You well know that I do not like horror movies, I have seen several, and none has caused me so much impact or fear to say, it is worth watching, because it achieves its purpose; however, some time ago I was encouraged to see this movie with my mom, because she was very interested in watching it, because when the original came out, she remembers having seen it in the cinema, and it was really impressive, and very good, of course in the cinema it is different, the effects are better appreciated.

Bien saben que no me gustan mucho las películas de terror, he visto varias, y ninguna me ha causado tanto impacto o miedo para decir, vale la pena verla, porque logra su cometido; sin embargo, hace un tiempo me anime a ver esta película con mi mamá, ya que ella tenía mucho interés en mirarla, debido a que, cuando salió la original, ella recuerda haberla visto en el cine, y fue realmente impresionante, y muy buena, claro en el cine es distinto, se aprecian mejor los efectos.

The Exorcist, the original, was released in 1973, since then there have been other versions based on this story, but none like the first one.

Recently, this new version called The Exorcist: Believers, which shows us the story of a father who had to raise his daughter alone, after the death of his wife in the earthquake in Haiti, this young girl, along with her friend, decide to go into the forest, but they disappear for three days, when they find them, they return without remembering anything that happened to them, but everything seems to indicate that something evil took over them.

This is basically the summary of this story, where the film tries to be an updated sequel to the original, retaking some elements, among the music and characters, as well as iconic scenes, such as the head turn or the crucifix.

El Exorcista, la original, se estrenó en el año 1973, desde entonces ha sacado otras versiones basadas en esta historia, pero ninguna como la primera.

Recientemente, salió esta nueva versión denominada EL exorcista:Creyentes, la cual nos muestra la historia de un padre que le toco criar a su hija solo, después de la muerte de su esposa en el terremoto de Haití, esta joven niña, junto con su amiga, deciden adentrarse en el bosque, pero las mismas desaparecen, por tres días, al encontrarlas, regresan sin recordar nada de que les paso, pero todo parece indicar que algo maligno se apoderó de ellas.

Esto es básicamente el resumen de esta historia, donde la película intenta ser una secuela actualizada de la original, retomando algunos elementos, entre la música y personajes, asi como escenas icónicas, como la del giro de la cabeza o el crucifijo.

However, it also shows other significant changes, such as the setting, for example, when it begins, in Haiti, the diversity of characters, the inclusion of social issues, the different religions, the exploration of the faith and doubt of the protagonists, among others.

We cannot deny that the main characters played a good role, among them the two girls, with the representation of those evil spirits inside their bodies, the desperation of the parents, and those involved in recreating the exorcism ritual.

The story is interesting, and there is no denying it, it has its moments of tension and suspense, but this is seen almost at the end of the film, since at the beginning, in my opinion, it was a little slow and boring, for a horror film.

Sin embargo, también muestra otros cambios significativos, como la ambientación, por ejemplo, cuando inicia, en Haití, la diversidad de personajes, la inclusión de temas sociales, las distintas religiones, la exploración de la fe y duda de los protagonistas, entre otras.

No podemos negar que los personajes principales realizaron un buen papel, entre ellas las dos niñas, con la representación de esos espíritus malignos dentro de su cuerpo, la desesperación de los padres, y los que se involucraron en recrear el ritual del exorcismo.

La historia es interesante, y no se le puede negar, tiene sus momentos de tensión y suspenso, pero esto se ve ya casi culminando la película, puesto que al principio, a mi parecer fue un poco lenta y aburrida, para ser un film de terror.

It is as if they divided the story into three parts, where we see a normal family, then the symptoms of possession to end with the ritual, in the same way, the film fails to generate that impact, like the original, nor the same tension, as it abuses some special effects, those jump scares and clichés of the genre, meaningless.

On the other hand, several questions remain in the air, such as the origin and motive of the demon, the connection between what happened in Haiti and the exorcism, in turn, also shows us somewhat contradictory scenarios, for example seems to defend the importance of faith and hope against evil, but, on the other hand, reflects a dark side of religion.

Es como si dividieran la historia en tres partes, donde vemos una familia normal, luego los síntomas de la posesión para asi terminar con el ritual, de igual forma, la película, no logra generar ese impacto, como la original, ni la misma tensión, ya que abusa de algunos efectos especiales, esos saltos de sustos y clichés del género, sin sentido.

Por otra parte, quedan varias interrogantes en el aire, como por el ejemplo el origen y motivo del demonio, la conexión entre lo que sucedió en Haití y el exorcismo, en fin, a su vez, también nos muestra escenarios algo contradictorios, por ejemplo parece defender la importancia de la fe y la esperanza frente al mal, pero, por otro lado, refleja un lado oscuro de la religión.

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RECURSO / RESOURCE	FUENTE / SOURCE
Imágenes / Pictures:	Cover/Portada
Translation/Traducción:	DeepL Traductor
Edition/Edición :	Canva Cover/ Separator / Portada Canva
Video trailer :	Youtube

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When tyrannical regimes fall, the people who acted as the armed wing of a dictatorship are left without their main source of income. But the world does not end for them, there will always be a contact, a friend, a politician, who will protect them, need their services or keep them happy because they know a lot of things. In case they do not fit in the spheres of the new power, they can easily commit crimes on their own.

Such was the case of the members of law enforcement and armed groups who acted under the orders of the Argentine dictatorship in the seventies and who after 1983 committed crimes with total impunity, even working for the nascent democratic government. I was amused that these criminals were called at the time "Mano de Obra de Desocupada" (unemployed labor force). Things that sound like something out of a science fiction story.

Historically it is an evil that goes back centuries. Those who do the dirty work for a regime, will always manage to get comfortable in the next one. Not even the arrival of a democracy, a change, is a guarantee that things will improve. No system of government is perfect, because power intoxicates and personal interests will always be more important than the interests of the collective. Our entire history has revolved around the same mistakes over and over again.

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Cuando caen los regímenes tiránicos, las personas que actuaban como brazo armado de una dictadura se quedan sin su principal fuente de ingresos. Pero el mundo no se acaba para ellos, siempre habrá un contacto, un amigo, un político, que les protegerá, necesitará sus servicios o les mantendrá contentos porque saben muchas cosas. En caso de que no se acomoden en las esferas del nuevo poder, pueden fácilmente delinquir por su cuenta.

Tal fue el caso de los miembros de las fuerzas del orden y de los grupos armados que actuaron bajo las órdenes de la dictadura argentina en los años setenta y que después de 1983 cometieron delitos con total impunidad, incluso trabajando para el naciente gobierno democrático. Me hizo gracia que a estos criminales se les llamara en su momento "Mano de Obra de desocupada". Cosas que parecen salidas de un cuento de ciencia ficción.

Históricamente es un mal que viene de siglos atrás. Los que hacen el trabajo sucio para un régimen, siempre conseguirán acomodarse en el siguiente. Ni siquiera la llegada de una democracia, un cambio, es garantía de que las cosas vayan a mejorar. Ningún sistema de gobierno es perfecto, porque el poder intoxica y los intereses personales siempre serán más importantes que los intereses de la colectividad. Toda nuestra historia ha girado en torno a los mismos errores una y otra vez.

I don't know who would be in charge of choosing the title of the film. I find it unappealing and there are many movies with the same title. I almost passed it by, I was encouraged to see it because of the leading performance and because I was looking for the real case that serves as inspiration for the story.

The production is an adaptation of a book written by Argentine journalist Martin Sivak, entitled El Salto de Papa. It is a free adaptation, so names, places and facts are changed, in order not to make such a direct reference, perhaps due to legal issues. Some members of the family made statements against it, both when the book was published and when the production of the film was announced.

It is a family matter, as I expressed at the beginning of this post. Martin Havik is the nephew of the actual kidnapping victim and the son of the protagonist of his book. Although he was quite young when the tragic events occurred, he has wanted to give his version, based on his memories and a thorough research process, to honor the memory of his father. According to the information found on the internet, this case was much commented in the Argentine society of the eighties. You can search in Google and you will find hundreds of reports, if you want to know all the details of the real event.

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No sé quién se encargaría de elegir el título de la película. Me parece poco atractivo y hay muchas películas con el mismo título. Casi la paso de largo, me animé a verla por la actuación protagónica y porque estaba buscando el caso real que sirve de inspiración para la historia.

La producción es una adaptación de un libro escrito por el periodista argentino Martin Sivak, titulado El Salto de Papa. Se trata de una adaptación libre, por lo que se cambian nombres, lugares y hechos, para no hacer una referencia tan directa, quizá atendiendo a cuestiones legales. Algunos miembros de la familia hicieron declaraciones en contra, tanto cuando se publicó el libro como cuando se anunció la producción de la película.

Es una cuestión familiar, como expresé al principio de este post. Martin Havik es sobrino de la víctima real del secuestro e hijo del protagonista de su libro. Aunque era bastante joven cuando ocurrieron los trágicos hechos, ha querido dar su versión, basada en sus recuerdos y en un minucioso proceso de investigación, para honrar la memoria de su padre. Según la información encontrada en internet, este caso fue muy comentado en la sociedad argentina de los años ochenta. Puedes buscar en Google y encontrarás cientos de reportajes, si quieres conocer todos los detalles del hecho real.

La Dame de Fer, the title of this episode that I assume makes reference to the Eiffel Tower that swings with the wind and the noise made by the rusted metal is heard all over the city of Paris, I guess most names are in French because where the story develops but I would rather like the tittle to be "Squeal Piggy" since Daryl use a common reference of how load pigs squeal when they are been killed while he was torturing one of Quinn's goons.

The series remains strong in the ball part of a solid +7, its not boring although there is one thing that annoys me a bit and that's how episodes mostly happen in close spaces and the camera has to go back and forward to register characters expression since there is very few open shots and also I think it has to do with light since most part of the series is very dark and I guess it has to do with the fact that there is no light, it keeps moving, entertain, zombies are still relevant since on this side of the world there are variants of Zombies, the series is more about a country that is starting to re establish their society, some just taking care of their people peacefully and others trying to build a regime as they think what the world need now is order and control, both sides might be right but forcing things as Genet wants its just too extremist besides all the experiments she is doing with Zombies has nothing to do with rebuilding society she is just playing to be a Commander and doing what she wants, so far we haven't got any background of her, how she got into that position its interesting to me how she got all that power.

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At the end of episode three Daryl falls down from a roof made of wood during the rain, it was rotten so his weigh broke it and he falls, he had this dream where he and Laurent are in a tunnel but separated by a gate, Zombies start to surround Laurent but they don't touch him after he start to pray, what this dream might mean is that they are officially saying Laurent can communicate with Zombies?? I though this could also be a scene latter on during the episode but at least it was not on this episode, Laurent's mother died during birth and she was bitten hours before giving birth so he probably has it on his DNA, the genetic mutation of Zombies mix with his human side.

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After Daryl fall through the root he almost drawn, he falls into a place that was probably flooded and there were Zombies under water, I don't know how they got to attack him if Zombies don't know how to swim and they didn't fall from the roof with him so that got me thinking for a minute, lucky for Daryl there were just a few and he manage to kill them, kill zombies hmmm.

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Another Dame de Fer, Genet; visits Fallou camp after Cordon raid it last night, Isabelle, Laurent and Daryl manage to escape but the rest stay after all they were not the ones been chased, on this scene two things are confirm, Genet wants nothing to do with the Messiah story surrounding Laurent as that divides the people that she is trying to control, all she wants is them been under her command and not a religious story, nobody gives out Laurent besides none of them knows where they are.

