Before seeing the film I had reviewed some somewhat negative opinions from professional critics. Evidently it is not a film that will be remembered. It has moments where some flaws in the development of the story become latent, perhaps it lacked to polish some details of the script. But what matters to me is that it entertains me and despite all its cons, I liked most of the footage.

Mario Casas makes the leap to directing. It is his debut behind the camera, after having a long career in Spanish cinema. It seems that many still judge him for having been a teen idol at the time, with series and movies where the important thing was his physical attractiveness.

His career has taken a turn since he worked in the movie Grupo 7 and he is an actor that I find sympathetic. I have the feeling that he is an actor who likes his work, he gives one hundred percent to what he does and many times, depending on the project, he takes risks in demanding roles. He is an actor that I like in almost all his films. Now, it seems that he has decided to alternate his career as an actor with working behind the camera.

In his first film as a director, he takes his cue from quinqui cinema. This reminded me of the film and series Hasta el Cielo, where he also uses the style of that cinema, but from a more modern and digestible point of view for the masses. It is here where it is too noticeable that it is a very calculated product.

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Antes de ver la película había revisado algunas opiniones algo negativas de críticos profesionales. Evidentemente no es una película que vaya a ser recordada. Tiene momentos donde se hacen latentes algunos fallos en el desarrollo de la historia, quizás le faltó pulir algunos detalles del guion. Pero a mí lo que me importa es que me entretiene y al margen de todos sus contras, me ha gustado la mayor parte del metraje.

Mario Casas da el salto a la dirección. Es su debut tras la cámara, después de tener una larga carrera en el cine español. Parece que muchos aún le juzgan por haber sido un ídolo adolescente en su momento, con series y películas donde lo importante era su atractivo físico.

Su carrera ha dado un giro desde que trabajó en la película Grupo 7 y es un actor que me resulta simpático. Tengo la sensación de que es un actor al que le gusta su trabajo, se entrega al cien por cien a lo que hace y muchas veces, dependiendo del proyecto, se arriesga en papeles exigentes. Es un actor que me gusta en casi todas sus películas. Ahora, parece que ha decidido alternar su carrera como actor con el trabajo detrás de la cámara.

En su primera película como director, toma como referencia el cine quinqui. Esto me recordó a la película y serie Hasta el Cielo, donde también utiliza el estilo de ese cine, pero desde un punto de vista más moderno y digerible para las masas. Es aquí donde se nota demasiado que es un producto muy calculado.

The story has an interesting beginning. The first half hour puts us in the context and presents the main conflict. But after a certain point, the plot loses the initial rhythm, creating moments that lower the tension and making us wonder if they know in which direction the story is going.

The direction is correct, nothing to worry about, the problem is that it plays it safe. I would have liked a riskier debut feature in terms of creative decisions, but maybe they thought the goal was to please the audience. That is why there is nothing new in the proposal, at the end of the film there is the feeling that all this has already been seen in better ways and that despite all the positive aspects and that it is entertaining, this omelet lacks pepper and salt.

Those of us who admire actors sometimes have very high expectations when one of them directs his or her first film. There are many who have made an impact with their first film, an example from a few years ago is Raúl Arévalo with his film Tarde para la Ira. Mario Casas does not reach that level with his first directed film, but he does show signs of knowledge and desire to follow that path. Maybe he will impress us with his second film behind the camera.

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La historia tiene un comienzo interesante. La primera media hora nos sitúa en el contexto y presenta el conflicto principal. Pero a partir de cierto punto, la trama pierde el ritmo inicial, creando momentos que bajan la tensión y haciéndonos preguntar si saben en qué dirección va la historia.

La dirección está correcta, nada preocupante, el problema es que va a lo seguro. Me hubiera gustado una ópera prima más arriesgada en cuanto a decisiones creativas, pero quizá pensaron que el objetivo era agradar al público. Por eso no hay nada nuevo en la propuesta, al final de la película queda la sensación de que todo esto ya se ha visto de mejores maneras y que a pesar de todos los aspectos positivos y de que es entretenida, a esta tortilla le falta pimienta y sal.

Los espectadores que admiramos la figura de los actores, a veces nos creamos expectativas muy altas cuando uno de ellos dirige su primera película. Hay muchos que han impactado con su primera película, un ejemplo de hace unos años es Raúl Arévalo con su película Tarde para la Ira. Mario Casas no llega a ese nivel con su primera película dirigida, pero sí da muestras de tener conocimientos y ganas de seguir ese camino. Quizá nos impresione con su segunda película tras la cámara.

En ciertos momentos me da la impresión de que hacer películas de terror está siendo subestimado; personalmente mantengo está opinión cuando hay películas que generan mucho dinero por solo tener escenas que generan sustos, pero al final no existe un verdadero significado, no hay un desarrollo de ese tipo de escenas las cuales las convierte en genéricas y olvidables; esto también hace relucir que la manera de escribir una historia de terror se vuelve simple, repetitiva, aburrida sin querer explorar cosas nuevas o tomar influencia de otras producciones para hacer algo que se considere fresco o posiblemente original, justamente estas últimas características las observé en una producción que para muchos es considerada como "La Mejor Película de Terror del año" y de la cual temía que las expectativas hechas no fueran cumplidas.

At certain times I get the impression that making horror movies is being underestimated; I personally hold this opinion when there are movies that generate a lot of money by just having scenes that generate scares, but in the end there is no real meaning, there is no development of those kind of scenes which makes them generic and forgettable; this also makes it clear that the way to write a horror story becomes simple, repetitive, boring without wanting to explore new things or take influence from other productions to make something that is considered fresh or possibly original, just these last characteristics I observed in a production that for many is considered as "The Best Horror Film of the year" and which I feared that the expectations made were not met.

Fuente / Source

"Talk to Me", película australiana de terror sobrenatural, estrenada en este año y distribuida por A24, relata la historia de "Mia", una adolescente de 17 años que después de dos años todavía está lidiando con la traumática muerte de su madre; eso la convierte en una solitaria persona, una "outcast" para los demás, pero no para su amiga "Jade", ni para "Riley" con quiénes va a una fiesta en dónde existe una actividad en dónde lo paranormal es la principal atracción, me refiero a la invocación de espíritus al usar una mano que funciona como médium y decir las palabras "Háblame", una actividad que en el comienzo es un simple juego hasta que los espíritus necesitan algo más y desde ese momento el terror no dejará de hablar.

"Talk to Me", an Australian supernatural horror film, released this year and distributed by A24, tells the story of "Mia", a 17 year old teenager who after two years is still dealing with the traumatic death of her mother; That makes her a lonely person, an "outcast" for others, but not for her friend "Jade", nor for "Riley" with whom she goes to a party where there is an activity where the paranormal is the main attraction, I mean the invocation of spirits by using a hand that works as a medium and saying the words "Talk to me", an activity that in the beginning is a simple game until the spirits need something more and from that moment the terror will not stop talking.

Fuente / Source

Este film es dirigido por los hermanos Danny y Michael Philippou, los cuales son los creadores de un exitoso canal de Youtube conocido como "RackaRacka" y en dónde el tema o el género principal de sus videos es el terror; ellos hacen su debut como directores de un largometraje con este film y en mi opinión han realizado un gran trabajo; se nota cierta influencia de producciones del género, en especial en como dan un breve, pero impactante noción con la ayuda del punto de vista de la tercera persona de lo que puede suceder en la historia lo cual es algo habitual en este estilo de films, así como la transición hacia su protagonista dándole todo el poder en cada escena, ya que desde su punto de vista iremos viendo toda esta historia.

El guion es escrito por Danny Philippou y Bill Hinzman; para mí es uno de los mejores que he visto en un film de terror en la actualidad; primeramente me gusta que sea un film lleno de personajes juveniles y para esta historia era muy necesario porque es el típico relato en dónde la presión ejercida por un círculo de amigos empuja a cualquiera a realizar alguna actividad solamente por el hecho de encajar, todo eso sin importar las consecuencias, todo por ser aceptado y por la obtención de unos "Likes"; creo que eso hace que está historia sea actual, aunque al final estos son temas que siempre estarán presentes sin importar generaciones, eso las hace funcionar muy bien en el relato del terror; también debo nombrar que este film trata otros temas como lidiar con la perdida de alguien, la soledad, depresión y el prejuicio, todos son referenciados, todos son ingredientes de una historia que se le agrega el del terror no para minimizar estos temas, dan una noción de lo que posiblemente pueden sentir estas personas con su sufrimiento.

This film is directed by the brothers Danny and Michael Philippou, who are the creators of a successful Youtube channel known as "RackaRacka" and where the main theme or genre of their videos is horror; they make their debut as directors of a feature film with this film and in my opinion they have done a great job; you can notice some influence of productions of the genre, especially in how they give a brief, but shocking notion with the help of the third person point of view of what can happen in the story which is something usual in this style of films, as well as the transition to its protagonist giving him all the power in each scene, since from his point of view we will see the whole story.

The script is written by Danny Philippou and Bill Hinzman; for me is one of the best I've seen in a horror film today; first of all I like that it is a film full of youthful characters and for this story was very necessary because it is the typical story where the pressure exerted by a circle of friends pushes anyone to perform some activity just for the sake of fitting in, all that regardless of the consequences, all to be accepted and for the obtaining of some "Likes"; I think that makes this story current, although in the end these are issues that will always be present regardless of generations, that makes them work very well in the story of terror; I must also mention that this film deals with other issues such as dealing with the loss of someone, loneliness, depression and prejudice, all are referenced, all are ingredients of a story that adds the terror not to minimize these issues, they give a notion of what these people may possibly feel with their suffering.

Fuente / Source

Este film es una historia de personas que se sienten perseguidas, esa es mi definición de "Mia" interpretada por Sophie Wilde; este personaje es perseguido desde su primera aparición en escena, su dolor y soledad no la dejan en paz y solamente tiene breves momentos de felicidad, de libertad y justamente eso crea una necesidad de estar con quien se sienta de esa manera aunque no es suficiente y eso la empuja a explorar otras cosas que terminarán siendo muy peligrosas; esos sentimientos que este personaje presenta son muy importantes para esta historia y la actuación de Wilde, por momentos es correcta al desarrollar dichos sentimientos, posiblemente puede tener un mejor desempeño en otros aspectos, pero en todo lo demás lo hace bien, es muy convincente, en especial en el final del film.

