume de su técnica, paciencia y de que la clave de su éxito es que todo le importa una mierda, pero esto es falso. Descubriremos que eso que se cuenta a sí mismo es mentira, es tan psicópata que se cree su propia mentira.

La empatía es debilidad. La empatía te hace vulnerable. Todo el mundo tiene a alguien o algo que ama, que le importa. Ese es el talón de Aquiles que los enemigos explotarán para destruirte. Si te dedicas a matar gente, es mejor que no te importe nada en absoluto. Cuando cometas un error, las consecuencias te dolerán.

El estereotipo del asesino perfecto. Callado. Observador. Ágil en la lucha. Inteligente. Ingenioso. Esto lo hemos visto muchas veces en innumerables películas. También hemos visto miles de historias de venganza, un tema que siempre entusiasma a los fans de este tipo de historias. Fincher no inventa nada nuevo, les recuerdo que se trata de una adaptación de una novela gráfica. Pero aun así ha sido un placer ver su nueva película, que no me ha emocionado tanto como otras, pero es difícil no admirar la brillantez de su técnica narrativa y la belleza de sus encuadres.

Billionaire, exuding eccentricity, purposefully detail-oriented and with almost “psychotic” personality traits (in terms of perfection in his business, and also in the search for more money and power), Elon Musk will get another extra spotlight for his professional and personal life: a biopic. Yes, that's exactly what you just read, he will get a movie about himself and with that, his fans and the general public will be able to learn more about who he is.

The Washington Post

Considering Musk's entire history, there could not be a better studio to produce this curious project than A24. The producer is famously recognized for delving into stories that go beyond common sense and this movie could be an interesting opportunity to expand its reach within the movie industry. If everything goes as expected, this movie will bring much above-average visibility to A24 and to Musk himself.

Currently owner of X (which is the old Twitter), vice president of OpenAI (an apparently non-profit artificial intelligence company), CEO of Tesla, as well as founder and CEO of Neuralink, Musk will have his story directed by a director who is As eccentric as he is, Darren Aronofsky (who is recognized for directing movies with a much less commercial appeal, focusing on executing narratives with a more complex, dense look and immersive impact).

BNN

The script will be based on an unauthorized biography (written by Walter Isaacson) that was released this year. This is an interesting fact, because it is clear that the movie will not be 100% realistic in both Musk's personal and professional aspects, so there will be “creative freedom” to define the type of narrative that will be addressed within all the arguments that will be presented (which will probably not be linear or consistent with expectations).

Without any release date (although production has already started) or even a team of writers to work on the story, the movie has been made official and promises to be one of the studio's most ambitious projects so far. Nothing “trivial” can be expected from the script, because considering the fact that Aronofksy is directing it, the minimum is that this movie is something “outside the box”, with the potential to bring the audience into what is being counted.

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Se acerca la película biográfica de Elon Musk.

Multimillonario, rebosante de excentricidad, decididamente detallista y con rasgos de personalidad casi “psicóticos” (en términos de perfección en su negocio, y también en la búsqueda de más dinero y poder), Elon Musk obtendrá otro foco extra para su carrera profesional y personal. vida: una película biográfica. Sí, eso es exactamente lo que acabas de leer, obtendrá una película sobre sí mismo y con eso sus fans y el público en general podrán conocer más sobre quién es.

Considerando toda la historia de Musk, no podría haber mejor estudio para producir este curioso proyecto que A24. El productor es famoso por profundizar en historias que van más allá del sentido común y esta película podría ser una interesante oportunidad para ampliar su alcance dentro de la industria cinematográfica. Si todo sale como se esperaba, esta película traerá una visibilidad muy superior a la media para A24 y para el propio Musk.

Actual propietario de X (que es el antiguo Twitter), vicepresidente de OpenAI (una empresa de inteligencia artificial aparentemente sin fines de lucro), CEO de Tesla, así como fundador y CEO de Neuralink, Musk tendrá su historia dirigida por un director tan excéntrico como él, Darren Aronofsky (quien es reconocido por dirigir películas con un atractivo mucho menos comercial, enfocándose en ejecutar narrativas con una mirada más compleja, densa y de impacto inmersivo).

El guión se basará en una biografía no autorizada (escrita por Walter Isaacson) que se publicó este año. Este es un dato interesante, porque está claro que la película no será 100% realista tanto en el aspecto personal como en el profesional de Musk, por lo que habrá “libertad creativa” para definir el tipo de narrativa que se abordará dentro de todos los argumentos que se presentará (que probablemente no será lineal ni consistente con las expectativas).

Sin fecha de estreno (aunque la producción ya ha comenzado) ni siquiera un equipo de escritores para trabajar en la historia, la película se ha hecho oficial y promete ser uno de los proyectos más ambiciosos del estudio hasta el momento. Del guión no se puede esperar nada “trivial”, porque considerando que lo dirige Aronofksy, lo mínimo es que esta película sea algo “fuera de lo común”, con potencial para acercar al público a lo que se cuenta.

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A cinebiografia de Elon Musk está chegando.

Bilionário, exalando excentricidade, propositalmente detalhista e com traços de personalidades quase “psicóticos” (em termos de perfeição em seus negócios, e também na busca por mais dinheiro e poder), Elon Musk conseguirá mais um holofote extra para à sua vida profissional e pessoal: uma cinebiografia. Sim, é isso mesmo que você acabou de ler, ele ganhará um filme sobre ele mesmo e com isso, os seus fãs e o público geral poderão conhecer mais sobre quem ele é.

Considerando todo esse histórico de Musk, não poderia haver um estúdio melhor para produzir esse curioso projeto do que a A24. A produtora é notoriamente reconhecida por mergulhar em estórias que fogem do senso comum e esse filme pode ser uma oportunidade interessante de ampliar o seu alcance dentro da indústria cinematográfica. Se tudo correr como o esperado, esse filme vai trazer uma visibilidade muito acima da média para a A24 e para o próprio Musk.

Atualmente proprietário do X (que é o antigo Twitter), vice-presidente da OpenAI (empresa de inteligência artificial aparentemente sem fins lucrativos), CEO da Tesla, além de fundador e CEO da *Neuralink, Musk terá à sua história dirigida por um diretor que é tão excêntrico quanto ele, Darren Aronofsky (que é reconhecido por dirigir filmes com um apelo bem menos comercial, apostando em execuções de narrativas com um olhar mais complexo, denso e de impacto imersivo).

O roteiro será baseado em uma biografia não autorizada (escrita por Walter Isaacson) que foi lançada este ano. Este é um fato interessante, porque fica claro que o filme não será 100% realista tanto no aspecto pessoal quando aspecto profissional de Musk, então, haverá uma “liberdade criativa” para definir o tipo de narrativa que será abordada dentro de todos os argumentos que serão apresentados (que provavelmente não serão lineares ou coerentes com expectivas).

Sem qualquer previsão de estreia (embora a produção já tenha começado) ou até mesmo um time de roteiristas para trabalhar na história, o filme foi oficializado e promete ser um dos projetos mais ambiciosos do estúdio até então. Nada de “trivial” pode ser esperado do roteiro, porque considerando o fato de que quem vai dirigi-lo é Aronofksy, o mínimo é que esse filme seja algo “fora da caixa”, com um potencial de trazer o público para dentro do que está sendo contado.