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I have thought since episode two that there is probably something cooking between this two but so far nothing, Daryl told Isabelle to meet at her apartment after the camp got raided, problem is where the fuck is Laurent. Daryl keeps telling Isabelle all this happen because she keeps lying to him about everything, if she really believes Laurent been the Messiah I think it should be the other way, she should have him inform as much as possible to avoid this mental break downs, Laurent has grown extremely naive.

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Daryl been the good old tracker he is, has a good idea of where Laurent might be, at first I thought he was at Quinn's bar since now he knows who his father and mother are but Laurent actually went to the Eiffel Tower, here the name of the episode La Dame Fer; there were a lot of Zombies trapped and when the saw Laurent they ran towards him, at first I thought ok if the first scene that makes reference he can some how talk to Zombies then this might be the moment Laurent shines but he panic and hide, he didn't, lucky him Isabelle and Daryl found him, they try to take care of the Zombies around but at the same time Quinn's goons snatch Laurent.

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After a Zombie apocalypse, Isabelle leaving Quinn behind and now knowing Laurent is Lily's son, his son, I can relate how he might feel the need to be a dad for Laurent, problem is that he has grown too naive but at the same time too cold, cold in the sense that he haven't live enough to be scared or worry about things the same way the rest do, its like when a baby does something risky, they don't know fear until they get hurt, Laurent has not been hurt, he is what 15 years old and never knew his mother and father until now so for him probably doesn't make that much difference.

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Genet is going around Paris tracking down Daryl and Laurent, Quinn ask her to come to his place because he wants to negotiate and here is the part that I think will cost him a lot in the future, not only he is asking for a bounty in exchange of Daryl but he also lie to her face after she ask her if he has Laurent that is at his office in the same bar they are at that moment, in exchange for Daryl he asks for a Monet, a painting. I think Quinn is a visionary, at some point in time he believes society can be similar to what it was, the world and he wants to be in control of the many things people value in the past like art, he is a collector and has a lot of art that could be very valuable once again.

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Now probably my favorite part of the episode, Isabelle and Daryl manage to get one of Quinn's goon while they put Laurent in a car and ran away with him, that scene was a bit stupid since I only saw one guy driving and Laurent alone in the back seat and Daryl still couldn't get him out of the car, but at least the next scene when they try to get some intel from the one they caught was worth it. Isabelle try her nun way, been patient, nice, just talking while Daryl he brought a very dark story of a kid and his pet piglet, Daryl kept stabbing the guy on his torso, I don't know how deep it was but he took about five or six to he body and was still taking, Daryl did get that piglet to squeal, he told them how to get into Quinn's bar from a back door.

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It was funny to me how Isabelle thought Daryl was the kid of the story he told and Daryl sarcastic that he is answer her no, but I do think it was him, on the original Walking Dead he constantly tell stories about bad his childhood was, his father was a drunk, kids use to bully him until he became a bad ass and no body mess with him anymore so I do think it was a true story, with the info on how to get into Quinn's bar without him notice they plan a distraction.

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Fallou and the rest attack the entrance of the bar as a distraction so all the guards go to that side of the building while Daryl gets from the back and takes Laurent with him, the distraction scene was not so interesting, I just mention it to give some context.

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Anna will turn into Quinn demise, all this time before Isabelle and Laurent show up Anna was there for him, it looks like she is in love with Quinn but he is a selfish man that only cares about what he wants so at the moment he doesn't want her anymore, when Daryl got to the place he found Laurent and Anna let them go in purpose just to screw with Quinn. Daryl had to fight Quinn on the way out, it was a short irrelevant fight, they try to make it interesting with them fighting on a suspended runway so viewers might think like ooohhh what if one of them fall? but they never did, I knew it would not happen.

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They manage to get Laurent out of Quinn's bar, no body from Fallou camp died and now Laurent is on his way to the nest with Daryl, it was actually very easy since there were not too many guards at the moment and the only person that could have really stop Daryl was Anna but she let them go, question is why the FUCK did Isabelle came back to Quinn, I would guess she went there to offer herself in exchange Quinn leaves Daryl and Laurent alone, trying to buy protection but in my opinion that only make things worst because when Genet finds out she is going to doubt Quinn and if that happens then going back with Quinn is worthless, Quinn can only protect Daryl and Laurent until Genet allow it.

When I look back to episode four nothing really important happen, it was a transition episode after Fallou camp was raided, Laurent got lost, then caught by Quinn and then Daryl got him back end of the episode, I don't want to make it boring but it was literally what happen, the good part about the series is the details scenes they put in the middle so it doesn't feel that way, they had to fight Zombies to get Laurent at the Tower but no luck, then they had to fight Quinn to get Laurent and the only true obstacle, Anna; let them go like it was nothing but what really makes up for this episode is how cruel Daryl was during the interrogation scene, things I already mention, what I want to see is if Laurent is the real Zombie Pied Pipper and I think that is the entire reason why others think he is the Messiah who safes the world, also we got pending the reason for Genet's experiments with Zombies something that was not mention during this episode but its ok since this was the one very slow episode of the series.

I feel this episode took me more than usual to write bu I wanted to do something different with the images, I don't want to just take screenshots and past them so I try to add more to it to explain the scene, I have even consider making gifts for key scenes or just the cover image, something I will do in the future, all this details take time, an entire post can take me between two to three hours depending how long is it and how concentrated I'm.

"Nunca volverán a existir héroes de acción como los que protagonizaron films entre los 80' y 90'"... Esta frase no la dijo ningún director o actor famoso de esa gran época del cine de acción, pero posiblemente si algún fan de ese tipo de películas como yo, eso es debido a que era el principal género que veía de niño junto a mi padre y justamente al pasar el tiempo ese estilo de películas con sus famosas características se dejó de producir y tal vez eso creó cierta nostalgia, la cual pude contrarrestar al momento en que Sylvester Stallone, decidió crear "The Expendables", una producción que trajo de regreso a antiguas estrellas del cine y que dio paso a otros actores que representaban a ese tipo de héroes en la pantalla grande; una gran idea que por supuesto se convirtió en una franquicia, pero que lamentablemente esa nostalgia se diluyó cuando la calidad en esas producciones parece ser lo desechable.

"There will never again be action heroes like the ones who starred in films between the 80's and 90's".... This phrase was not said by any famous director or actor of that great era of action movies, but possibly by a fan of that kind of movies like me, that's because it was the main genre I watched as a child with my father and just as time went by that style of films with their famous characteristics was no longer produced and perhaps that created some nostalgia, which I was able to counteract when Sylvester Stallone, decided to create "The Expendables", a production that brought back old movie stars and gave way to other actors who represented that kind of heroes on the big screen; a great idea that of course became a franchise, but unfortunately that nostalgia was diluted when the quality in those productions seems to be expendable.

Fuente / Source

"Expend4bles" o también conocida como "Expendables 4" y la que espero sea última película de esta franquicia liderada por antiguas estrellas del cine acción y de cualquier otro actor que desee ser parte de ese género, relata una nueva misión del grupo de mercenarios "The Expendables" liderados por "Barney Ross", quienes aceptan la misión asignada por el agente de la CIA conocido como "Marsh", la cual es prevenir el robo de armas nucleares por parte del habilidoso mercenario "Rahmat", quien trabaja para un enemigo secreto solamente conocido como "Ocelot"; una misión muy peligrosa en dónde grandes perdidas podrá cambiar el rumbo del grupo de mercenarios, pero la necesidad de venganza será aún más fuerte y eso hará que este grupo de héroes deban realizar una última misión.

"Expend4bles" or also known as "Expendables 4" and what I hope will be the last film of this franchise led by former action movie stars and any other actor who wants to be part of that genre, tells the story of a new mission of the group of mercenaries "The Expendables" led by "Barney Ross", who accept the mission assigned by the CIA agent known as "Marsh", which is to prevent the theft of nuclear weapons by the skilled mercenary "Rahmat", who works for a secret enemy only known as "Marsh", who accept the mission assigned by the CIA agent known as "Marsh", which is to prevent the theft of nuclear weapons by the skilled mercenary "Rahmat", who works for a secret enemy known only as "Ocelot"; A very dangerous mission where great losses could change the course of the group of mercenaries, but the need for revenge will be even stronger and that will make this group of heroes must perform one last mission.

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No tenía expectativas de ver esta película, en realidad no quería ver esta película porque no había nada que me atraiga de esta franquicia, la cual con lo que fue el desastre de Expendables 3, pensé que ese fue su triste, pero necesario final, pero resulta que el plan era otro y había espacio para una misión más, una que hundirá (espero) para siempre a esta franquicia. Cómo pueden notar, no me gustó para nada este film y en dónde uno de los factores para que eso sucedería es el trabajo de Scott Waugh como director; este es un completo desastre en edición, las escenas de acción son repetitivas y aburridas, no hay nada destacable y hasta puedo decir que es una perdida de talento al contar con dos actores, artistas marciales y no tomar provecho de realizar buenas escenas de peleas.

El guion es otro factor negativo del film; la historia es simple y predecible, muy predecible y eso hace que sea poco entendible las decisiones que tomaron hasta los tres guionistas que trabajaron en esta producción; una de esas decisiones es darle el principal protagonismo al personaje de "Christmas", está es una historia en dónde ese personaje resalta más que sus compañeros en las escenas de acción y deja los peores diálogos en la historia de un film de acción, a los demás "actores" y como es de esperar, no dan risa, no son buenos, es todo un completo desastre.

I had no expectations to see this film, I really didn't want to see this film because there was nothing to attract me to this franchise, which with what was the disaster of Expendables 3, I thought that was its sad, but necessary ending, but it turns out that the plan was another one and there was room for one more mission, one that will sink (I hope) forever this franchise. As you can notice, I didn't like this film at all and where one of the factors for that to happen is the work of Scott Waugh as director; this is a complete disaster in editing, the action scenes are repetitive and boring, there is nothing remarkable and I can even say that it is a waste of talent to have two actors, martial artists and not take advantage of making good fight scenes.

The script is another negative factor of the film; the story is simple and predictable, very predictable and that makes it difficult to understand the decisions taken even by the three screenwriters who worked on this production; one of those decisions is to give the main protagonism to the character of "Christmas", this is a story where that character stands out more than his companions in the action scenes and leaves the worst dialogues in the history of an action film, to the other "actors" and as expected, they do not give laughter, they are not good, it's all a complete disaster.

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Si la dirección y el guion son malos, que podemos esperar de un grupo de personajes interpretados por personas que se hacen llamar "actores"; todos son malos, no importa que estos actores interpreten al mismo personaje en cada uno de los films en dónde trabajan, no importa que hagan de sí mismos porque ninguno funciona, es lo peor que he visto en el año, no dan ni risa y si tengo que elegir quién es el peor, puedo nombrar a Andy García, Dolph Lundgren, "50 Cent", Megan Fox, Iko Uwais y por supuesto Sylvester Stallone; todos son un completo desastre.

If the direction and the script are bad, what can we expect from a group of characters played by people who call themselves "actors"? they are all bad, it doesn't matter that these actors play the same character in each of the films they work in, it doesn't matter that they play themselves because none of them work, it's the worst I've seen all year, they are not even funny and if I have to choose who is the worst, I can name Andy Garcia, Dolph Lundgren, "50 Cent", Megan Fox, Iko Uwais and of course Sylvester Stallone; they are all a complete disaster.