This film is a story of people who feel persecuted, that is my definition of "Mia" played by Sophie Wilde; this character is persecuted since her first appearance on the scene, her pain and loneliness do not leave her in peace and she only has brief moments of happiness, of freedom and precisely that creates a need to be with whoever she feels that way although it is not enough and that pushes her to explore other things that will end up being very dangerous; those feelings that this character presents are very important for this story and the performance of Wilde, at times is correct in developing those feelings, she could possibly have a better performance in other aspects, but in everything else she does well, she is very convincing, especially in the end of the film.

Fuente / Source

El cine de terror tiene un gran potencial para desarrollar historias que pueden ser más que un simple acumulado de escenas para asustar; sé que en la actualidad existe el término de "Terror Elevado" para films que tratan temas profundos, pero siempre han existido films que pueden usar temores reales, hechos, padecimientos y al unirlo al terror, sea sobrenatural, psicológico, salsher y demás, termina funcionando; por supuesto que todo depende de los importantes factores como la dirección, el guion y justamente en "Talk to Me", esos factores están presentes, principalmente en la historia que tiene un fuerte potencial para desarrollar precuelas, secuelas, teorías, son tantas cosas que me han mantenido pensando desde el momento de finalizar este film y tenía cierto tiempo que eso no me pasaba, eso me hace decir que disfrute de esta historia, de este buen relato de terror, el cual me hizo recordar a películas de terror asiático y a "It Follows", el poco conocimiento de un origen, reglas, la aparición, todo eso es tan perfecto y bien manejado que demuestra las muchas posibilidades de seguir desarrollando está historia.

Horror films have a great potential to develop stories that can be more than a simple accumulation of scenes to scare; I know that nowadays there is the term "Elevated Horror" for films that deal with deep themes, but there have always been films that can use real fears, facts, sufferings and by linking it to horror, be it supernatural, psychological, psycho, salsher and so on, it ends up working; of course everything depends on important factors such as the direction, the script and precisely in "Talk to Me", those factors are present, mainly in the story that has a strong potential to develop prequels, sequels, theories, there are so many things that have kept me thinking from the moment I finished this film and it had been a while since that didn't happen to me, That makes me say that I enjoyed this story, this good horror story, which reminded me of Asian horror films and "It Follows", the little knowledge of an origin, rules, the appearance, all that is so perfect and well handled that shows the many possibilities to continue developing this story.

Synopsis: After a terrible (and unexpected) situation happens, the tense and troubled Beau Wassermann needs to go to his mother's house to settle accounts with his mysterious past, but along the way, terrifying unforeseen events happen that make him doubt of your own sanity.

Movies with some types of narratives that are naturally complex tend to be a real treat for any filmmaker who has a more “alternative” worldview within a psychological sphere. Precisely, this is the reality that is seen here, and without the slightest exaggeration, I can say that the script brings a very complex and relatively indigestible drama at times for the more “conservative” audience. Having a kind of “parallel” setting (because the time in which the plot takes place is never mentioned), the development of everything is done between the most diverse and different types of layers, fully relying on an extremely surrealistic “allegory” for find your reason for existing and each event is designed to become part of an exciting puzzle.

Diário Cinema

Throughout its almost 180 minutes, the audience is invited to take a journey that alternates between space and time of a very troubled mind. At the center of it all is a middle-aged man, the empathetic (and sometimes apathetic) Beau, and after discovering that his mother had died in an “unusual” domestic accident, he needs to travel to his old home to be present and understand. more about a past he doesn't know. The entire focus is absolute that the script has on the figure of Beau, and it is through his mental “daydreams” that the plot is constructed with great authenticity in its first act (which by far is the most interesting part of the whole the movie), but which soon after gets lost within its own aspirations, turning into a boring, pretentious and quite long project.

Basically, the movie is divided into three acts. In the first act, it is possible to see a protagonist seeking to understand a part of his past through visits to a therapist, in addition to “scandalizing” his paranoia in relation to social life until reaching a climactic point that mixes dramatic and comedic elements. In the second act, there is a direct quest by the protagonist to get to his mother's house, but when he gets lost in deeper external thoughts, he begins to search his past in a more immersive way, being guided by “helpers” from a reality very foreign to what he knew until then. In the third act, there is a major clash between the protagonist and visual representations of some of the most important figures from his past, creating an even more confusing spiral in his mind.

The Hollywood Reporter

There is a strong attempt by the script to create something extremely complex. In fact, this is not a very easy movie to understand and it is impossible for everyone to have the same interpretation here. Certainly, this is a project that was “coldly calculated” to impact the public. However, I don't believe it's worth trying to do this by betting on increasingly complex insertions just for the simple nature of wanting to do something “pseudo cult” to the point of making the narrative move in several opposite directions, and always coming back to the same place. common, without creating any type of identity of its own (even using the figure of the protagonist in different phases of his life). The level of surrealism that exists in the script is something so boring, that it really bothers you due to its narrative arrogance.

Psychologically challenging, the plot mixes a multitude of traumas experienced by the protagonist: a very distant relationship with his own mother, the absence of a father he never knew, strong episodes involving anxiety and depression, random panic attacks and an intense feeling of fear that never seems to disappear. Everything almost simultaneously turbocharges Beau's mind and turns him into a man with no prospect of a better day in life. There is a very strong emotional weight in the midst of this journey of self-knowledge (which is the central and most functional aspect of the script), but the excess of surrealism is something that really harms the execution of the entire plot. The plot's arguments are very good, but there is a marked lack of reality in it, albeit punctual.

Empire

At certain moments, the movie constructs several “parallel realities” that, despite having connections between them, reach the audience through resources that are not functional. Starting its plot with a frenzy of ideas and actions (something that reinforces the issue of the protagonist's paranoia in a creative way), the project loses strength to the point of entering a state of almost “inertia” as it tries to develop in the midst of “shocking” situations with a more visual than psychological impact. The emotion is quickly lost when the script tries to go deeper and deliver even more immersive elements. All the initial dynamism that was applied to Beau's journey soon becomes an accessory poorly used to try to fix something that is getting worse and worse, and quite “picturesque”.

The excess of random characters is also something that is quite annoying here because most of them don't bring anything substantial (they only make brief appearances, and often without a really functional meaning) to strengthen what is being told. Joaquin Phoenix delivers a great performance, but the character he plays is a “walking allegory of problems” that is difficult to follow without there being many moments of interruption. Furthermore, the temporal non-linearity in which it is inserted helps to make everything an even more chaotic experience that is not recognized within its own idea (because it cannot completely move or cause pain to the point of becoming something provocative). In other words, the image of the whole is much better than the content.

Film Fugitives

Using and abusing metaphors at practically every moment, this time, Ari Aster bet heavily and made Beau Is Afraid his most ambitious movie (in every possible and imaginable way). In addition to writing, he leaned into the director's chair to try to guarantee maximum uniqueness to this work, and although he manages to deliver scenes with good cinematography (in addition to some more hypnotic camera positions that helped to build a more tense atmosphere with the help of a discreet but well thought out soundtrack), the reflection of the project is not satisfactory. Technically well developed (at least in theory, because this idea on paper is very intriguing) and bold, the project is highly reflective, but at the same time, it is quite tiring and psychologically exhausting.

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CRÍTICA DE PELÍCULA: “Beau tiene miedo” (2023)

Sinopsis: Después de que sucede una situación terrible (e inesperada), el tenso y problemático Beau Wassermann necesita ir a la casa de su madre para ajustar cuentas con su misterioso pasado, pero en el camino suceden terroríficos imprevistos que le hacen dudar de su propia cordura.

Las películas con algunos tipos de narrativas naturalmente complejas tienden a ser un verdadero placer para cualquier cineasta que tenga una visión del mundo más “alternativa” dentro de una esfera psicológica. Precisamente, esta es la realidad que aquí se ve, y sin la menor exageración, puedo decir que el guión trae un drama muy complejo y relativamente indigerible por momentos para el público más “conservador”. Al tener una especie de ambientación “paralela” (porque nunca se menciona el tiempo en el que se desarrolla la trama), el desarrollo de todo se hace entre los más diversos y diferentes tipos de capas, apoyándose plenamente en una “alegoría” extremadamente surrealista para encontrar tu razón de existir y cada evento está diseñado para convertirse en parte de un emocionante rompecabezas.

A lo largo de sus casi 180 minutos, se invita al público a realizar un viaje que alterna entre el espacio y el tiempo de una mente muy perturbada. En el centro de todo está un hombre de mediana edad, el empático (y a veces apático) Beau, y después de descubrir que su madre había muerto en un accidente doméstico "inusual", necesita viajar a su antigua casa para estar presente y entender más sobre un pasado que no conoce. Es absoluta toda la atención que tiene el guión sobre la figura de Beau, y es a través de sus “ensoñaciones” mentales como se construye la trama con gran autenticidad en su primer acto (que es con diferencia la parte más interesante de toda la película), pero que poco después se pierde en sus propias aspiraciones, convirtiéndose en un proyecto aburrido, pretencioso y bastante largo.

Básicamente, la película se divide en tres actos. En el primer acto se puede ver a un protagonista buscando comprender una parte de su pasado a través de visitas a un terapeuta, además de “escandalizar” su paranoia en relación con la vida social hasta llegar a un punto culminante que mezcla elementos dramáticos y cómicos. En el segundo acto, hay una búsqueda directa por parte del protagonista para llegar a la casa de su madre, pero cuando se pierde en pensamientos externos más profundos, comienza a buscar en su pasado de una manera más inmersiva, siendo guiado por “ayudantes” de un realidad muy ajena a lo que conocía hasta entonces. En el tercer acto, hay un gran choque entre el protagonista y las representaciones visuales de algunas de las figuras más importantes de su pasado, creando una espiral aún más confusa en su mente.

Hay un fuerte intento por parte del guión de crear algo extremadamente complejo. De hecho, esta no es una película muy fácil de entender y es imposible que todos tengan aquí la misma interpretación. Ciertamente, este es un proyecto que fue “calculado fríamente” para impactar al público. Sin embargo, no creo que valga la pena intentar hacerlo apostando por inserciones cada vez más complejas sólo por el simple hecho de querer hacer algo “pseudo culto” hasta el punto de hacer que la narrativa se mueva en varias direcciones opuestas, y siempre regrese al mismo lugar común, sin crear ningún tipo de identidad propia (incluso utilizando la figura del protagonista en diferentes fases de su vida). El nivel de surrealismo que hay en el guión es algo tan aburrido, que realmente molesta por su soberbia narrativa.

Psicológicamente desafiante, la trama mezcla multitud de traumas vividos por el protagonista: una relación muy distante con su propia madre, la ausencia de un padre que nunca conoció, fuertes episodios de ansiedad y depresión, ataques de pánico aleatorios y un intenso sentimiento de miedo que nunca parece desaparecer. Todo casi simultáneamente acelera la mente de Beau y lo convierte en un hombre sin perspectivas de un día mejor en la vida. Hay un peso emocional muy fuerte en medio de este viaje de autoconocimiento (que es el aspecto central y más funcional del guión), pero el exceso de surrealismo es algo que realmente perjudica la ejecución de toda la trama. Los argumentos de la trama son muy buenos, pero hay en ella una marcada falta de realidad, aunque sea puntual.

En determinados momentos, la película construye varias “realidades paralelas” que, pese a tener conexiones entre ellas, llegan al espectador a través de recursos que no son funcionales. Iniciando su trama con un frenesí de ideas y acciones (algo que refuerza de manera creativa el tema de la paranoia del protagonista), el proyecto pierde fuerza hasta el punto de entrar en un estado de casi “inercia” mientras intenta desarrollarse en medio de situaciones “impactantes” con un impacto más visual que psicológico. La emoción se pierde rápidamente cuando el guión intenta profundizar y ofrecer elementos aún más inmersivos. Todo el dinamismo inicial que se aplicó al viaje de Beau pronto se convierte en un accesorio mal aprovechado para intentar arreglar algo que cada vez va de mal en peor, y bastante “pintoresco”.

El exceso de personajes aleatorios también es algo que molesta bastante aquí porque la mayoría de ellos no aportan nada sustancial (sólo hacen breves apariciones, y muchas veces sin un significado realmente funcional) para fortalecer lo que se cuenta. Joaquin Phoenix ofrece una gran actuación, pero el personaje que interpreta es una “alegoría ambulante de los problemas” que es difícil de seguir sin que haya muchos momentos de interrupción. Además, la no linealidad temporal en la que se inserta ayuda a que todo sea una experiencia aún más caótica que no se reconoce dentro de su propia idea (porque no puede moverse completamente ni causar dolor hasta el punto de convertirse en algo provocativo). En otras palabras, la imagen del conjunto es mucho mejor que el contenido.

Utilizando y abusando de metáforas prácticamente en todo momento, esta vez, Ari Aster apostó fuerte e hizo de Beau tiene miedo su película más ambiciosa (en todos los sentidos posibles e imaginables). Además de escribir, se reclinó en la silla del director para intentar garantizar la máxima singularidad a esta obra, y aunque consigue entregar escenas con buena fotografía (además de algunas posiciones de cámara más hipnóticas que ayudaron a construir una atmósfera más tensa con el ayuda de una banda sonora discreta pero bien pensada), el reflejo del proyecto no es satisfactorio. Técnicamente bien desarrollado (al menos en teoría, porque esta idea sobre el papel es muy intrigante) y audaz, el proyecto es muy reflexivo, pero al mismo tiempo bastante agotador y psicológicamente agotador.

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CRÍTICA DE FILME: “Beau Tem Medo” (2023)

Sinopse: Depois que uma terrível (e inesperada) situação acontece, o tenso e problemático Beau Wassermann precisa ir até à casa de sua mãe para acertar as contas com o seu misterioso passado, mas no meio do caminho, acontecem imprevistos aterrorizantes que o fazem duvidar da sua própria sanidade.

Filmes com alguns tipos de narrativas que são naturalmente complexas costumam ser um prato realmente cheio para qualquer cineasta que tem uma visão de mundo mais “alternativa” dentro de uma esfera psicológica. Precisamente, esta é a realidade que é vista aqui, e sem o menor exagero, eu posso dizer que o roteiro traz um drama muito complexo e relativamente indigesto em alguns momentos para o público mais “conservador”. Tendo uma espécie de ambientação “paralela” (porque o tempo em que a trama acontece nunca é mencionado), o desenvolvimento de tudo é feito entre os mais diversos e diferentes tipos de camadas, apoiando-se totalmente em uma “alegoria” extremamente surrealista para encontrar à sua razão de existir e cada evento é pensado para se tornar parte de um emocionante quebra-cabeças.

Ao longo dos seus quase 180 minutos, o público é convidado a fazer uma viagem que alterna entre o espaço e o tempo de uma mente bastante conturbada. No centro de tudo está um homem de meia idade, o empático (e às vezes apático) Beau, e após descobrir que sua mãe havia morrido em um “inusitado” acidente doméstico, ele precisa viajar até à sua antiga casa para estar presente e entender mais sobre um passado que ele não conhece. O foco total é absoluto que o roteiro tem está voltado para a figura de Beau, e é através dos seus “devaneios” mentais que a trama se constrói com muita autenticidade no seu primeiro ato (que de longe, é a parte mais interessante de todo o filme), mas que logo em seguida se perde dentro das suas próprias aspirações, tornando-se em um projeto chato, pretencioso e bastante longo.

Basicamente, o filme se divide em três atos. No primeiro ato, é possível ver um protagonista buscando entender uma parte do seu passado através de idas a um terapeuta, além de “escandalizar” às suas paranóias em relação ao convívio social até chegar a um ponto climático que mistura elementos dramáticos e cômicos. No segundo ato, há uma busca direta do protagonista para chegar até a casa de sua mãe, mas ao se perder em pensamentos externos mais profundos, ele começa a revistar o seu passado de uma maneira mais imersiva sendo guiado por “ajudantes” de uma realidade muito alheia ao que ele conhecia até então. No terceiro ato, há um grande embate do protagonista com representações visuais de algumas das figuras mais importantes do seu passado, criando um espiral ainda mais confuso em sua mente.

Há uma forte tentativa do roteiro em criar algo extremamente complexo. De fato, não se trata de um filme muito fácil de ser compreendido e é impossível que todo mundo tenha a mesma interpretação aqui. Certamente, trata-se aqui de um projeto que foi “friamente calculado” para impactar o público. No entanto, eu não acredito que seja válido tentar fazer isso apostando em inserções cada vez mais complexas apenas pela simples natureza de querer fazer algo “pseudo cult” a ponto de fazer a narrativa caminhar para diversos lados opostos, e sempre voltar para o mesmo lugar comum, sem criar algum tipo de identidade própria (mesmo utilizando a figura do protagonista em fases diversas de sua vida). O nível de surrealismo que existe no roteiro é algo tão chato, que realmente incomoda pela sua prepotência narrativa.

Psicologicamente desafiador, à trama mistura uma infinidade de traumas vividos pelo protagonista: uma relação muito distante com sua própria mãe, à ausência de um pai que ele nunca conheceu, fortes episódios envolvendo ansiedade e depressão, crises de pânico aleatórias e uma intensa sensação de medo que parece não desaparecer nunca. Tudo de maneira quase simultânea turbina à mente de Beau e faz dele um homem sem nenhuma perspectiva de vida com dias melhores. Há um peso emocional muito forte no meio dessa jornada de autoconhecimento (que é o aspecto central e mais funcional do roteiro), mas o excesso de surrealismo é algo que realmente prejudica demais a execução de toda à trama. Os argumentos da trama são muito bons, mas há uma carência acentuada de realidade nela, ainda que pontual.

Em certos momentos, o filme constrói diversas “realidades paralelas” que apesar de terem conexões entre si, chegam até o público através de recursos que não são funcionais. Iniciando à sua trama com um frenesi de ideias e ações (algo que reforça a questão da paranóia do protagonista de uma maneira criativa), o projeto perde força a ponto de entrar em estado de uma quase “inércia” à medida em que vai tentando se desenvolver em meio a situações “chocantes” de impacto mais visual do que psicológico. A emoção rapidamente se perde quando o roteiro tenta se aprofundar mais e entregar elementos ainda mais imersivos. Todo o dinamismo inicial que foi aplicado na jornada de Beau, logo se torna em um acessório pobremente utilizado para tentar consertar algo que vai ficando cada vez pior, e bastante “pitoresco”.

O excesso de personagens aleatórios é algo também que incomoda bastante aqui porque a maioria deles não traz nada de substancial (apenas fazem breves aparições, e muitas vezes, sem um sentido realmente funcional) para fortalecer o que está sendo contado. Joaquin Phoenix entrega uma ótima atuação, mas o personagem que ele interpreta é uma “alegoria ambulante de problemas” difícil de ser acompanhada sem que haja muitos momentos de interrupção. Além disso, a não-linearidade temporal na qual ele está inserido ajuda a tornar tudo em uma experiência ainda mais caótica e que não se reconhece dentro da sua própria ideia (porque não consegue emocionar por completo e nem causar dor a ponto de se tornar algo provocante). Em outras palavras, a imagem do todo é muito melhor do que o conteúdo.

Usando e abusando de metáforas em praticamente todos os momentos, desta vez, Ari Aster apostou pesado e fez de Beau Tem Medo o seu filme mais ambicioso (em todos os sentidos possíveis e imagináveis). Além de ter escrito, ele se debruçou na cadeira de diretor para tentar garantir o máximo de singularidade a esse trabalho, e embora consiga entregar cenas com uma boa fotografia (além de alguns posicionamentos de câmeras mais hipnóticos que ajudaram a construir uma atmosfera mais tensa com a ajuda de uma trilha sonora discreta, mas bem pensada), o reflexo do projeto não é satisfatório. Tecnicamente bem desenvolvido (ao menos em teoria, porque essa ideia no papel é muito intrigante) e ousado, o projeto é altamente reflexivo, mas ao mesmo tempo, é bastante cansativo e psicologicamente desgastante.