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Ahora, aparte de todo lo antes descrito, existe un factor que hace que este film sea aún peor y es lo referente al presupuesto; esta película tuvo un costo de 100 millones de dólares y al verla se hace inevitable no hacerse la pregunta "¿Dónde se gastó todo ese dinero?" Y eso es por qué las escenografías son malas, el CGI es pésimo, la producción es horrible y si comparas a este film con "John Wick 4" que costó de la producción fue la misma cantidad, la anterior pregunta se hace mucho más grande. Cómo ha sucedido con otros films, mi curiosidad o expectativa es verificar las críticas negativas que obtiene un film y es sorprendente que con "Expendables 4" se queden corto en todas las críticas negativas que ha recibido; lamento mucho que personaje hayan decidido ir a ver este film en el cine porque en realidad no vale la pena, esta es de las peores o tal vez la peor película del 2023 y por eso nadie debería verla.

Now, apart from everything described above, there is a factor that makes this film even worse and that is the budget; this film had a cost of 100 million dollars and when watching it, it is inevitable not to ask the question "Where did they spend all that money?" And that is because the sets are bad, the CGI is lousy, the production is horrible and if you compare this film with "John Wick 4" which cost the same amount to produce, the previous question becomes much bigger. How it has happened with other films, my curiosity or expectation is to verify the negative reviews that a film gets and it is surprising that with "Expendables 4" they fall short in all the negative reviews it has received; I am very sorry that character have decided to go to see this film in the theater because it is really not worth it, this is one of the worst or maybe the worst film of 2023 and that is why no one should see it.

Synopsis: After an unexpectedly failed job in Paris, a cold-blooded killer begins to develop a “moral crisis” within his job and puts his own life at stake in the search for answers.

The bubble of good movies involving killers of any nature always tries to excel in elements that capture the attention of their audience with relatively intense narrative elements. This example is no exception, and it is through the steps of a peculiar killer that we delve into a species where the “paradox” between morals and ethics that exists within this universe ends up becoming the essence of everything: where nothing It's what it seems, no one is trustworthy enough, empathy for others should never exist and above all, stick to carrying out your plans and nothing else. Within this puzzle, what is the limit between right, wrong, justice and revenge?

NPR

In the shoes of a nameless killer, quite cold, purposefully calculating, visibly meticulous and full of serious mental complexes, the viewer is immersed in the risky routine of a man who is being abruptly forced to learn how to deal with some ghosts. After his most recent work does not turn out as expected, this killer is injured in a personal side of him that is very dear to him and it is precisely from there that the movie develops in more depth, because until then, despite its beginning “intimidating” (and with a strategically engaging first-person narration), and the great alternations of angles, the rhythm of the narrative is boring.

The movie is divided into chapters (and an epilogue). This idea is interesting, because it clearly defines the purposes of the plot and how things happen throughout its execution. However, the script never seems to find its ideal rhythm within its own narrative. The context of conflicts imposed within the exploratory idea of a murderous mind and its working methods gains a lot of space in the plot, but nothing is so well developed as to bring something more impactful. In many moments, it is as if the script is going in constant circles, even when brutally violent scenes occur and try to create another atmosphere for the same story.

IGN Portugal

Any and all characters other than the killer himself are not prominent in the plot. I understand that the focus is really on the protagonist and his dilemmas (the movie's title itself says this), however, I think that this is a responsibility that Michael Fassbender's (limited) character cannot carry so well (mainly because there is no formal presentation of his own history, in more general aspects). Fassbender's performance is very tight, but it's not in keeping with who he's playing. This can also be said about Tilda Swinton, who despite also delivering a good performance (in a very nice scene, by the way), is far below what she can do.

The characters appear and disappear on the screen, in chronological order, simply following a checklist that the killer has to cross off. There is no depth whatsoever in them and even the protagonist himself suffers from the same illness (in a less excessive way because he is the protagonist), despite delivering very tense scenes involving his insecurities and activities on the field (with a somewhat obvious emphasis on everything that happens in the opening scene). The first-person narration makes the movie more intimate and it is precisely this density that brings the necessary elements to create a more convincing “suspense”, despite still failing in its narrative construction.

Den of Geek

Alternating among missions that are intimately connected with his ultimate purpose, we see a cold killer becoming (at least apparently) someone more aware of his flaws and his fears. This more “flawed” aspect is like all human beings, but it is very interesting to see this being portrayed through the anxiety of a character who until then was convinced of his own “perfection”. Without a doubt, the work around this psychological clash between the killer and himself is the culmination of the entire plot and nothing else manages to work properly throughout the entire movie (which ends up being a huge waste here because there are characters as interesting as him).

Edited very quickly and full of convenient cuts to satisfy the quick conclusions of the plot, the script suffers from this “speed” in the plot to try to bring complexity to something that has nothing complex in general terms. Even though he is a very smart and intelligent killer, everything for him is almost always very easy, there is no sense of urgency or danger in what he is about to do and this ends up canceling out any impact on the suspense that this could have on the audience. Furthermore, the soundtrack is very weak, as is its photography. There is also a problem with lighting, which ends up having much less impact when it should in some good scenes.

Sortir à Paris

The Killer is far from a movie that will be remembered in David Fincher's career. Honestly, it seems like this project was just a contractual thing to have something available on streaming channels and increase his popularity as a director. However, the result here was not good and despite another more punctual and functional moment, there is not much relevance here. Perhaps, if this project had been led by another director the result would have been better, but considering the already recognized quality of what Fincher usually does, this one is definitely not one of the best examples. Any and all high expectations about this project are brutally frustrated by its inefficiency.

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CRÍTICA DE PELÍCULA: “El asesino” (2023)

Sinopsis: Después de un trabajo inesperadamente fallido en París, un asesino a sangre fría comienza a desarrollar una “crisis moral” dentro de su trabajo y pone en juego su propia vida en la búsqueda de respuestas.

La burbuja de las buenas películas protagonizadas por asesinos de cualquier índole siempre intenta sobresalir en elementos que capten la atención de su audiencia con elementos narrativos relativamente intensos. Este ejemplo no es la excepción, y es a través de los pasos de un peculiar asesino que nos adentramos en una especie donde la “paradoja” entre moral y ética que existe dentro de este universo termina convirtiéndose en la esencia de todo: donde nada es lo que parece. , nadie es lo suficientemente digno de confianza, la empatía por los demás nunca debe existir y sobre todo, ceñirte a llevar a cabo tus planes y nada más. Dentro de este rompecabezas, ¿cuál es el límite entre el bien, el mal, la justicia y la venganza?

En la piel de un asesino anónimo, bastante frío, deliberadamente calculador, visiblemente meticuloso y lleno de graves complejos mentales, el espectador se sumerge en la arriesgada rutina de un hombre que de repente se ve obligado a aprender a lidiar con unos fantasmas. Luego de que su último trabajo no resulta como esperaba, este asesino queda herido en un lado personal suyo que le es muy querido y es precisamente a partir de ahí que la película se desarrolla con mayor profundidad, porque hasta entonces, a pesar de su comienzo ”intimidante” (y con una narración en primera persona estratégicamente atrapante), y la gran alternancia de ángulos, el ritmo de la narración es aburrido.

La película está dividida en capítulos (y un epílogo). Esta idea es interesante, porque define claramente los propósitos de la trama y cómo suceden las cosas a lo largo de su ejecución. Sin embargo, el guión nunca parece encontrar su ritmo ideal dentro de su propia narrativa. El contexto de conflictos impuestos dentro de la idea exploratoria de una mente asesina y sus métodos de trabajo gana mucho espacio en la trama, pero nada está tan bien desarrollado como para aportar algo más impactante. En muchos momentos, es como si el guión estuviera dando vueltas constantes, incluso cuando ocurren escenas brutalmente violentas que intentan crear otra atmósfera para la misma historia.

Todos y cada uno de los personajes, excepto el propio asesino, no destacan en la trama. Entiendo que la atención se centra realmente en el protagonista y sus dilemas (el propio título de la película lo dice), sin embargo, creo que esta es una responsabilidad que el (limitado) personaje de Michael Fassbender no puede llevar tan bien (principalmente porque no hay una presentación formal) de su propia historia, en aspectos más generales). La actuación de Fassbender es muy ajustada, pero no se corresponde con quién interpreta. Lo mismo se puede decir de Tilda Swinton, quien a pesar de tener también una buena actuación (en una muy buena escena, de hecho), está muy por debajo de lo que puede hacer.

Los personajes aparecen y desaparecen en pantalla, en orden cronológico, simplemente siguiendo una lista de verificación que el asesino debe tachar. No hay profundidad alguna en ellas e incluso el propio protagonista sufre la misma enfermedad (de forma menos excesiva por ser el protagonista), a pesar de ofrecer escenas muy tensas en torno a sus inseguridades y actividades en el campo (con un énfasis un tanto evidente en todo lo que sucede en la escena inicial). La narración en primera persona hace que la película sea más íntima y es precisamente esa densidad la que aporta los elementos necesarios para crear un “suspense” más convincente, pese a seguir fallando en su construcción narrativa.

Alternando entre misiones que están íntimamente relacionadas con su propósito final, vemos a un asesino frío convertirse (al menos aparentemente) en alguien más consciente de sus defectos y miedos. Este aspecto más “defectuoso” es como todos los seres humanos, pero es muy interesante verlo retratado a través de la ansiedad de un personaje que hasta entonces estaba convencido de su propia “perfección”. Sin duda, el trabajo en torno a este choque psicológico entre el asesino y él mismo es el colofón de toda la trama y nada más consigue funcionar correctamente a lo largo de toda la película (lo que acaba siendo un enorme desperdicio aquí porque hay personajes tan interesantes como él).

Editado muy rápidamente y lleno de cortes convenientes para satisfacer las rápidas conclusiones de la trama, el guión adolece de esa “velocidad” en la trama para intentar aportar complejidad a algo que no tiene nada de complejo en términos generales. Si bien es un asesino muy astuto e inteligente, para él todo es casi siempre muy fácil, no hay sentido de urgencia o peligro en lo que está a punto de hacer y esto termina anulando cualquier impacto en el suspenso que esto pueda tener. sobre la audiencia. Además, la banda sonora es muy floja, al igual que su fotografía. También hay un problema con la iluminación, que acaba teniendo mucho menos impacto cuando debería en algunas buenas escenas.

El asesino está lejos de ser una película que será recordada en la carrera de David Fincher. Honestamente, parece que este proyecto fue solo una cuestión contractual para tener algo disponible en los canales de streaming y aumentar su popularidad como director. Sin embargo, el resultado aquí no fue bueno y a pesar de otro momento más puntual y funcional, aquí no tiene mucha relevancia. Quizás, si este proyecto hubiera sido liderado por otro director el resultado hubiera sido mejor, pero considerando la ya reconocida calidad de lo que Fincher suele hacer, éste definitivamente no es uno de los mejores ejemplos. Todas y cada una de las altas expectativas sobre este proyecto se ven brutalmente frustradas por su ineficiencia.

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CRÍTICA DE FILME: “O Assassino” (2023)

Sinopse: Após um trabalho inesperadamente fracassado em Paris, um assassino de sangue frio começa a desenvolver uma “crise moral” dentro do seu ofício e coloca em jogo à própria vida na busca por respostas.