Hola a todos, el día de hoy quiero hablarles de un telenovela mexicana que recién vi en la plataforma de Vix, consta de poco mas de 100 capítulos por lo que la vi completita en dos semanas aproximadamente.

Este melodrama de tiene policiaco, tiene un excelente reparto, entre los que se encuentran actores como Silvia Navarro, Gabriel Soto, Adriana Louvier y Carlos Ferro, la cuál se llama "Caer en Tentación".

Hello everyone, today I want to talk to you about a Mexican telenovela that I recently saw on the Vix platform, it has a little more than 100 chapters so I saw it complete in about two weeks.

This melodrama has an excellent cast, including actors such as Silvia Navarro, Gabriel Soto, Adriana Louvier and Carlos Ferro, which is called "Caer en Tentación".

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Un día buscando qué ver mientras doblo ropa, entré a la plataforma de vix en su versión gratis y se me hizo interesante el nombre de la novela, generalmente no suelo ver novelas, pero en este caso me dio curiosidad.

Les voy a hablar un poco a cerca de la trama, como saben no me gusta contar muchos detalles por qué de esa manera no les dejaría con la curiosidad de verla. La verdad ignoro si sea un remake pero es de las pocas que me han sacado una lágrima ya que al final toma un giro muy sorpresivo, por lo que le da un oscuro final, al contrario de la mayoría que termina en un felices para siempre.

Trata de dos familias que por azares del destino se conocen, se da una atracción inevitable y comienzan una relación extramarital ya que se dan cuenta que les falta algo en sus relaciones actuales, surge de ese modo una infidelidad la cual es descubierta a raiz de un accidente, ocurren varios sucesos en sus vidas que mantienen unidas a las familias sometidas al engaño de los protagonistas.

One day, looking for something to watch while I fold clothes, I entered the vix platform in its free version and I found the name of the novel interesting, I usually don't watch novels, but in this case I was curious.

I'm going to tell you a little about the plot, as you know I don't like to tell many details because that way I wouldn't leave you with the curiosity to see it. The truth is that I don't know if it is a remake but it is one of the few that have brought a tear to my eye because at the end it takes a very surprising turn, giving it a dark ending, unlike most of them that end in a happily ever after.

It is about two families that by chance meet, there is an inevitable attraction and begin an extramarital relationship because they realize that something is missing in their current relationships, thus an infidelity arises which is discovered as a result of an accident, several events occur in their lives that keep the families united under the deception of the protagonists.

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No les voy a engañar, tiene escenas un poco subidas de tono, pero el cómo se desenvuelve la trama es lo que me gustó y me mantuvo atrapada desde el primer hasta el último capítulo.

En cuanto a las actuaciones no les puedo poner o quitar nada, de esa manera estuvieron perfectas, las escenas muy bien cuidadas , en verdad está como para recomendar.

Puedo decir que la canción de la intro y con la que se identifica a los amantes me encanta, es interpretada por Pablo Alborán, se llama Saturno, y la voz aterciopelada del interprete le va muy bien.

I'm not going to deceive you, it has scenes a little over the top, but the way the plot unfolds is what I liked and kept me trapped from the first to the last chapter.

As for the performances I can not put or take anything away, in that way they were perfect, the scenes very well cared for, it is really like to recommend.

I can say that I love the intro song and the one that identifies the lovers, it is interpreted by Pablo Alborán, it is called Saturno, and the velvety voice of the interpreter suits him very well.

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Cabe aclarar que es una recomendación para adultos, los temas que se tocan no son para niños, aún que también hay adolescentes en la novela y tocan temas de adolescentes, es mejor que si los adolescentes la ven, sea en compañía de un adulto, por que aun que son temas actuales pudieran generarse preguntas.

It should be clarified that it is a recommendation for adults, the topics that are touched are not for children, even though there are also teenagers in the novel and they touch on teenage issues, it is better that if teenagers see it, it should be in the company of an adult, because even though they are current issues could raise questions.

Espero la vean, les guste y piensen si alguna vez han ¿caído en tentación?, si no les ha pasado ¿ qué harían en una situación similar?, espero sus comentarios, saludos, hasta la próxima.

I hope you see it, like it and think if you have ever fallen into temptation, if not, what would you do in a similar situation, I look forward to your comments, greetings, until next time.

Portada realizada en canva con imagen tomada de:/ Cover made in canva with image taken from: https://www.imdb.com/title/tt7368796/mediaviewer/rm1620977408/

Traduciodo con DeepL Translate. / Translated with DeepL Translate.

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A series full of drama, suspense, and science fiction, which premiered in 2021, and currently has two seasons, the series combines elements of adventure and fantasy, showing a world full of surprises, mysteries and dangers, where the characters face prehistoric creatures, hostile tribes and paranormal phenomena.

Friends of #Movie, a pleasure to greet you and share with you again, it's been a while since I finished watching this series, and now I bring you my impressions, and what I thought of it, if you want to know more, keep reading. 👇

Una serie llena de drama, suspenso, y ciencia ficción, la cual se estrenó en el 2021, y en la actualidad cuenta con dos temporadas, dicha serie combina elementos de aventura y fantasía, mostrando así un mundo lleno de sorpresas, misterios y peligros, donde los personajes se enfrentan a criaturas prehistóricas, tribus hostiles y fenómenos paranormales.

Amigos de #Movie, un gusto saludarlos y compartir con ustedes nuevamente, hace un tiempo que terminé de ver esta serie, y ahora les traigo mis impresiones, y lo que me pareció, si quieren saber más, sigan leyendo. 👇

The Brea revolves around a family that gets separated, when a huge hole opens in the middle of the big city of Los Angeles, dragging hundreds of people, vehicles and buildings, here we see how the mother and one of her children are trapped in a mysterious primordial land, while the father along with his daughter, try to rescue them from the surface.

The characters must face these creatures, as well as a series of inexplicable events and situations, all in order to survive, and get out of this mysterious and completely unknown place for them.

The plot of this series is quite intriguing, there is no denying it, although it is actually a bit confusing and inconsistent, there are many questions, about the origin of this hole, how they ended up in that place, as well as the connection that we are shown between these two worlds.

La BREA, como verán, es el nombre de esta serie, la cual tiene de todo un poco, la trama gira en torno a una familia que se separa, cuando un enorme hueco se abre en medio de la gran ciudad de los Ángeles, arrastrando de esta forma a cientos de personas, vehículos y edificios, aquí vemos como la madre y uno de sus hijos quedan atrapados en una tierra primigenia misteriosa, mientras que el padre junto con su hija, intentan rescatarlos desde la superficie.

Los personajes se deben enfrentar a estas criaturas, así como una serie de eventos y situaciones inexplicables, todo para poder sobrevivir, y salir de ese lugar misterioso y completamente desconocido para ellos.

El argumento de esta serie es bastante intrigante, no se le puede negar, aunque en realidad es un poco confuso e inconsistente, hay muchas interrogantes, sobre el origen de este agujero, como terminaron en ese lugar, así como la conexión que nos muestran entre estos dos mundos.

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Undoubtedly the mystery hidden behind this hole is the interesting part, which makes you ask all these questions, showing itself as a kind of portal that connects the present with the past, but at the same time with the future, leaving to understand that there is a higher force that controls this hole and in turn has a plan with the survivors.

It's a crazy thing, the mixture of events, between the past, present and future, as I mentioned here we see a little bit of everything, between facts of prehistory, as the future, reminds me of the famous series Back to the Future, has a certain resemblance to it, with respect to the events, but of course it has nothing to do, because this certainly goes beyond, as if it were a prophecy, or a scientific experiment, it is something that is still unfinished.

Sin duda el misterio oculto tras este agujero es la parte interesante, la cual te hace hacer todas estas preguntas, mostrándose como una especie de portal, que conecta el presente con el pasado, pero al mismo tiempo con el futuro, dejando a entender que hay una fuerza superior que controla este agujero y que a su vez tiene un plan con los supervivientes.

Es una cosa loca, la mezcla de los sucesos, entre el pasado, el presente y el futuro, como mencione aquí vemos de todo un poco, entre hechos de la prehistoria, como del futuro, me recuerda a la famosa serie Volver al Futuro, tiene como un cierto parecido con ella, con respecto a los eventos, pero claro no tiene nada que ver, porque esto sin duda va más allá, como si fuese una profecía, o un experimento científico, es algo que aún está inconcluso.

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I do not say it is one of the best, but it is not all bad, it has its details, there are nonsense scenes, the characters, they lack more credibility, the end was incomplete, with many more questions, it is something that is still missing, to be resolved, the series has some flaws in the script logic, it is entertaining yes, but as I said there are many questions, still unresolved.

The series attracts by the theme of time travel, and those alternative worlds, that's what makes it different, attractive, but they still lack more credibility, what they do is to lengthen it without giving any answer to clarify all these events.

No digo que sea una de las mejores, pero tampoco es del todo mala, tiene sus detalles, hay escenas sin sentido, los personajes, les falta mayor credibilidad, el final quedo incompleto, con muchas más interrogantes, es algo que aún le falta, por resolver, la serie tiene algunas fallas en el guion la lógica, es entretenida sí, pero como dije hay muchas interrogantes, aun sin resolver.

La serie atrae por el tema del viaje en el tiempo, y esos mundos alternativos, eso es lo que la hace diferente, atractiva, pero igual les falto mayor credibilidad, lo que hacen es alargarla sin dar respuesta alguna que aclare todos estos eventos.

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If you like this kind of series, time travel, mysteries yet to be solved, I invite you to watch it, you may like it more than me, and if you have already seen it, let me know what you thought, if you understood it, what do you think it was missing, I'll read it to you.

*Si les gustan este tipo de series, de viajes en el tiempo, misterios aún por resolver, los invito a que la vean, puede que les guste más que a mí, y si ya la vieron, díganme que ¿tal les pareció?, si la entendieron, ¿qué cree que le falto?, los leo*.

In the search for the perfect CV, the movie industry tends to be careful when hiring its professionals. When it comes to directors, screenwriters, actors and actresses, although there has been a kind of “trivialization” on the part of some studios when choosing these professionals, the level of hiring remains high. On the other side, these people strive to stay on top, in the media spotlight, and being “pressured” to deliver great work.

Within this reality, it is not uncommon to find bad projects spread around and they all share a convergence promoted by bad decisions (which are usually made based on mistaken choices) that these people define as a priority. It is not always possible to define why some films are bad, but there is a level of quality that should never be renounced, but in favor of quantity, priorities are very inverted.

I could mention many names, of different nationalities, to exemplify what I want to say with this text, but I believe I am managing to be clear enough to centralize the idea of it. Although the successes are more constant, even the great directors, screenwriters, actors or actresses have works that become true stains within their filmographies. There are many reasons, but it basically includes money.

If money (or the incessant search for more and more projects) speaks louder, many of these professionals lose themselves within their possibilities, and end up in the media spotlight for the wrong reasons: films with terrible receptions from specialized critics (and the public common), poor box office sales (compromising the financial part invested by studios and producers) and a possible lack of work soon after. Mistakes followed by more mistakes.

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Siempre hay una mancha.

En la búsqueda del CV perfecto, la industria cinematográfica suele tener cuidado a la hora de contratar a sus profesionales. En lo que respecta a directores, guionistas, actores y actrices, aunque se ha producido una especie de “banalización” por parte de algunos estudios a la hora de elegir a estos profesionales, el nivel de contratación sigue siendo alto. Por otro lado, estas personas se esfuerzan por mantenerse en la cima, en el centro de atención de los medios y siendo “presionadas” para realizar un gran trabajo.

Dentro de esta realidad, no es raro encontrar malos proyectos dispersos y todos comparten una convergencia promovida por malas decisiones (que generalmente se toman a partir de elecciones equivocadas) que estas personas definen como prioritarias. No siempre es posible definir por qué algunas películas son malas, pero hay un nivel de calidad al que nunca se debe renunciar, pero a favor de la cantidad las prioridades están muy invertidas.

Podría mencionar muchos nombres, de distintas nacionalidades, para ejemplificar lo que quiero decir con este texto, pero creo que estoy logrando ser lo suficientemente claro como para centralizar la idea del mismo. Aunque los éxitos son más constantes, incluso los grandes directores, guionistas, actores o actrices tienen obras que se convierten en auténticas manchas dentro de sus filmografías. Hay muchas razones, pero básicamente incluye el dinero.

Si el dinero (o la búsqueda incesante de cada vez más proyectos) habla más fuerte, muchos de estos profesionales se pierden dentro de sus posibilidades, y acaban en el foco mediático por motivos equivocados: películas con pésima acogida por parte de la crítica especializada (y del público común), malas ventas en taquilla (comprometiendo la parte financiera invertida por estudios y productores) y una posible falta de trabajo poco después. Errores seguidos de más errores.

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Sempre há uma mancha.

Na busca pelo currículo perfeito, a indústria do cinema costuma ser criteriosa na contratação de seus profissionais. Em se tratando de diretores, roteiristas, atores e atrizes, embora tenha havido uma espécie de “banalização” por parte de alguns estúdios ao escolher esses profissionais, o nível nas contratações de mantém alto. Do outro lado, essas pessoas se esforçam para se manter no topo, sob os holofotes da mídia, e sendo “pressionadas” para entregar ótimos trabalhos.

Dentro dessa realidade, não é incomum encontrar projetos ruins espalhados por aí e todos eles compartilham de uma convergência promovida por decisões ruins (que normalmente são tomadas com base em escolhas equivocadas) que essas pessoas definem como prioridade. Nem sempre é possível definir porque alguns filmes são ruins, mas existe um nível de qualidade que nunca deveria ser renunciado, mas em prol de quantidade, as prioridades são muito invertidas.

Eu conseguiria mencionar muitos nomes, de nacionalidades diferentes para exemplificar o que eu estou querendo falar com este texto, mas acredito que eu estou conseguindo ser claro o suficiente para centralizar a ideia do mesmo. Apesar dos acertos serem mais constantes, até mesmo os ótimos diretores, roteiristas, atores ou atrizes tem trabalhos que se tornam verdadeiras manchas dentro de suas filmografias. Os motivos são os diversos, mas basicamente inclui dinheiro.

Se o dinheiro (ou a incessante busca por cada vez mais projetos) falar mais alto, muitos desses profissionais se perdem dentro das possibilidades, e acabam sob os holofotes midiáticos pelas razões erradas: filmes com péssimas recepções por parte dos críticos especializados (e do público comum), bilheterias pífias (comprometendo a parte financeira investida pelos estúdios e produtores) e uma possível falta de trabalhos logo em seguida. Erros seguidos de mais erros.

En el 2017, el director y guionista español Paco Plaza, estrenó el film "Verónica" el cual está inspirado en el primer evento o actividad paranormal registrado en un reporte policial en España; ese film creó una serie de adeptos y otros que no les pareció una buena historia de terror y con respecto a eso, puedo decir que me pareció un buen film, un buen relato de terror que también usa elementos como la soledad, la añoranza y la necesidad de crecer por parte de una chica que hará todo lo posible para proteger a sus pequeños hermanos después de abrir un portal y dejar entrar a seres que no son de este mundo; este film demostró cierto potencial a convertirse en una franquicia por diferentes cosas que suceden en la historia, pero no pensé en que se realizará una película que relate la vida de uno de los personajes que es difícil de obviar.

In 2017, the Spanish director and screenwriter Paco Plaza, released the film "Veronica" which is inspired by the first paranormal event or activity recorded in a police report in Spain; that film created a number of followers and others who did not find it a good horror story and with respect to that, I can say that I found it a good film, a good horror story that also uses elements such as loneliness, longing and the need to grow up by a girl who will do everything possible to protect her little brothers after opening a portal and letting in beings that are not of this world; this film showed some potential to become a franchise because of different things that happen in the story, but I didn't think that a movie will be made to tell the life of one of the characters that is hard to miss.

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El film "Hermana Muerte", se sitúa en 1940 y relata la historia de la joven "Novicia Narcisa", la cual ha recibido la asignación de ser una profesora en un colegio de niñas que anteriormente fue un convento y que padeció los estragos de la guerra civil de España; la Novicia Narcisa tiene cierta reputación, ya que hace diez años, a temprana edad demostró cierto poder sobrenatural lo cual muchos definieron como un poder divino, pero al pasar el tiempo dejo de tener fe en su don y por eso decidió aceptar el llamado de Dios y servir como monja, pero con esta nueva tarea, se encontrará un lugar que parece estar invadido por la oscuridad y justamente ese don perdido puede ser la única salvación para encontrar el verdadero camino hacia la luz.

The film "Sister Death", is set in 1940 and tells the story of the young "Novice Narcisa", who has been assigned to be a teacher in a girls' school that was formerly a convent and suffered the ravages of the Spanish Civil War; The Novice Narcisa has a certain reputation, since ten years ago, at an early age she demonstrated a certain supernatural power which many defined as a divine power, but as time passed she stopped having faith in her gift and therefore decided to accept God's call and serve as a nun, but with this new assignment, she will find a place that seems to be invaded by darkness and precisely that lost gift may be the only salvation to find the true path to the light.

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El director Paco Plaza obtuvo un reconocimiento mundial al momento del estreno del film "REC" (2007), justamente muchos años pasaron desde el momento del estreno de ese film y subsiguiente dos secuelas que también dirigió, hasta el momento de hacer algo diferente y dirigir y escribir "Verónica"; un film pequeño, pero con muy buena dirección en dónde toma provecho de todos los elementos que las pocas escenografías ofrece; ahora en esta oportunidad, al contar con lugares nuevos y haciendo referencia a una época diferente, Plaza, hace lo que considero un buen trabajo; nuevamente con tan poco, crea excelentes imágenes, muy artísticas e imposible de no destacar; cada toma es muy buena y no hay duda que su trabajo es lo mejor del film.

El guion es escrito por Plaza y Jorge Guerricaechevar; esta es una historia que tiene diferencia y a la vez cierto parecido con el film que da origen a esta ahora franquicia; en mi opinión como una expansión funciona y hago hincapié en esto porque he leído que este film funciona sin tener relación con lo que es "Verónica" y no lo creo porque ambas se complementan muy bien, esto es positivo para esta historia en dónde me gusta que se explore la inexperiencia de una joven Novicia que puede ser víctima del fanatismo religioso o que solo se cree en el poder de un solo lado y la no existencia de otro.

The director Paco Plaza obtained worldwide recognition at the time of the release of the film "REC" (2007), precisely many years passed from the time of the release of that film and subsequent two sequels that he also directed, until the time to do something different and direct and write "Veronica"; a small film, but with very good direction where he takes advantage of all the elements that the few scenographies offers; Now in this opportunity, having new places and making reference to a different time, Plaza, does what I consider a good job; again with so little, he creates excellent images, very artistic and impossible not to highlight; each shot is very good and there is no doubt that his work is the best of the film.

The script is written by Plaza and Jorge Guerricaechevar; this is a story that has a difference and at the same time some resemblance with the film that gives origin to this now franchise; in my opinion as an expansion it works and I emphasize this because I have read that this film works without being related to what is "Veronica" and I do not think so because both complement each other very well, this is positive for this story where I like that it explores the inexperience of a young novice who may be a victim of religious fanaticism or who only believes in the power of one side and the non-existence of another.

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La actuación de Aria Bedmar como "Narcisa" es buena; me gusta que demuestre felicidad al estar en un nuevo lugar aunque su fama de ser la portadora de un poder divino parece que siempre le perseguirá y por eso desde un primer momento tendrá ese contacto con lo que asecha a todo el convento; justamente eso crea miedo, preocupación, esa necesidad convencer y de verdad ser una servidora de Dios, eso me ha gustado porque ese mismo personaje en "Verónica" es todo lo contrario, su experiencia es su fortaleza y eso no la ha ganado aún y justamente eso es lo que más me ha gustado del film.