A bolha de bons filmes envolvendo os assassinos de qualquer natureza sempre tenta primar por elementos que captem a atenção do seu público com elementos narrativos relativamente intensos. Este exemplo não foge à regra, e é através dos passos de um assassino peculiar que nós vamos mergulhando dentro de uma espécie onde o “paradoxo” entre moral e ética que existe dentro desse universo, que acaba se tornando a essência de tudo: onde nada é o que parece, ninguém é confiável o suficiente, a empatia pelo próximo jamais deveria existir e principalmente, atenha-se a realização de seus planos e nada mais. Dentro desse quebra-cabeça, qual é o limite entre o certo, o errado, a justiça e a vingança?

Na pele de um assassino sem nome, bastante frio, propositalmente calculista, visivelmente meticuloso e repleto de complexos mentais graves, o telespectador mergulha na arriscada rotina de um homem que está sendo abruptamente forçado a aprender a lidar como lidar com alguns fantasmas. Depois que o seu mais recente trabalho não sai como era esperado, esse assassino é ferido em um lado pessoal dele que lhe é muito caro e é justamente a partir daí que o filme se desenvolve com mais profundidade, porque até então, apesar do seu início “intimidador” (e com uma narração em primeira pessoa estrategicamente envolvente), e das ótimas alternâncias de ângulos, o ritmo da narrativa é enfadonho.

O filme é dividido em capítulos (e um epílogo). Essa ideia é interessante, porque delimita bem os propósitos da trama e de como as coisas vão acontecendo ao longo de suas execuções. No entanto, o roteiro parece nunca encontrar o seu ritmo ideal dentro da sua própria narrativa. O contexto de conflitos imposto dentro da ideia exploratória de uma mente assassina e seus métodos de trabalho ganha bastante espaço na trama, mas nada é tão bem desenvolvido a ponto de trazer algo mais impactante. Em muitos momentos, é como se o roteiro estivesse andando em constantes círculos, mesmo quando cenas brutalmente violentas acontecem e tentam criar uma outra atmosfera para essa mesma estória.

Todo e qualquer personagem senão o próprio assassino não tem nenhum destaque na trama. Eu entendo que o foco é realmente o protagonista e os seus dilemas (o próprio título do filme já diz isso), no entanto, eu acho que essa é uma responsabilidade que o (limitado) personagem de Michael Fassbender não consegue carregar com tanta propriedade (principalmente porque não há uma apresentação formal sobre a própria história dele, em aspectos mais gerais). A atuação de Fassbender é bem firme, mas não está de acordo com quem ele está interpretando. Isso também pode ser dito da Tilda Swinton, que apesar de também entregar uma atuação boa (em uma cena muito boa, aliás), está muito abaixo do que ela consegue fazer.

Os personagens vão aparecendo e desaparecendo na tela, dentro de uma ordem cronológica apenas cumprir uma lista de checagem que o assassino tem que riscar. Não há profundidade alguma neles e até o próprio protagonista sofre do mesmo mal (de maneira menos excessiva por ser o protagonista), apesar de entregar cenas muitas tensas envolvendo suas inseguranças e atividades em campo (com um destaque um tanto quanto óbvio para tudo o que acontece na cena inicial). A narração em primeira pessoa torna o filme em algo mais intimista e é justamente essa densidade que traz os elementos necessários para criar um “suspense” mais convincente, apesar de ainda falhar na sua construção narrativa.

Alternando entre missões que estão intimamente conectadas com o seu propósito final, vemos um assassino frio ir se tornando (ao menos aparentemente) em alguém mais consciente de suas falhas e dos seus medos. Esse aspecto mais “falho” é como a todos os seres humanos, mas é muito interessante ver isso sendo retratado através da ansiedade de um personagem que até então era convicto da sua própria “perfeição”. Sem dúvidas, o trabalho em volta desse embate psicológico do assassino com ele mesmo é o ápice de toda à trama e nada mais consegue funcionar direito ao longo de todo o filme (o que acaba sendo um grande desperdício aqui porque há personagens tão interessantes quando ele).

Editado de uma maneira muito rápida e repleto de cortes convenientes para satisfazer as rápidas conclusões da trama, o roteiro sofre com essa “rapidez” na trama para tentar trazer complexidade para algo que não tem nada de complexo em linhas mais gerais. Mesmo sendo um assassino bastante esperto e inteligente, tudo para ele é quase sempre muito fácil, não há um senso de urgência ou perigo no que ele está prestes a fazer e isso acaba anulando qualquer impacto no suspense que isso poderia causar no público. Além disso, a trilha sonora é muito fraca, assim como à sua fotografia. Há também um problema com luz, que acaba trazendo muito menos impacto quando deveria em algumas boas cenas.

Nem de longe O Assassino é um filme que será lembrado na carreira de David Fincher. Sinceramente, parece que esse projeto foi algo apenas contratual para ter algo disponível em canais de streaming e aumentar a popularidade dele na função de diretor. No entanto, o resultado aqui não foi bom e apesar de um outro momento mais pontual e funcional, não há tanta relevância aqui. Talvez, se esse projeto fosse conduzido por outro diretor o resultado tivesse sido melhor, mas considerando a já reconhecida qualidade do que o Fincher costuma fazer, este aqui definitivamente não é um dos melhores exemplos. Toda e qualquer alta expectativa sobre esse projeto é brutalmente frustrada pela sua ineficiência.

I was giving some though yesterday to Secret Invasion after I found this ratings from Rotten Tomato on Twitter, re post it on Inleo (Here Post) , I understand the MCU have basically spoil many generations since 2008 when the first MCU movie came out, Iron Man; its like they started strong kicking ass with mainstream human super heroes, then move to space exposing other species out of earth, the move into some mystic practices with my LOVELY Scarlett Witch and Dr. Strange so its natural that at some point in time they will give us other type of super hero, a more down to earth mortal like Nick Fury, they guy after all is very smart and can see things coming before others, we also now are aware that many of this skills he develop the time he had all this Skrulls spying on humans, believe it or not that's how you get wise, going through many experiences good and bad you start building up this library of knowledge of what humans are capable under different situations, that's why you never finish knowing some one until you have been through multiple situation even better when this situations are one worst than the other, that is who Nick Fury is a very wise, smart guy but human after all, they compare it to other MCU productions that could have exploited better like the Quantum Realm, Eternals I think run out of time just too long of story and recent Marvels, this I can understand it been more of a comedy similar to Thor movies but with still some action.

So its been two or three minutes complaining why this series has such bad ration but for me its fine, its a good watch although at times the story feels crunch but that's how we humans are, never satisfied. Episode four Ghia becomes a Super Skrull without anyone knowing, this are the things I feel are crunch, the episode is full of disappointment and betray, remember how Gravik gave Talos the last sign of respect on previous episode well on episode four he fucks him up, Skrulls are deep into the US Government but no body knows because it goes all over to the top.

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Ghia save her ass by the skin of her teeth after Gravik find out she is the mole within his organization and set her up, she tries to escape but he was lurking around the compound and found her, he didn't think twice before putting a bullet to her chest but lucky her without anyone knowing turn herself into a Super Skrull to this I have a few complains:

• Was it that simple, jump into the machine and no side effects?
• Then why Gravik didn't turn his best soldiers into Super Skrulls and only him?
• Shen turns on this machine that takes all that power and no body notice

This are the kind of questions that might trigger hard core fans and critics, yes its TV/Fantasy but you need to have all this details on the table for the more than your average viewer stay satisfied, for others viewers that are not so much into details and let the dopamine do all the work distracting them with Ghia regenerating her glowing chest while quickly showing how she because a Super Skrull in a few flash backs, for this second type of viewers that's fine.

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Disappointment, thats what Fury feels when he finds out his wife Priscila, a Skrull; is talking to Rhodey who is in fact a Skrull working for Gravik, there is no body he can trust at this point, Fury had a suspicion Priscilla had something to do with Gravik while he was gone, after all it was her who brought Gravik to Fury when he lost his parents, she did try to persuade Rhodey not to kill Fury explaining he was not a threat but orders are orders and they both have to follow them.

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We did get more details on how Fury and Priscilla end up been married, even how she took her face, Fury really love her for who she was still understanding that he was involve with a shape shifting Skrull that could put in danger his career and agency, now his life. Fury love very much Priscilla and she too, that is why she never stop trying to protect Fury from Gravik and now they coming for her, she doesn't kill Fury and they both let go and continue to work as a team and a couple but Fury knows he has to put his foot down and go all in if he wants to get Gravik.

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More disappointment, this time from both Ghia and her father Talos, who was the original Skrull commander on Earth when they got there, he was suppose to get a home to the million Skrulls that fled with him to Earth but things got complicated and he never found out a way to accomplish that task, they had no infrastructure, no land, they were unknown guests with no rights on the planet, hiding behind a mask and Gravik was the result of all that time when Talos couldn't get them a place where they could be themself without hiding, Ghia is now a target and ask him what is his plan but Talos plan remain the same, been friends with the humans until they accept them but she is of the same thought as Fury, that's not going to happen so she call him delusional after hearing how she still truly believes that Humans and Skrulls can live together on Earth.

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Fury pays a visit to Rhodey and I guess his plan was to shake him up by bluffing, he probably thought Rhodey would become nervous when he tells him he confirm that there were Skrulls in the Goverment close to the president, like oh shit he discover me but that same as how Ghia became a super Skrull was lame, Rhodey is a shame shifter and unless Fury shoot him or cut him up to prove he got his Skrull ass expose then he would not accept it, on the other hand he is the one that intimidate Fury with footage from Russia when Gravik change into Fury and shoot Maria, got that on video so in case Fury attempts anything against him, well that back fire badly.

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Secret Invasion probably would have been best if it was a movie and not a mini series if they were going rush things, comes the best action scene of the entire mini series so far, Gravik's plan to kill the US president rolls out and Rhodey gets him the president right where he wanted him but they underestimate Fury and Talos, from this scene my complain is why Gravik was the only Super Skrull and IF it was because of lack of DNA samples to mix it with other Skrulls then WHY Gravik or anyone else within the lab project found out that there were missing DNA when Ghia turn herself into a Super Skrull??? see lots of fucking details misssing.

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Gravik did manage get very close to kill the president but if it wasn't for Talos and Fury the US President would be toast, the car flips upside down and there was no anyone else than Talos break the bullet proof glass, the US President was locked up inside, pass out, but Talos was hit that's why he lost his human face.

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Whit all the shooting Gravik manage to shape shift into one of the US Soldiers and got close to Talos, this was in purpose because he probably felt that if he could not kill the US President at least he will cut for good the ties between Fury and Skrulls by killing Talos, he could have kill him before, even on last episode but I feel Gravik respected Talos very much but it was time to demonstrate the others who is in charge now, consider Skrulls fighting for him will see his failure as weakness as any other soldier would, with his super powers Gravik had the chance to wipe out the entire field of soldiers if he wanted but he didn't because he want it too look like it was the Russians so a War could start between humans and not with Skrulls.

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Fury tries to stop Gravik but he miss twice, same as Talos to Gravik there was an attachment from Fury to Gravik so he probably didn't want him dead the first time he shoot him and then got close shooting him in the face, from Gravik face that piss him off like really? kill me? I mean he killed Fury's best friend Talos, Gravik regenerates and gets away, Fury had to leave behind Talos since he got the US President inside his car, fight between US Soldiers and Skrull kept going and the episode end, at least they should have waited for the fight to be over or Skrulls surrender so they both get out of there because when Skrulls are hurt or killed they loose their human face meaning soldiers find out they were Skrulls but no body said anything until Talos was shoot, were the rest of Gravik army just regular humans? more missing details.