The performance of Aria Bedmar as "Narcisa" is good; I like that she shows happiness to be in a new place although her fame of being the bearer of a divine power seems that she will always be persecuted and for that reason from the first moment she will have that contact with what threatens the whole convent; I liked that because that same character in "Veronica" is just the opposite, her experience is her strength and that has not won her over yet and that is exactly what I liked most about the film.

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En el momento en que Netflix estrenó "Hermana Muerte", sabía que debería ver "Verónica" y ambas películas las disfrute mucho, son correctas en el tipo de terror que ofrecen y que posiblemente no se le haya promocionado de la mejor manera lo cual creó ciertas expectativas en el público que al ver estás producciones no sienten cierta satisfacción por el estilo de terror que ofrecen; en mi opinión, este nuevo film de Paco Plaza, el cual considero un film de suspenso y misterio sobrenatural, es una genialidad en imágenes y en muchas escenas que demuestran una gran evolución como director; las escenas de terror son bien realizadas aunque si me hubiera gustado que sean más terroríficas, no quiero decir que debieron ser gore o violentas, me refiero a escenas que creen impacto, aunque sin ser las típicas escenas jump scare, pero aparte de eso, disfrute ver este film español y estoy convencido de que ver "Verónica" antes me ayudó a apreciar esta nueva película que es cierto que pudo ser mejor, pero creo que la historia como está escrita, la época en donde se desarrolla, posiblemente no había más que hacer y por eso que (nuevamente repito) la considero como un film correcto dentro de este universo de espíritus, portales y sus diferentes protectores.

The moment Netflix released "Sister Death", I knew I should see "Veronica" and both films I enjoyed them very much, they are correct in the type of horror they offer and that possibly has not been promoted in the best way which created certain expectations in the public that when watching these productions do not feel certain satisfaction for the style of horror they offer; in my opinion, this new film by Paco Plaza, which I consider a film of suspense and supernatural mystery, is a genius in images and in many scenes that demonstrate a great evolution as a director; the horror scenes are well done although I would have liked them to be more terrifying, I don't mean that they should have been gore or violent, I mean scenes that create impact, but without being the typical jump scare scenes, but apart from that, I enjoyed watching this Spanish film and I am convinced that watching "Veronica" before helped me to appreciate this new film that it is true that it could have been better, but I think that the story as it is written, the time in which it takes place, possibly there was nothing else to do and that's why (again I repeat) I consider it as a correct film within this universe of spirits, portals and their different protectors.

Compare to other Marvel TV Series Secret Invasion in my opinion is not bad as people might think but for sure not its best work, there is not much action until now, its more about an espionage TV Series and probably the way it should be because besides Skrulls on this story there are no super heroes with powers or a suit and I think that's the way it was intended just humans against the infiltrated Skrulls from Gravik.

Episode three is just that, start to unveil the traitors on both sides from the Gravik camp and the more divided humans group leading Nick Fury but just way too divided between MI6, US Government, after all Skrulls is probably the main reason humans are so divided, its the result of many years work dividing to conquer that was exactly what Gravik was looking for and he is now Skrull General after getting the full support from the Skrulls counsel after showing he does have what it got to make Earth the home they were looking for and convincing them that it wont be achieve by been friends with humans but by making them go against each other at war while Skrulls just watch humans become extinct, it will be very hard for Nick Fury to stop this plan but he has Talos on his side and I think this war wont be won by force but by out smart the enemy.

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Back when Gravik was chosen as Skrull General there was a few of them that were not too sure of his methods, Skrulls are a pacific species and those who had to fled their home know how bad war could turn out for them, if they loose to humans it could be game over, at the end I think that's going to be the card that make Nick win this war against Gravik, show other Skrulls how wrong is Gravik at fighting humans instead of living together in peace with the option to stay on Earth or find another planet to claim.

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Initially Gravik plan was to infiltrate humans thing that he did perfectly at taking hostage the Captain in charge of a submarine with missiles probably powerful enough to do a lot of damage or at least enough as Nick said to start World War III, with the help of Talos he was able to stop the launch, Talos is a bit against killing people specially Skrulls but this time he was the one pulling the trigger when the Skrull rebel mention his daughter what brings to mind if he knows/suspects G'iah is providing information to Talos then Gravik must too.

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Sonya is helping Nick too, they might not be from the same agency or country but its on their best interest win this war against Skrulls, she is aware of whats going on even a few steps against Nick with the intel that she has but is aware that at times they might need to exchange intel to move forward not like Rhodey who thinks Nick needs to stay out of all this situation.

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Talos is just too good of a guy but his feelings were hurt on episode two after he had to revile Nick there were a million Skrulls on Earth, he never lied about it to never told Nick, what he did make clear is that Nick would not be promoted or successful as he was at S.H.I.E.L.D if he didn't have Talos and his network of Skrull spies working with him probably the reason why he was always always miles away up front, I can only imagine how Fury had the agency itself infiltrated because the feeling has always been that Fury is a fucking ghost, a ninja that no body else knows how he is many steps ahead before things happen and now Talos reminds him of this but most important Talos shows Fury he is his true friend, despite him been a Skrull or Human he is his friend before any difference but he wanted to feel special too or at least equal and made Fury beg him for help just a bit to make it fun.

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Talos had this meeting with Gravik where they were playing a lot of mind games, I think Gravik has some respect for Talos as he was probably the original Skrull General at Earth when they arrive also Talos was there when Fury brought in Gravik to work for him but from this meeting things definitely going to change, Gravik show Talos how many Skrulls are with him when every single one on that room shape shift into Gravik, this is a way to show Talos who rules now and his last sign of respect to him, Talos was lucky Gravik didn't kill him on the spot.

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Skrulls can regenerate but I think its not instant although before Talos goes he stab Gravik on his hand and left but after Gravik pull his hand from the knife instead of taking it off, spliting his hand in too and then instantly regenerate with his hand glowing like generating energy or fire, sign that he already mutate results of their experiments for Super Skrulls with the machine that appears on this post cover.

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Gravik has convince a big part of the Skrulls community on Earth including having the Skrull Counsel on his side either by force or not so this probably puts him in the same position as when Fury had his private Skrull Spies Network, so for sure no body is ahead of him, probably he might not be as sharp as Fury because he is young and lack the same experience, eventually his finds out Ghia was working with her father Talos, after some of the Skrulls got caught in Russia he know someone was feeding information and it was just a matter to use the right bait to get the traitor, the plan to launch the missiles on the submarine was that, the bait to lure out the traitor, he probably did trust Ghia at first but for sure always had that suspicion that she might betray him. When Ghia tries to leave camp he was there waiting for her, he was probably had people monitoring her all day, Gravik shoot Ghia and she falls to the ground, I don't think she is dead but she makes that sound when they shape shift after falling meaning at least she is knock out.

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Last but I think most important I think, its that Fury wife who is a Skrull, who told to his face that she has nothing to do with Gravik is now looking for him and potentially have to do with Gravik plans. She was the one who brought Gravik to Fury back in the day so she probably have some attachment to him since she took him over, probably consider him a son and consider she is a Skrull after all, even though she got involve with Fury they are not the same species, blood calls blood.

I feel like Secret Invasion is going to ramp up a lot after episode three, Gravik powers and machine has been openly shown and the entire Super Skrulls concept will bring that super power side characteristic of Marvel content but so far I think the lack of action and fantasy that super heroes bring in is what people were expecting this was going to be about, I remember making an article when the trailer came out and so far I dont see it as false advertisement or like it oversold what this series was going to be, probably viewers felt this had to be a longer series and not just a mini series so there was more time to develop the story but all this was about is Fury spies network and how it started, even Gravik I think is a plus because he is also the result of what Fury did before the blip.

Synopsis: Chris lives with his mother, Amanda, on a farm far from the city. They have a simple life far from any chaos imposed by urbanized cities, but after a visit from a distant relative (who brings a mysterious suitcase with him) things begin to change quickly, and radically.

American horror cinema has been in an extremely problematic spiral for many years. Delivering many generic productions in different aspects, this movie is yet another example that helps to problematize this concept and encourage the crisis of creativity that exists (in general) in the minds of screenwriters (and also directors). In the case of this specific project, there is even a good idea behind it, but as practically everything is done with very visible carelessness, the end result could not have been different: a well-intentioned, but poorly executed movie.

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All the arguments presented had the potential to be turned into something interesting, and all of this had a very well-defined guiding thread in an issue involving a part of Korean culture (and here it is important to bring up one of the most functional points of the script: the mix of ethnicities different within the same contextualization, but due to the precariousness of development, the argument becomes both flawed in its execution), but there were, consistently, errors in the segment that completely impoverished the movie and nullified its creative potential.

The relationship between mother and daughter is never well explored and leaves the audience in the field of subjection most of the time and this becomes a big problem because it is not possible to create any empathy for them. Amanda's past has scenes shown through flashbacks to try to shed light at the end of the tunnel, but everything is so fast that it doesn't become a reasonable argument. Although there are some good scenes within this context, the essence of the script is empty and without much identity (after all, all the movie's surprises don't have any great impact). A weak “appeal” to horror.

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Supernatural plots have been widely used in horror movies for many decades, but what really could have worked very well (bringing a recognizable identity to the entire project), and was poorly used, was precisely the ethnic cultural issue involving Korean customs (in terms of religiosity and spirituality) with the American lifestyle. This “shock” (which tries to justify the existence of a major part of the script) had everything to be one of the script’s greatest strengths, but it is taken so seriously to the point of having a reasonable development.

Other interesting issues (negatively speaking) are linked to the few horror scenes that manage to create a really tense atmosphere. The dynamics to show these scenes always happen in the blink of an eye, and with the exception of their climax, the scares are divided into just one or two seconds. The movie's drama also has a very forgettable weight in the plot as a whole (although it has the potential to be something much more comprehensive and impactful) and does not bring any greater relevance to create a basis for everything that is told, and fails badly.