Even though Secret Invasion is fine for me I think MCU fans not like me, I'm more of an average viewer who appreciate entertainment but MCU fans who come from the comics might need more details about the story and don't feel its rush because from my perspective that's the only problem of the story, again an average viewer opinion; episode four is the pinnacle of missing details, things that happen or didn't happen without a reason, but at least I have to say I enjoy the first half when Fury and Talos get their pride slap by their most love ones, Priscilla who was probably on Gravik's side until it was proven she was not because Fury's life was on the line if he decided love over his life and Ghia calls his father delusional after he explain her he was still firm on the plan to coexist with humans. Until that point the episode felt like a solid 7/10 but then starts to fall with some none sense like Fury trying to scare Rhodey with revealing he is a Skrull and then Gravik been the only Super Skrull because to be honest I though there were going to be a fucking bunch of them wiping the entire field but I get his intentions was to make it look like it was the Russians but then again why reveal his powers? that was a very childish move from him as a "General" it was that plus his respect to Talos and Fury make him look like he still the same kid that use to work for them.

The only reason this episode remains as a 7/10 for me is because the shooting part safe it, the way Talos was there to rescue the president, how the soldier got spoke when he saw Talos changing back to his natural look and Fury had to intervene all that in the middle of the shooting safe this episode if not could have easily fall into a 6/10. I feel we will continue to watch all this MCU content because its from our times, anyone 30 years old and higher but I think for newer generations is not appealing anymore and thats why they are about to reboot many of this productions to keep milking the cow.

I finally got to see one of the big Hollywood releases of this year. A movie that along with Barbie was a box office phenomenon and brought people massively to the theaters. Personally the movie will bring me bitter memories, as it was released in very difficult times for me that made me postpone its viewing.

I hesitated whether to make a post about this film. So much has been said and written about it. I don't think I have anything new to contribute to what many already know. The marketing campaign was brutal, it worked. Press releases that talked about the live shooting of the old school style explosions and other production details. Since its announcement it was a highly anticipated film that aroused both good and bad comments, because, just as Nolan is admired by many, he also has his legion of haters.

Christopher Nolan is one of the most famous directors today. I admire his work and love many of his films. Perhaps with the previous one, Tenet, he did not meet the expectations of many, but we cannot deny that he is an excellent filmmaker with good technique and narrative style. That's what cinema is all about, telling stories through images that impact and touch our emotions. Nolan knows how to do it.

He has proven it with Oppenheimer. A character little known to the masses and in a film where there is a lot of talk and with a long running time. In these times of immediacy, short content consumption and retention leaks, it is a great achievement that the film has achieved the success it has. Surely the haters were betting on failure and were left wanting. The filmmaker offers us a type of filmmaking that is difficult to do nowadays, because more and more films are being made like those of decades past. So Oppenheimer and other productions of this year are a triumph for the seventh art.

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Por fin pude ver uno de los grandes estrenos de Hollywood de este año. Una película que junto con Barbie fue un fenómeno de taquilla y llevó a la gente masivamente a los cines. Personalmente la película me traerá amargos recuerdos, ya que se estrenó en momentos muy difíciles para mí que me hicieron posponer su visionado.

Dudaba si hacer una publicación sobre esta película. Se ha hablado y escrito mucho sobre ella. No creo que yo tenga algo nuevo que aportar a lo que muchos ya saben. La campaña de marketing fue brutal, funcionó. Notas de prensa que hablaban del rodaje en directo de las explosiones al estilo de la vieja escuela y otros detalles de la producción. Desde su anuncio fue una película muy esperada que despertó tanto buenos como malos comentarios, porque, al igual que Nolan es admirado por muchos, también tiene su legión de haters.

Christopher Nolan es uno de los directores más famosos de la actualidad. Admiro su trabajo y me encantan muchas de sus películas. Quizás con la anterior, Tenet, no cumplió las expectativas de muchos, pero no podemos negar que es un excelente cineasta con buena técnica y estilo narrativo. De eso se trata el cine, de contar historias a través de imágenes que impacten y toquen nuestras emociones. Nolan sabe cómo hacerlo.

Lo ha demostrado con Oppenheimer. Un personaje poco conocido por las masas y en una película donde se habla mucho y con una larga duración. En estos tiempos de inmediatez, consumo de contenidos cortos y fugas de retención, es un gran logro que la película haya conseguido el éxito que ha conseguido. Seguro que los haters apostaban por el fracaso y se quedaron con las ganas. El cineasta nos ofrece un tipo de cine difícil de hacer hoy en día, porque cada vez se hacen más películas como las de décadas pasadas. Así que Oppenheimer y otras producciones de este año son un triunfo para el séptimo arte.

What goes through the mind of one of the scientists who builds a weapon of mass destruction? How does it feel to be one of those responsible for thousands of deaths? Is it all valid in the name of scientific progress? This project seems like Nolan was really looking forward to it, you can tell he is passionate about that historical moment when mankind creates the ultimate weapon that could self-destruct civilization and he wants to unravel the mind and figure of that key man: Oppenheimer.

A bomb being lifted in the desert. Oppenheimer with his back turned, watching with excitement the milestone soon to be reached and at the same time with fear, uncertainty and nerves, in front of that tower of babel. All a preamble before the final moment, excellently shot the moment when the fire stolen from the ancient gods, is shown in all its splendor and Oppenheimer standing as Prometheus. Nolan's screenplay is an adaptation of the American book Prometheus written by Kai Bird.

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¿Qué pasa por la mente de uno de los científicos que construye un arma de destrucción masiva? ¿Qué se siente al ser uno de los responsables de miles de muertes? ¿Es todo válido en nombre del progreso científico? Este proyecto parece que Nolan tenía muchas ganas de hacerlo, se nota que le apasiona ese momento histórico en el que la humanidad crea el arma definitiva que podría autodestruir la civilización y quiere desentrañar la mente y la figura de ese hombre clave: Oppenheimer.

Una bomba elevándose en el desierto. Oppenheimer de espaldas, observando con emoción el hito que pronto se alcanzará y al mismo tiempo con miedo, incertidumbre y nervios, frente a esa torre de babel. Preámbulo antes del momento final, excelentemente rodado el momento en que el fuego robado a los antiguos dioses, se muestra en todo su esplendor y Oppenheimer en pie como Prometeo. El guión de Nolan es una adaptación del libro americano Prometheus escrito por Kai Bird.

"We are at Home" Doma Smo, as the tittle of episode six says we are at home makes me think if now Negan is at home?? I have now finish season one of Dead City, probably the first spin off of the original The Walking Dead series that really has nothing to do with zombies, at the same time I was watching Daryl Dixon that is a bit different in that sense because over there it has to do a lot with Zombies but not in the traditional way where they are after you only. Season One of Dead City still feels a bit slow and to be honest episode six does feel like a to be continue episode, lot of things are left hanging and we will have to wait for season two, Hollywood Strike is over meaning that productions will start to catch up so probably we will have season two next year. Episode six finally reveal the true reason why Maggie went looking for Negan, on episode five Giny call Maggie a liar after she find out there was no missing grain at the Hill Top before he escape to Manhattan looking for Negan, episode six also confirm that anyone who thought that The Croat or Maggie wanted to kill Negan it was never the case, the man was more safe than a deposit box, at Manhattan they wanted Negan to lead them, a higher power was behind the curtain waiting, wanting him to be the new king of the hill for the war that is ahead them.

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After Giny and Maggie got out of the tunnels for some mystic reason they met with Negan, that's how TV works so don't ask me because Negan and Perlie were on their way to the dock, Manhattan is so fucking huge and they just some how manage to met again after all the debacle that is going on, I really thought Giny was going to talk this time like finally she is going to spill the beans but it was Negan that kept talking about how she should not be there etc etc and I was like LET THE GIRL TALK!! but she didn't and Maggie had the chance to dodge a bullet on the spot after Negan ask him if she knew anything about Giny been there to what she answer mmmeee?? NNNOOO!! asking like she doesn't know Giny can set her liar ass on fire anytime she wants, meh Negan goes with Maggie after he gave a pep talk to Giny and Marshall Perlie takes Giny back to firm land, back to the Hill Top, at this point Giny becomes irrelevant for the rest of the episode.

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Negan and Maggie take refugee inside a tall building, looking out side the window waiting for someone to show up on the streets, The Croat? , well I'm not sure about that because if I was looking for someone I would probably be on the roof top where I have more sight, anyways TV magic again and a car shows up on the main street.

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You tell me how they know its The Croat? they decided to go after the car, unless they car parks on the main street, that it didn't it would be easy to find it ON FOOT!!! this are the things that I dont like about episode six, all this details feel rush, may be when you are watching the episode you dont pay much attention but its the adrenaline and dopamine running through your brain that makes you forget about it, how the fuck they go down twenty story building and still have energy to run after the car??

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See,it was not on the main road but lets say that big smoke cloud helps them to locate it, after all Zombies don't know how to start a fire so there must be humans inside, as they walk into the building, good old silver fox Negan question Maggie about why Giny would come to Manhattan and if she knew anything about it, like he just wanted to understand Giny, you know been a good guy, probably even good step father. It is here where Maggie drops the ball telling Negan she assume Giny wanted to talk to him explain him why she came to Manhattan and Negan was like "Giny talk to me? Did she talk to you? When did Giny start fucking talking?" Giny doesnt even talk with herself, barely whistle.

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Maggie pulls one of her knifes after she look at Negan and probably though "Fuck I just fuck it up...Giny talking, that was so stupid of me", tries to stab Negan but he manage to run away until they get to this scene where they are fighting on top of a structure with a lot of Zombies below them, I knew none of them were going to fall so it was a bit over the top and predictable, you tell me if Negan doesn't want to change his life and make up for his mistakes in the past that he doesn't kill Maggie and even let her turn him in.

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At this point he finally understood why The Croat took Hershel and why Maggie went looking for Negan, it look weird that when The Croat was chasing him at the stadium it was like he was trying to be friends with him to the point he thought about it latter on but still Negan wanted to do the right thing and help Maggie get back her son from The Croat. The Croat tells Negan how he has been looking for him for months, he want him alive, how after thinking how to get him finally find out about Maggie and knew she was going to be the key to get Negan, Doma Smon saying like we are home Negan, its here where we belong.

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They get to a bank where the exchange is going to happen, they had Hershel inside the bank safe, at this point Negan still doubt if he is going to be ok but in that universe they are its most likely he might die, Negan gives in without putting any fight and the only thing he ask from Maggie is to take care of Giny, Maggie felt shitty but probably her thirst of revenge against him was bigger, Maggie gets Hershel but her son is still kidnap even when its free in the out world, mentally Hershel is broken, they already had all kind of problems him knowing about what happen to his father and thinking Maggie tries to safe the world for everyone except him.

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After Marshall Perlie drops off Giny at the Hill Top where for now she agree to stay, Perlie goes back to New Babylon where is gets interview by their leader, he let Negan live after they bond, remember Negan safe his ass at the island more than once so he was in debt with him.

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Perlie sits there at the office with a few other Marshall, he is welcome as a hero, lie his ass telling them how he killed Negan, I really thought they were going to hang him, Perlie been at Manhattan was actually a happy accident for New Babaylon, seems they are interested in The Croat Methane Mix, he have found a we to turn Zombies into fuel, meaning they can have tech running again, not only cars but generators and other type of machinery with the most abundant resource on Earth at the moment, Zombies.

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Back at Manhattan, we get to the final straight of the episode, pedal to the metal, The Croat takes Negan back to their hide out, the building that had the big smoke cloud at the back, its a theater, at the dressing room was the lady he talk to on episode five, The Dama, wtf is with this people and their nicknames starting with "THE", drop the THE (Facebook), its on this final scene that we get all the details of The Croat plan well The Dama plan because he is just a the tool to get their fuel and now get to Negan, the leader she was looking for, seems Manhattan is split between many groups but united can become a strong force not to fuck with and that's what she wants, for some time now she hold control over a good part of Manhattan but there is also Harlem, even during the Zombie Apocalypse Harlem remains strong, she believes main land already know of their Zombie based fuel and they coming for it, she also tells Negan how all this can be his she just need him to lead the pack and not to leave him with unanswered questions she explain how she cleverly got him sitting where he is at right now, getting Hershel was not enough so she personally question him and crack him up to the point his soul is now hers, she even took a souvenir, pinky toe, so he never forgets she can go back and take another one, Hershell tells her about how Negan killed his father, besides they have been tracking him, getting intel on him and she figure out Negan must be trying to change his life, make up for his mistakes thats how she knew he would not say NO to help Maggie when she ask for.

Episode six I think gives a good closure but at the same time it doesn't, it finally tell us exactly why The Croat took Hershel, why Maggie went looking for Nega because episode five tells us it was The Croat that ask her to look for him and bring Negan to him but not the reason why, The Dama came up to the stage and in less than ten minutes gives in all the details that help us crack the code of season one, Negan is the lone wolf they have been looking to lead and unite Manhattan Pack, The Dama loves Negan talent to put up a show and showing the rest who has big balls even when out number and out gun, exactly the type of leader she is looking for to control the entire island, for now looks like her intentions is not to conquer the world but to protect what they have and New Babylon the invaders but that still to be prove on season two.

There were a lot of details that I didn't like about the series like how they move from one place to another, how they always manage to find each other like they wearing an Apple Tag or something but still when watching TV series you need to understand all this is fiction, meaning all this is a lie and bull shit like that goes on.

For season two I don't think Maggie, Hershel of the Hill Top is out of the equation, as a fact because of Hershel and Maggie their entire community will be at risk, Marshal Perlie is been interview and caught bullshitting so what if he tells about the Hill Top?? New Babylon would love to take over it, with all the problems going on between Maggie and Hershel, he might run back to The Dama, when the episode is about to be over Maggie found Hershel's drawings most refer to when he was kidnap and there was a portrait from The Dama so stupid Hershel can run back to her if he feels his mother is not on his side or he doesn't feel safe or had any other trauma that makes him feel safer over at Manhattan, I see season two been the invasion of Manhattan, not a bad tittle. Finally I'm done with season one, soon will build up an overall recap giving my opinion about it.

Set in the backdrop of the 1960s, Cigarette girl is a moving story of a determined woman who was attempting to break the shackles of her culture and society. Her name is Dasiyah, a girl born from a business family who owned a cigarette industry. Back in the day, in the cigarette industry, women were only allowed to work as cigarette rollers and other aspects of the business were taken care of by men. Dasiyah or endearingly called “Jeng Yah” is talented and passionate about cigarette dreaming of revolutionizing the industry.

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She understands quality tobacco and wants to use her talent to make “sauce” which is the essence of a great cigarette. Unfortunately, sauce making is only a man’s job and a woman isn’t allowed inside the room as the popular beliefs dictate that if a woman entered the sauce room, the cigarette would taste sour and awful. Her comfortable life turned upside down when she first encountered Raja, a wanderer who went from one place to another and eventually found himself in the city of M. One day, their eyes locked together and Jeng Yah saw a spark of freedom in Raja’s eyes. That is when their tragedy was about to unfold and span through generations.

Cigarette girl is a six episodes Netflix original series directed by Kamila Andini and Ifa Isfanyah. It was recently released and has garnered quite a lot of attention especially in Indonesia. The setting of the place is a fictional city of M although since it’s about the cigarette industry back in the 1960’s, the city of M is most likely located somewhere in Central Java. In this series, they also feature Museum Kretek. In Indonesia, the special kind of cigarette is called “Kretek ''. It is an unrolled cigarette consisting of tobacco and also various spices which are called “sauce”. To this day, this type of cigarette is still the most preferred by locals. In the past, it was seen as medicinal as the original creator of it, consuming a mix of cloves with tobacco and forming it into a cigarette. That was also believed to be the start of Kretek culture in Indonesia.

In the first episode, we are transported to Indonesia in the 2000s where a man called “Lebas” was attending his Ill-father. His father woke up from a dream and shouted, “ Jeng Yah” then instructed his youngest son to find her. Lebas, who was the estranged son of Raja, begins his search and reading some of the notes and letters that his father had. In the first episode, it was revealed that Raja’s family owned DR cigarette company, a #1 producer of cigarettes in the country. Lebas started his journey by visiting Museum Kretek which his family is one of the benefactors. From there, he also meets Arun, another benefactor of the museum whose grandfather was also a cigarette owner in the past. In this first episode, the character of Jeng Yah was also introduced. She is characterized as introverted, anti-social but talented when it comes to tobacco. Her society at the time believed that a woman shouldn’t play with cigarettes and at her age, she was supposed to be married and be in the kitchen instead of dreaming something more. In this episode, was also the start with Jeng Yah and Raja encounter and ends at Lebas in the 2000s was talking to his family about his quest on finding Jeng Yah.

Then, as the relationship between Raja and Jeng Yah grows, her family was already setting her up with a man called Seno, a son from a family acquaintance. Jeng yah disapproved of it but couldn’t really resist. In the present time, it was mentioned that Arum is the daughter of Rukayah, the younger sister of Jeng Yah. She is a doctor but spends her life in a simple house in the suburb of city M. Arum grows curious about her Aunt, Jeng yah which always sounded mysterious to her.

The third episode showed when Jeng Yah eventually found a unique sauce that she shared with Raja. This sauce was “their '' sauce and eventually both of them revealed that they were in a relationship with Jeng Yah’s family. Things went really well for a while as Jeng Yah eventually launched her cigarettes called “ Kretek Gadis' ' their tagline was, “ once you inhale it, you’ll feel as if your dream woman would emerge in front of you”. It was then revealed that Raja was a seasonal laborer and worked as the Dutch's spy during colonial times. Then, as Raja got affiliated with the left party (red: the communist party) it was the start when Jeng Yah’s family would turn upside down.

The red party also produced cigarettes and at the time,everyone who is known to be affiliated with them got taken away and was inside some sort of “list”. There is a stigma once someone enters the list and most likely would never make it out alive. Jeng Yah’s family was accused of being part of the left party as two boxes of cigarettes were found in her home. Soon, the military raided the house, destroyed it and only the mother and rukayah survived the aftermath. They were also taken care of by Seno.

Jeng Yah was taken into prison while Raja survived the aftermath and began to work for the rival of Jeng Yah’s family. During the arrest, Jeng Yah faced immense struggle but the thought of reuniting with Raja kept her spirit. Unfortunately, time passed and she was later released two years after the incident. She went back to her previous home only to find out the place now has been abandoned. Next thing she knows, Jeng yah woke up alongside her sister and her mother who was taken care of by Seno.

As their family secrets were slowly revealed. Arum was shocked to find out the truth about Jeng Yah and her origin. The stigma after the arrest stuck to her family and only during her generation, she could stay away from that and lived a normal life without knowing her previous pain of her mother and family. They were the family who was accused of being into the left and got their life, future, and livelihood taken away. In the last episode, everyone received the resolution while Lebas grew as a better person and Arum became curious of her father’s side past. Both of them hinted that there would be more adventure. As Arum’s father died during conflict in Papua which at the time was also a turning point in the history of Indonesia.

This series was filled with senior actors and actresses from Indonesia. Jeng Yah is played by Dian Sastro who is a known actress in the country. Raja is played by Ario Bayu, a known actor who plays mostly action and historical films. While Putri Marino, who played as Arum is an upcoming actress who is also famous in the county as well as Lebas, played by Arya Saloka, a known soap operas as well as famous actor in the country. When it comes to the cast, there should be no question and doubt that it’s filled with stars and their quality of action is one-of-a-kind.

For Indonesian film and series, a lot of cinematically stunning films are those period/historical genres. This series was the same. The slow motion and cinematic aspect was shown in some scenes especially on its smoking part. It made it feel like romanticizing smoking and almost watching a cigarette advertisement at play.

Meanwhile the story itself was quite a typical betrayal and rivalry romance. Yet what makes it intriguing was that it touched on the 1965’s tragedy in the country that somehow remains to be under the table. Some movies have been made and attempted to make a reconciliation towards the dark past of the county and this series was too. It showed that some people were put into the list despite they weren’t actually part of the left. This series felt personally close to home as my grandfather was once taken away and then released because he was found not guilty. It was a difficult time according to my grandmother and my older aunt, just like Jeng Yah’s family. But they survived the aftermath and moved on from those dark times in the country.

As this movie contains smoking scenes, it feels almost like smoking is romanticized and cool. It also remains intriguing as the feminism theme is spread throughout the film. These days when a woman smokes it is seen as “strange” or weird but through this film, back in the day women of all ages were smoking and it was not something so taboo. If you like movies that talk about the struggles of women, this is one of them.

For foreign audience, getting the nuances of the story might not be easy. But this series, enjoyed as cinematically stunning work as well as great actors, are justified. It was a good journey watching this and I highly recommend this series on Netflix.

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VERSIÓN EN ESPAÑOL (click aquí)

Bueno amigos, damas y caballeros. Últimamente he estado un poco desaparecido en Hive, todo esto debido a que no había encontrado algo que realmente me llamara la atención y no iba a forzarme a ver algo que realmente no quería ver, el contenido sería malo y eso no beneficia a nadie, una reseña vacía y sin corazón no merece ser escrita por lo que tuve que buscar qué ver por diferentes medios hasta que encontré algo sobre una web serie que se había hecho muy viral en YouTube, la verdad no soy muy de ver eso porque usualmente terminan siendo esas series extrañas para niños con aspectos muy turbios y a las cuales si tienen mucha exposición terminan con el cerebro lavado. Y no es por prejuzgar pero al ver algunas imágenes lo primero que pensé fue en eso, una serie para niños que miles de canales explotarían, aunque bueno, la serie no es para niños pero igualmente la están explotando, el fandom es bastante raro, quizás hablemos un poco de eso también. La serie en cuestión se llama The Amazing Digital Circus, la nueva moda de internet que puede que ya muchos estén "sobrevalorando" causando que el autor/a se esté replanteando si fue buen idea haber llevado a cabo su obra. Así que sin más dilación hablemos de esta web serie, su extraña propuesta y por qué cautivó a todo internet.

Good friends, ladies and gentlemen. I've been a little disappeared on Hive lately, all this because I hadn't found anything that really caught my attention and I wasn't going to force myself to see something I really didn't want to see, the content would be bad and that doesn't benefit anyone, an empty and heartless review doesn't deserve to be written so I had to look for what to see through different means until I found something about a web series that had gone very viral on YouTube, the truth is I'm not very of seeing that because they usually end up being those strange children's series with very murky aspects and if they have a lot of exposure they end up with their brains washed. And it's not prejudging but when I saw some images the first thing I thought was that, a series for children that thousands of channels would exploit, although well, the series is not for children but they are still exploiting it, the fandom is quite strange, maybe we talk a little about that too. The series in question is called The Amazing Digital Circus, the new internet fashion that may already be "overvalued" by many, causing the author to rethink whether it was a good idea to carry out his work. So without further ado let's talk about this web series, its strange proposal and why it captivated all of the internet.