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Parading a reasonable amount of characters without singularities. There's a mother fighting her past, hoping that her future doesn't depend entirely on it. A daughter without charisma or her own personality (something that the script tries to justify by the lack of social contact for certain reasons). A family friend who brings nothing usable to the plot. An evil presence that makes brief insertions into the story and has a final clash with less impact than it should. This group of characters is led by Sandra Oh, who is apathetic and lifeless here.

One of the things that caught my attention the most about the script is how it could have been something so shallow with so many good technical elements spread throughout it. The use of dark lighting (or grayish, depending on the context presented) is well used and creates something more “real”. Another very good point can be noted in relation to the movie's sound, which manages to rely on audible elements to create interconnections between scenes with enough strength to create good moments of tension (but not because of the scene itself, but rather because of the skillfully crafted “sounds” used).

The Hollywood Reporter

Having an extremely boring and simplistic climax (the conclusion is really disappointing), Umma manages to become a movie that loses itself in all its proposals from its first scenes. Not even having a luxurious production (which in this case is a work done by Sam Raimi) the project manages to impose itself to the point of being something with better quality. Iris K. Shim does a double duty here (script and direction, delivering a pretty bad job in both sectors) and if this movie had been a little bit longer (valuing its own narrative), the conclusion could have been so much better.

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CRÍTICA DE PELÍCULA: “Umma” (2022)

Sinopsis: Chris vive con su madre, Amanda, en una granja alejada de la ciudad. Tienen una vida sencilla y alejada del caos que imponen las ciudades urbanizadas, pero tras la visita de un pariente lejano (que trae consigo una misteriosa maleta) las cosas empiezan a cambiar rápida y radicalmente.

El cine de terror estadounidense se encuentra desde hace muchos años en una espiral extremadamente problemática. Con muchas producciones genéricas en diferentes aspectos, esta película es un ejemplo más que ayuda a problematizar este concepto y fomentar la crisis de creatividad que existe (en general) en la mente de los guionistas (y también de los directores). En el caso de este proyecto en concreto, incluso hay una buena idea detrás, pero como prácticamente todo está hecho con un descuido muy visible, el resultado final no podría haber sido diferente: una película bien intencionada, pero mal ejecutada.

Todos los argumentos presentados tenían el potencial de convertirse en algo interesante, y todo ello tenía un hilo conductor muy bien definido en un tema que involucra una parte de la cultura coreana (y aquí es importante traer a colación uno de los puntos más funcionales del guion: la mezcla de etnias diferentes dentro de una misma contextualización, pero que por la precariedad del desarrollo, el argumento se vuelve a la vez viciado en su ejecución), pero hubo, consistentemente, errores en el segmento que empobrecieron por completo la película y anularon su potencial creativo.

La relación entre madre e hija nunca es bien explorada y deja al público en el campo del sometimiento la mayor parte del tiempo y esto se convierte en un gran problema porque no es posible crear ninguna empatía hacia ellos. El pasado de Amanda tiene escenas mostradas a través de flashbacks para intentar arrojar luz al final del túnel, pero todo va tan rápido que no se convierte en un argumento razonable. Aunque hay algunas buenas escenas dentro de este contexto, la esencia del guión es vacía y sin mucha identidad (al fin y al cabo, todas las sorpresas de la película no tienen gran impacto). Un débil “llamamiento” al horror.

Las tramas sobrenaturales han sido muy utilizadas en el cine de terror durante muchas décadas, pero lo que realmente podría haber funcionado muy bien (darle una identidad reconocible a todo el proyecto), y fue mal utilizado, fue precisamente la cuestión étnico-cultural que involucra las costumbres coreanas (en términos de religiosidad y espiritualidad) con el estilo de vida americano. Este “shock” (que intenta justificar la existencia de gran parte del guión) tenía todo para ser uno de los mayores puntos fuertes del guión, pero se lo toma tan en serio hasta el punto de tener un desarrollo razonable.

Otras cuestiones interesantes (negativamente hablando) están ligadas a las pocas escenas de terror que consiguen crear una atmósfera realmente tensa. La dinámica para mostrar estas escenas siempre sucede en un abrir y cerrar de ojos, y a excepción de su clímax, los sustos se dividen en apenas uno o dos segundos. El drama de la película también tiene un peso muy olvidable en el conjunto de la trama (aunque tiene potencial para ser algo mucho más completo e impactante) y no aporta mayor relevancia para crear una base para todo lo que se cuenta, y falla estrepitosamente.

Desfilando una cantidad razonable de personajes sin singularidades. Hay una madre que lucha contra su pasado, esperando que su futuro no dependa enteramente de él. Una hija sin carisma ni personalidad propia (algo que el guion intenta justificar por la falta de contacto social por determinados motivos). Un amigo de la familia que no aporta nada útil a la trama. Una presencia maligna que hace breves inserciones en la historia y tiene un choque final con menor impacto del que debería. Este grupo de personajes está liderado por Sandra Oh, quien aquí se muestra apática y sin vida.

Una de las cosas que más me llamó la atención del guión es cómo pudo haber sido algo tan superficial con tantos buenos elementos técnicos repartidos por todo él. El uso de iluminación oscura (o grisácea, según el contexto presentado) está bien aprovechado y crea algo más “real”. Otro punto muy bueno se puede señalar en relación al sonido de la película, que logra apoyarse en elementos sonoros para crear interconexiones entre escenas con suficiente fuerza como para crear buenos momentos de tensión (pero no por la escena en sí, sino por la habilidad “sonidos” elaborados).

Con un clímax sumamente aburrido y simplista (la conclusión es realmente decepcionante), Umma logra convertirse en una película que se pierde en todas sus propuestas desde sus primeras escenas. Sin contar con una producción de lujo (que en este caso es un trabajo realizado por Sam Raimi) el proyecto logra imponerse al punto de ser algo de mejor calidad. Iris K.Shim cumple una doble función aquí (guión y dirección, realizando un trabajo muy pobre en ambas áreas) y si esta película hubiera sido un poco más larga (mejora de su propia narrativa), la conclusión podría haber sido mejor.

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CRÍTICA DE FILME: “Mamãe” (2022)

Sinopse: Chris vive com sua mãe, Amanda, em uma fazenda afastada da cidade. Elas têm uma vida simples e longe de qualquer caos imposto pelas cidades urbanizadas, mas após à visita de um parente distante (que traz uma misteriosa mala com ele) as coisas começam a mudar rapidamente, e radicalmente.

O cinema de horror americano está em uma espiral extremamente problemática há muitos anos. Entregando muitas produções genéricas em diferentes aspectos, este filme é mais um exemplo que ajuda a problematizar esse conceito e fomentar à crise de criatividade que existe (de uma maneira geral) na mente dos roteiristas (e também dos diretores). No caso deste projeto em específico, até existe uma boa ideia por trás dele, mas como praticamente tudo é feito com um desleixo muito visível, o resultado final não poderia ter sido outro: um filme bem-intencionado, mas mal executado.

Todos os argumentos apresentados tinham potencial para ser tornarem em algo interessante, e tudo isso tinha um fio condutor muito bem pautado em uma questão envolvendo uma parte da cultura coreana (e aqui é importante trazer um dos pontos mais funcionais do roteiro: à mistura de etnias diferentes dentro de uma mesma contextualização, mas pela precariedade de desenvolvimento, o argumento se torna tanto quanto falho na sua execução), mas houveram, de maneira consistente, erros de segmento que empobreceram o filme por completo e anularam o seu potencial criativo.

A relação entre mãe e filha nunca é bem explorada e deixa o público no campo da subjeção a maior parte do tempo e isso se torna um grande problema porque não é possível criar empatia alguma por elas. O passado de Amanda tem as cenas exibidas através de flashbacks para tentar jogar uma luz no fim do túnel, mas tudo é tão rápido que não se torna um argumento razoável. Embora haja algumas boas cenas dentro desse contexto, a essência do roteiro é vazia e sem muita identidade (afinal, todos as surpresas do filme não trazem nenhum grande impacto). Um “apelo” fraco ao horror.

Tramas sobrenaturais são amplamente utilizadas em filmes de horror há muitas décadas, mas o que realmente poderia ter funcionado muito bem (trazendo uma identidade reconhecível ao projeto por inteiro), e foi pessimamente utilizado, foi justamente a questão cultural étnica envolvendo costumes coreanos (em termos de religiosidade e espiritualidade) com o estilo de vida americano. Esse “choque” (que tenta justificar a existência de uma grande do roteiro) tinha tudo para ser uma das grandes forças do roteiro, mas isso é levado tão a sério a ponto de ter um desenvolvimento razoável.

Outras questões interessantes (negativamente falando) estão ligadas as poucas cenas de horror que conseguem criar uma atmosfera realmente tensa. As dinâmicas para mostrar essas cenas acontecem sempre em um piscar de olhos, e com exceção do seu clímax, os sustos são fracionados em apenas um ou dos segundos. O drama do filme também tem um peso muito esquecível na trama por completo (embora tenha potencial para ser algo muito mais abrangente e impactante) e não traz nenhuma relevância maior para criar uma base sobre tudo o que está contado, e falha demais.

Desfilando uma quantidade razoável de personagens sem singularidades. Há uma mãe lutando contra o seu passado, torcendo para que o seu futuro não dependa totalmente dele. Uma filha sem carisma ou personalidade própria (algo que o roteiro tenta justificar pela ausência de contato social por determinadas razões). Um amigo da família que não traz nada utilizável para à trama. Uma presença maligna que faz breves inserções na estória e tem um embate final de menor impacto do que deveria. Essa galera de personagens é liderada por Sandra Oh, que aqui está apática e sem vida.

Uma das coisas que mais me chamou à atenção dentro do roteiro, é como ele pode ter sido algo tão raso tendo tantos bons elementos técnicos espalhados dentro dele. A utilização de iluminação escura (ou acinzentada, a depender do contexto apresentado) é bem utilizada e constrói algo mais “real”. Outro ponto muito bom pode ser notado em relação a sonoridade do filme, que consegue se apoiar em elementos audíveis para criar interconexões entre cenas com força suficiente para criar bons momentos de tensão (mas não pela cena em si, mas sim pelos “sons” habilmente utilizados).