VERSIÓN EN ESPAÑOL (click aquí)

La serie nos pone en la piel de una chica de 25 años de nombre desconocido que aparece en un mundo virtual, lo único recuerda antes de eso es que se colocó un casco de realidad virtual que ahora no se puede quitar por lo que ahora se encuentra encerrada, su claro objetivo será escapar sin que sucumba a la locura, debido a que esto podría llevar a que pierda toda posibilidad de salir. Al no saber quién es, la inteligencia artificial que controla el lugar le pondrá el nombre de Pomni y cabe añadir que durante su aventura no se encontrará sola, hay también otros humanos atrapados en este mundo virtual con forma de circo quienes llevan años, algunos más que otros. Durante este capítulo piloto se nos presentará varios conceptos interesantes como la abstracción, que los personajes estén encerrados en una especie de Matrix o la existencia de un vacío que incluso la inteligencia artificial que controla el lugar no sabe qué contiene o hasta donde puede llevar. Una vez mencionado eso, durante cada día según tengo entendido, la IA le entregará misiones a los partícipes del circo para que se mantengan ocupados, todo esto para que mantengan la cordura, supuestamente ese es su deber pero también queda implícito que quizás él sea el causante de que los humanos se encuentren en ese lugar. Podría parecer una especie de trama de horror pero es más bien una comedia negra con un toque de misterio, lo que la hace interesante.

The series puts us in the shoes of a 25-year-old girl with an unknown name who appears in a virtual world, the only thing she remembers before that is that she put on a virtual reality helmet that she can't take off now, so she's trapped. Her clear goal will be to escape without succumbing to madness, because this could lead to her losing any chance of getting out. Not knowing who she is, the artificial intelligence that controls the place will put the name Pomni on her, and it should be added that during her adventure she will not be alone, there are also other humans trapped in this virtual world in the form of a circus who have been there for years, some more than others. During this pilot episode, we will be presented with several interesting concepts such as abstraction, that the characters are trapped in a kind of Matrix or the existence of a void that even the artificial intelligence that controls the place does not know what it contains or how far it can go. Once mentioned that, during each day, as I understand it, the AI will give missions to the participants of the circus to keep them busy, all this to keep them sane, supposedly that is his duty but it is also implied that perhaps he is the one who caused the humans to be in that place. It might look like a horror story plot but it's more of a black comedy with a touch of mystery, which makes it interesting.

VERSIÓN EN ESPAÑOL (click aquí)

Creo que lo que más llegó a atrapar al público son los personajes como tal, cada uno podría considerarse como una parodia de él mismo debido a que tienen una personalidad opuesta a lo que aparentan, solo hace falta ver a la propia protagonista la cual es una especie de arlequín, cualquiera supondría que sería un personaje cómico pero es más bien nervioso y con ataques existenciales y de ansiedad, todos causados por no saber cómo escapar. Una clara diferencia de este producto con los demás es que tiene intenciones claras y se las dice al espectador: "vamos a hacer esto, así que estate atento a todo", desde el principio se dice que los personajes están encerrados, que son humanos y que puede haber una salida, que deben escapar, cualquier otro medio habría dejado todo esto como un misterio pero acá claramente los creadores quieren que la comunidad haga sus propias teorías desde un comienzo con el material que se les otorga. Se nota que cada aspecto de la propuesta está bastante bien estudiado, basando toda la estética en las primeras etapas de la animación 3D, creando durante varias partes del capítulos ese espacio liminal que nos hace sentir inquietos y causando también esa sensación de soledad, que puede que afecte más a un niño que a una persona adulta pero está bastante bien conseguido, más aún cuando tomamos en cuenta escenas como cuando Pomni entra en la oficina de la salida y vemos cómo recuerda mucho a Stanley Parable, siendo una clara inspiración y es que inspiraciones hay muchas pero eso se lo dejo a los vídeos de curiosidades.

I think what caught the public's attention the most are the characters as such, each one could be considered a parody of itself because they have a personality opposite to what they appear to be, you just have to look at the protagonist herself who is a kind of harlequin, anyone would suppose she would be a comic character but she is rather nervous and with existential and anxiety attacks, all caused by not knowing how to escape. A clear difference of this product with the others is that it has clear intentions and tells the viewer: "we are going to do this, so stay tuned for everything", from the beginning it is said that the characters are locked up, that they are human and that there may be an exit, that they must escape, any other means would have left all this as a mystery but here the creators clearly want the community to make their own theories from the beginning with the material they are given. It is clear that every aspect of the proposal is quite well studied, basing the whole aesthetic on the early stages of 3D animation, creating during several parts of the chapters that liminal space that makes us feel uneasy and also causing that feeling of loneliness, which may affect a child more than an adult but it is quite well achieved, even more when we take into account scenes like when Pomni enters the exit office and sees how it resembles Stanley Parable a lot, being a clear inspiration and that there are many inspirations but I leave that to the curiosity videos.

VERSIÓN EN ESPAÑOL (click aquí)

Usualmente en una web serie uno se esperaría que intenten crear una historia totalmente artificial con un misterio forzado que convertiría la obra en algo sobrevalorado porque intenta ser pretencioso, todo esto intentando recrear el éxito que ha tenido en internet juegos como Five Night's At Freddy's o también enfocarse en vender productos o merchandising para niños pequeños como es el caso del supuesto juego de terror Poppy Playtime, que sinceramente se ha ido desprestigiando tanto con el contenido creado por otros canales que ya ni imparte miedo, aunque desde un principio parece que fue creado para vender muñecos con forma del enemigo que te persigue. Con The Amazing Digital Circus, no me da esa impresión, buscan de verdad hacer algo totalmente serio y que podría llegar a interesar a muchas personas, mucha gente intenta buscarle cosas malas pero es que en este punto ni siquiera hay, quejarse porque hagan arte o teorías lo veo un total sin sentido, sí o sí va a ocurrir, hasta los creadores se burlan del contenido basura creado por los canales de YouTube que son granjas de contenido, aquellos creados para hacer vídeos con el tema del momento llamando la atención de preferiblemente los niños. El único punto que podría ser criticable es una pequeña parte del fandom que es bastante ruidosa y es aquella que tienen sus fetiches con la protagonista, pero qué se le puede hacer. Lo admito, la arlequín me llamó la atención y la vi por eso, seguramente a muchos otros le ocurrió lo mismo, el producto está curioso y hay que ver cómo continúa. De parte de los creadores dijeron que si los fanáticos se ponían tóxicos harían la serie mala a propósito, así que ya saben.

Usually in a web series one would expect them to try and create a completely artificial story with a forced mystery that would turn the work into something overvalued because it tries to be pretentious, all this trying to recreate the success that has had on the internet games like Five Night's At Freddy's or also focus on selling products or merchandise for small children as is the case with the supposed terror game Poppy Playtime, which has frankly been discredited so much with the content created by other channels that it no longer scares, although from the beginning it seems that it was created to sell dolls with the shape of the enemy that pursues you. With The Amazing Digital Circus, I don't get that impression, they really want to do something completely serious and that could interest many people, many people try to find bad things about it but at this point there is not even, complaining because they do art or theories I see it as a total nonsense, it will happen, even the creators make fun of the trash content created by YouTube channels that are content farms, those created to make videos with the theme of the moment calling the attention of preferably children. The only point that could be criticized is a small part of the fandom that is quite noisy and is that which have their fetishes with the protagonist, but what can you do. I admit it, the harlequin caught my attention and I saw it for that, surely many others happened the same, the product is curious and we have to see how it continues. On behalf of the creators they said that if the fans were toxic they would make the series bad on purpose, so they already know.

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The screenshots are my own.

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

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Synopsis: In this new adventure, captain Carol Danvers joins forces with two new (and powerful) members: Kamala Khan and Monica Rambeau. Working as a team, they must find a way to save the universe from new threats.

Once again trying to deliver something “different”, Marvel releases its latest movie this year. Unfortunately, the result is nothing that fans might expect in terms of narrative quality (confirming what everyone has known for some time: a very low level of creativity in comic book adaptations). On the other hand, it is important to highlight that even though it is full of problems, this example does not join the ranks of the studio's worst projects (which is ironic, considering all the promotional material that was released). The end result brings a mixture of repeated elements and projects a visually fun, direct and much shorter adventure onto the screen.

Guia Disney+ Brasil

The plot works as a kind of continuation of the first movie, at the same time that it runs in parallel with some situations seen in the television series Ms. Marvel and WandaVision (although this is yet another “artifice” to inflate this story a little. as well as empty). This does not seem to me to have been a good decision by the screenwriters to create a “story paving” (as a character construction and its complex layers) more faithful to the protagonist herself, who ends up sharing the screen with two new characters and loses much of her strength within of your own film. Danvers mixes her powers with Khan and Rambeau, and now they form a new fighting team.

One of the script's biggest problems begins precisely with this union. The trio doesn't work as well as it should and the script's exaggeratedly comical approach only makes this union a very difficult mistake to ignore. In fact, this type of comedy promoted by Marvel throughout its films has always been a problem for me, because the insertions they are supposed to make sometimes even manage to have a positive effect, but it is always their exaggeration that makes everything worse. Often the mistakes are not even the jokes, but their punctuality within the plot, nullifying the weight of what is being constructed and excluding any sense of urgency in relation to the imminent dangers.

Heroic Hollywood

This time, although the movie is faster (and this works very well to try to minimize the damage to the project, which if it had been longer it would have been even worse), the script does not just rely on jokes to try to make people laugh and captivate the audience. public, but also bets on a much less impactful setting in terms of narrative. Everything is presented in a very generic way to the audience, who definitely doesn't see anything new happening on the screen. Nothing has an interesting or minimally intriguing atmosphere, although at times there is an effort to do so, but unfortunately practically everything is nullified by the clumsy and unstable writing itself within a laughable plot.

Initially, the audience is easily fooled with a very good sequence in the first few minutes. Full of action, bringing great elements that live up to the title of characters who have superpowers and being executed with great special effects technique (which, by the way, are great during part of the entire movie), these scenes establish the standard that the script should have followed, but it doesn't take long for the movie to transform into something completely different, and it's from then on that the situations start to not make much sense in the more general context of the central idea, delivering a narrative that gradually becomes something boring (when it had the potential to be better).

IndieWire

Although the story is too simplistic in many moments (and this is another very specific problem with the script, but already well known in many Marvel movies), the arcs of the trio of superheroines are surprisingly well crafted (as far as possible, considering the limitations of the script itself). There is a good dynamic between them and what needs to be done, making the fact that they have to work as a team coherent. However, these arcs and their motivations work when they converge within the same idea... Separately they do not bring the sense of urgency that should exist anyway. Either way, there is still something missing to completely connect them.

Musical insertions also pop up in the script (yes, you read that right... musical insertions), and help to further spoil a narrative that already has many problems in itself. Mixing drama, action and comedy within the same project involving superhero stories with such an uncompromising approach to the point of sounding lazy is another bad decision by the script, which spares no effort in delivering something increasingly embarrassing to the public. There is an obvious loss of connections in relation to the main plot and subplots, their narratives and the presence of random characters without any substance that could help guide the movie along better paths.

Forbes

Nia DaCosta directs The Marvels without really knowing what she's doing. Brie Larson, although more charismatic, seems lost (as does the rest of the cast). However, as expected, fortunately, the most technical part of the film is well managed (with the exception of the editing of scenes that are too oscillating and disrupt the narrative setting), because the special effects deserve to be recognized as a good highlight, in addition to of a dynamic soundtrack and an energetic color palette, which combined with efficient lighting, manages to create very functional action scenes. In the end, this was yet another frustrated attempt by Marvel to recreate an empire that was once admirable.

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CRÍTICA DE PELÍCULA: “The Marvels” (2023)

Sinopsis: En esta nueva aventura, la capitana Carol Danvers une fuerzas con dos nuevos (y poderosos) miembros: Kamala Khan y Monica Rambeau. Trabajando en equipo, deben encontrar una manera de salvar el universo de nuevas amenazas.

Una vez más, intentando ofrecer algo “diferente”, Marvel estrena su última película este año. Desgraciadamente, el resultado no es nada de lo que los fans podrían esperar en términos de calidad narrativa (lo que confirma lo que todo el mundo sabe desde hace tiempo: un nivel muy bajo de creatividad en las adaptaciones de cómics). Por otro lado, es importante resaltar que aunque está lleno de problemas, este ejemplo no se suma a los peores proyectos del estudio (lo cual es irónico, considerando todo el material promocional que se lanzó). El resultado final trae una mezcla de elementos repetidos y proyecta en la pantalla una aventura visualmente divertida, directa y mucho más corta.

La trama funciona como una especie de continuación de la primera película, al mismo tiempo que discurre en paralelo con algunas situaciones vistas en las series de televisión Ms. Marvel y WandaVision (aunque esto es otro “artificio” más para inflar un poco esta historia). . así como vacío). No me parece que haya sido una buena decisión de los guionistas crear un “pavimento narrativo” (como construcción de personajes y sus complejas capas) más fiel a la propia protagonista, que acaba compartiendo pantalla con dos nuevos personajes y Pierde gran parte de su fuerza dentro de su propia película. Danvers mezcla sus poderes con Khan y Rambeau, y ahora forman un nuevo equipo de lucha.

Uno de los mayores problemas del guión comienza precisamente con esta unión. El trío no funciona todo lo bien que debería y el enfoque exageradamente cómico del guión sólo hace que esta unión sea un error muy difícil de ignorar. De hecho, este tipo de comedia promovida por Marvel a lo largo de sus películas siempre ha sido un problema para mí, porque las inserciones que se supone que deben hacer a veces incluso logran tener un efecto positivo, pero siempre es su exageración la que empeora todo. Muchas veces los errores ni siquiera son los chistes, sino su puntualidad dentro de la trama, anulando el peso de lo que se está construyendo y excluyendo cualquier sentido de urgencia en relación a los peligros inminentes.

Esta vez, aunque la película es más rápida (y esto funciona muy bien para intentar minimizar el daño al proyecto, que si hubiera sido más largo hubiera sido aún peor), el guión no se basa sólo en bromas que intentar hacer. La gente ríe y cautiva al público, pero también apuesta por una ambientación mucho menos impactante en términos narrativos. Todo se presenta de una manera muy genérica al público, quien definitivamente no ve nada nuevo en la pantalla. Nada tiene una atmósfera interesante o mínimamente intrigante, aunque por momentos se intenta hacerlo, pero desgraciadamente prácticamente todo queda anulado por la propia escritura torpe e inestable dentro de una trama irrisoria.

Al principio, el público se deja engañar fácilmente con una muy buena secuencia en los primeros minutos. Llena de acción, trayendo grandes elementos que hacen honor al título de personajes que tienen superpoderes y siendo ejecutadas con una gran técnica de efectos especiales (que, por cierto, son geniales durante parte de toda la película), estas escenas establecen el estándar que el guión debería haber seguido, pero la película no tarda mucho en transformarse en algo completamente diferente, y es a partir de ahí que las situaciones empiezan a no tener mucho sentido en el contexto más general de la idea central, entregando una narrativa que gradualmente se convierte en algo aburrido (cuando tenía el potencial de ser mejor).

Aunque la historia es demasiado simplista en muchos momentos (y este es otro problema muy puntual del guión, pero ya muy conocido en muchas películas de Marvel), los arcos del trío de superheroínas están sorprendentemente bien elaborados (en la medida de lo posible, teniendo en cuenta la limitaciones del propio guión). Hay una buena dinámica entre ellos y lo que hay que hacer, haciendo coherente el hecho de que tienen que trabajar en equipo. Sin embargo, estos arcos y sus motivaciones funcionan cuando convergen dentro de una misma idea... Por separado no aportan el sentido de urgencia que debería existir de todos modos. De cualquier manera, todavía falta algo para conectarlos por completo.

Las inserciones musicales también ocurren en el guión (sí, leíste bien... inserciones musicales), y ayudan a estropear aún más una narrativa que ya tiene muchos problemas de por sí. Mezclar drama, acción y comedia en un mismo proyecto con historias de superhéroes con un enfoque tan intransigente hasta el punto de parecer perezoso es otra mala decisión del guion, que no escatima esfuerzos en ofrecer algo cada vez más embarazoso al público. Se nota una pérdida de conexiones en relación a la trama principal y secundaria, sus narrativas y la presencia de personajes aleatorios y sin sustancia alguna que pueda ayudar a guiar la película por mejores caminos.

Nia DaCosta dirige The Marvels sin saber realmente lo que hace. Brie Larson, aunque más carismática, parece perdida (al igual que el resto del elenco). Sin embargo, como era de esperar, afortunadamente la parte más técnica de la película está bien gestionada (a excepción del montaje de escenas demasiado oscilantes y que perturban la ambientación narrativa), porque los efectos especiales merecen ser reconocidos como un buen punto culminante, además de una banda sonora dinámica y una paleta de colores enérgica, que combinada con una iluminación eficiente, logra crear escenas de acción muy funcionales. Al final, este fue otro intento frustrado de Marvel de recrear un imperio que alguna vez fue admirable.

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CRÍTICA DE FILME: “As Marvels” (2023)

Sinopse: Nesta nova aventura, a capitã Carol Danvers junta forças com duas novas (e poderosas) integrantes: Kamala Khan e Monica Rambeau. Trabalhando em equipe, elas precisam encontrar uma maneira de salvar o universo de novas ameaças.

Uma vez mais tentando entregar algo “diferente”, a Marvel lança o seu último filme este ano. Infelizmente, o resultado não é nada do que os fãs podem esperar em termos de qualidade narrativa (confirmando o que todo mundo já sabe há algum tempo: um baixíssimo nível de criatividade em adaptações de histórias em quadrinhos). Por outro lado, é importante ressaltar que mesmo repleto de problemas, este exemplo não entra para o hall dos piores projetos do estúdio (o que vem a ser irônico, considerando todo o material promocional que foi divulgado). O resultado final traz uma mistura de elementos repetidos e projeta na telona uma aventura visualmente divertida, direta e bem mais curta.

A trama funciona como uma espécie de continuação do primeiro filme, ao mesmo tempo em que caminha em paralelo com algumas situações vistas nas séries de televisão Ms. Marvel e WandaVision (ainda que isso seja mais um “artifício” para inflar um pouco essa estória um tanto quanto vazia). Essa não me parece ter sido uma boa decisão dos roteiristas para criar uma “pavimentação história” (enquanto construção de personagem e suas camadas complexas) mais fiel a própria protagonista, que acaba dividindo a tela com duas novas personagens e perde muito da sua força dentro do seu próprio filme. Danvers mistura seus poderes com Khan e Rambeau, e agora formam uma nova equipe de combate.

Um dos grandes problemas do roteiro começa justamente com essa união. O trio não funciona tão bem quanto deveria e a abordagem exageradamente cômica do roteiro só torna essa união em um erro muito difícil de ser ignorado. Aliás, esse tipo de comédia promovido pela Marvel ao longo dos seus filmes sempre foi um problema para mim, porque as inserções que deveriam fazer às vezes até conseguem surtir algum efeito positivo, mas é sempre o exagero delas que torna tudo em algo pior. Muitas vezes os erros nem são as piadas, mas a pontualidade delas dentro da trama, anulando o peso do que está sendo construído e excluindo qualquer senso de urgência em relação aos perigos que são iminentes.

Desta vez, embora o filme seja mais rápido (e isso funciona muito bem para tentar minimizar os danos do projeto, que se tivesse uma duração mais longa teria sido ainda pior), o roteiro não aposta apenas nas piadas para tentar fazer rir e cativar o público, mas também, aposta em uma ambientação bem menos impactante em termos de narrativa. Tudo se apresenta de maneira muito genérica para o público, que definitivamente não vê nada de novo acontece na tela. Nada tem uma atmosfera interessante ou minimamente intrigante, embora em alguns momentos haja um esforço para isso, mas infelizmente praticamente tudo é anulado pela própria escrita desajeitada e instável dentro de uma trama risível.

Inicialmente, o público é facilmente enganado com uma sequência muito boa nos primeiros minutos. Repleta de ação, trazendo ótimos elementos que fazem jus ao título de personagens que tem superpoderes e sendo executadas com à ótima técnica de efeitos especiais (que aliás, são ótimos durante uma parte de todo o filme), essas cenas estabelecem o padrão que o roteiro deveria ter seguido, mas não demora muito para o filme se transformar em algo completamente diferente, e é a partir dai que as situações começam a não fazer tanto sentido no contexto mais geral da ideia central, entregando uma narrativa que gradualmente vai se tornando em algo enfadonho (quanto tinha potencial ser melhor).

Embora a estória seja simplista demais em muitos momentos (e este é outro problema muito pontual do roteiro, mas já muito conhecido em muitos dos filmes da Marvel), os arcos do trio de super-heroínas são surpreendentemente bem trabalhados (na medida do possível, considerando as limitações do próprio roteiro). Há uma dinâmica boa entre elas e o que precisa ser feito, tornando coerente o fato delas terem que trabalharem em equipe. No entanto, esses arcos e suas motivações são funcionam quando convergem dentro de uma mesma ideia... Separados eles não trazem o senso de urgência que deveria existir de qualquer jeito. De qualquer maneira, ainda falta algo para conectá-las por completo.

Inserções musicais também acontecem no roteiro (sim, você leu direito... inserções musicais), e ajudam a estragar ainda mais uma narrativa que por si só já tem muitos problemas. Misturar drama, ação e comédia dentro de um mesmo projeto envolvendo estórias de super-heróis com uma abordagem tão descompromissada a ponto de soar como algo preguiçoso é outra péssima decisão do roteiro, que não poupa esforços em entregar algo cada vez mais constrangedor ao público. Há uma evidente perda de conexões em relação a trama principal e as subtramas, suas narrativas e as presenças de personagens aleatórios sem qualquer substância que possa ajudar a guiar o filme por caminhos melhores.

Nia DaCosta dirige As Marvels sem saber muito bem o que está fazendo. Brie Larson, embora mais carismática, parece perdida (assim como o restante do elenco). No entanto, como já era de esperar, felizmente há o acerto na parte mais técnica do filme (com exceção da edição de cenas que são oscilantes demais e atrapalham à ambientação narrativa), porque os efeitos especiais merecem ser reconhecidos como um bom destaque, além de uma trilha sonora dinâmica e uma paleta de cores energética, que aliada a uma iluminação eficiente, consegue criar cenas de ação bem funcionais. No final de tudo, essa foi mais uma tentativa frustrada da Marvel em recriar um império que outrora era algo admirável.