Tendo um clímax extremamente enfadonho e simplista (à conclusão é realmente decepcionante), Mamãe consegue se tornar em um filme que se perde em todas às suas propostas desde as suas primeiras cenas. Nem mesmo tendo uma produção luxuosa (que neste caso é um trabalho feito por Sam Raimi) o projeto consegue se impor a ponto de ser algo com uma melhor qualidade. Iris K. Shim faz trabalho duplo aqui (roteiro e direção, entregando um trabalho bem ruim em ambos os setores) e se esse filme tivesse sido um pouco mais longo (valorizando à sua própria narrativa), a conclusão poderia ter sido melhor.

Episode three of Dead City was pack with action when Maggie, Negan, Tomaso and Amaia try to take over the stadium where The Croat was but it all look odd how nothing went according to their plan, I get that Ginny fucked up half of the plan but still it was like The Croat had everything plan to slip away leaving them behind fighting a mass of Zombies inside the stadium, main characters got away but the rest of the crew that was with them not, Negan end up splitting because after been the bait to lure The Croat out he ended as the prey, he is an old silver fox so he knows how to defend himself and survive but it was a different story for Amaia and Tommaso who took the sewers as their route to escape from the stadium, it was full of Zombies but there were some really weird things down there like an entire wall of flesh and fat don't know from what exactly and then this three on one Zombie on the cover image, on this episode a couple of things that were reveal start to give closure and sense to season one of Dead City, opening the door to Season Two that has been approve already coming up next year but it would depend if Hollywood strike ends.

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After everyone try to look their way out of the stadium Negan end up been prisoner of Marshal Armstrong who even after he safe him from the void, The Croat throw Perlie of the stairs to the void showing some good faith to Negan; I mention on my previous post that it was like he wanted to be friends with Negan but you never know with this crazy bastards it might all be a trick to get you, thats how you survive.

Negan tries to get into Perlie good side, remind him how he safe him from The Croat, how he can get a boat so both get out of the island but Perlie has everything figure out, after all he knows very well New York, he was from the Bronx and knew he need no boat, all the need was the dock that floats, he is getting Negan justice one way or another.

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They kept going on their way to the dock so they could get out of the island but at a point they were cornered by Zombies, force them to get into what looks like a school, inside the find the remaining of a person who suicide, most likely was alone and could not handle the situation, either out of food, water, alone and setup a stand with books that held an ax, there was a bottle probably of some kind of booze next the corps on a table, this remind Perlie of his brother who he recently discover dead in his old apartment, his brother did something similar and left back a letter. It must be a very exhausting situation living like this, you don't know when its going to end, you constantly have to look for food, watch out for your safety because not only Zombies want to eat you but humans might want to eat you too or raid your place, probably worst than living in a place at war.

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Negan has change and its not the same man he once was, I kept saying this through all episodes, he tries to escape from Perlie but at some point he catch up although was not in a position to fight Negan, Perlie is hurt badly on a leg and might get caught easy by Zombies, Negan stops and help him, not been the man he use to be is going to become a problem for him soon, I think this might happen sooner on episode six.

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Tommaso, Amaia, Maggie and Ginny are walking through the sewers, trying to get as far as possible form the stadium and here is where everything comes to light, on second image above Tommaso goes behind one of this barrels, take of his backpack to pull something out of it.

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Turns out he is now the luckiest man in the entire Zombie Apocalypse, he just found two full bottles of oxygen with their mask and everything but he didn't count that Maggie was way more sharp than he is and saw him taking the oxygen bottles out of his backpack, then she starts connecting the dots and figure out it was him who told The Croat about the plan, it was Tommaso all this time and that's how The Croat got away and they stay trapped, when they were all corner at the stadium inside the octagon he was the only one missing at some point and came from the back to help them, this was no coincidence, he might not know exactly how things were going to happen but was way more steps ahead than the rest so that make him look like the mighty hero of the night, saving everyone ass. Maggie end his theater and take off the mask, letting Amaia know all the truth but latter on her pants got on fire too liar liar, pants on fire.

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They had no other option and kept going, is not like they would go back or stay there, on this series every single man or women that act as a cheap bitch, a sell out, a snitch dies one way or another and some times pay back is so sweet, the sewers not only were full or dead bodies but some of them were Zombies, they walk and walk without finding any troubles until they took a rest because of all the methane. While they were taking a rest there was another big revelation, Tommaso told Maggie the truth about why he did it, The Croat promise him a place to stay in mainland, a place where everything was made of brick, guess what that place is? Hill Top, now Maggie has no other option to get Hershel and fly out of there is possible as fast as she can to get everyone ready at home to defend themself.

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It was there when the took a rest when they got attacked, Tommaso and Amaia got the worst part of it, Tommaso got Amaia killed because if it wasn't for him then probably the would not be down the sewers, he also got attacked and bitten on his neck badly, it was only Ginny and Maggie left but then Mr. Zombie, the one at the cover of this post; show up while Maggie got her foot stuck inside one of the corps laying down, leaving her still and all he could do was lay on her back and try to defend from this mutated Zombie, it look like someone put it together but would not be strange if Zombies remains could get stuck between them, its like there is a pile of them and they are so rotten they can go through each other but at some point get stuck inside another Zombie's body, at least that's how I think it could happen because Zombies do not grow or regenerate, all they can do is disintegrate, rot or turn apart.

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All this time I have been thinking that Ginny only came back for Negan to be with him because she didn't like Hill Top but that was not the only reason, when she was escaping Ginny was near a Silo and Maggie kept telling Negan how The Croat tool all their grain but at the Hill Top when she arrive they had food so before she hop on the dirt bike an escape she check the Silo and it was full. Maggie kills the six foot tall Zombie but she was exhausted and out of oxygen until she got out of a tunnel to escape, same tunnel that Ginny took and wrote on the wall LIAR, it was at this moment that Ginny knows something, probably not everything but something that can lead Negan to the real reason she wanted Negan to help her.

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I really like this kind of scenes where you don't know what the fuck is going on but something is cooking. The Croat gave Maggie the Wanted Man flyer where Negan show up, he took Hershel; her son so she get him Negan, this is still and unknown reason for me same way as he visits this women who was inside a theater with another bunch of people, she looks like the one running town and both want Negan although I cant figure out why. Its like she wants Negan to lead her people or an army, she was reading a book of The European Conquest of Native American, so that takes me to this conclusion, she is preparing for something big, probably to defend themself from getting conquered from mainland.

Different than Daryl Dixon spin off, Dead City is turning to be very good TV Series, entertain, traitors left and right, people lying to each other to try to survive thinking they have an advantage to the guy next to them but its actually not the case, that's how so far has been between Maggie and Negan, also Tommaso and Amaia close to the end but they were not lucky enough to survive, The Croat has been playing all of them all this time and the one that knows the less out of all of them is Negan so I guess how is he going to react once he discover the truth, at least Maggies real plan, at some point the good old Negan is coming back and who knows if Lucile shows up too, that would be a proper ending to this season or start for season two.

I don't know what is it with this series but we are already in episode three of a six episode season and it feels like for ever, I know I'm only watching one episode per week and probably this short seasons are intended to watch in one or two days, still would not make sense but I can't think of why it feels so slow, nothing of real context rather than Laurent life is happening, yes everything goes around him on this season but there is not much fighting, shooting, kidnap, bullying, survive, that's what traditional Walking Dead is, bring out that survivor side of the characters, actually episode one was way better than two and three.

There are a couple of things that need to be clarify for example whats going Genet army, what kind of experiments are they really doing not only on the ship that Daryl escape from but now on this episode we also have the opportunity to look at a facility where they running experiments on Zombies, Walkers, from what I saw its a kind of super strength or rage I say this because there was a Zombie on chains go wild and break loose but then his head explode.

On this episode I think we only get more context of Isabelle and Laurent, where they come from not the country but what was their life before the Zombie outbreak, we already know Laurent is Isabelle nephew but what about Isabelle? first part of episode two was mostly about her and now episode three does a similar thing towards the middle, uncovering part of her past with Quinn her ex boyfriend who survive after she ran away with her sister on Quinn car leaving him behind but let me tell you Quinn is full of surprises.

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Daryl has kept his part of the deal, he got Isabelle and Laurent to Paris but it looks like everything is dead, streets are empty, Zombies everywhere like people has loose hope, all you can hear is the Eiffel Tower moving with the wind, that must be impressive all that silence and suddenly listing to that giant rusty metal structure swinging, their home town, initially they were looking for a man who live on a theater, a musician, they have talk over the radio before but it seems he has been alone for too long to the point he has gone mad, crazy, nuts, some how he have tied a bunch of Zombies to instruments and now they play for him as an orchestra, it was very impressive to see all the Walkers ""playing"" the instruments, so there is no radio, no hope of communicating with others, Isabelle is disappointed but Daryl is pissed, he is not a God's man and hates loosing time specially when he knew it was a waist of time.

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After the disappointing encounter with the mad musician at the theater they start exploring, have no clue where to go but destiny finds them, Fallou a men who knew father Pere Jean cross their way. Fallou runs a small community of survivors, they are pacific, strong and have build a sustainable environment where everyone has a role to play to keep it going, there are workers, teachers, cooks, everything is going smooth, Fallou knows about Laurent, well what father Pere Jean convince them, the prophecy that Laurent will safe the world from this apocalypse but so far he is just a kid that has been lied all this time along and things are going to get bad once he start to learn his true story, on episode two he abandon the idea of going to Paris and wanted to stay with the other kids at the school they found on their way so its just a matter of time before he knows his true story and turn against Isabelle for keeping him in the dark and lying to him all this time.

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This was funny scene, after they failed at locating a radio now at Fallou's camp they don't use radio they use pigeons to communicate so Daryl goes mad again, not only he is among a group of religious people who has silly believes in his opinion but now they want him to stay sitting for days or weeks waiting for a pigeon with a message, that's IF big IF the pigeon returns.

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In some part of Paris, Codron has finally met Genet, he brings her proof that he knows who Daryl Dixon is, the American who escape from the ship and did some damage to it that cost her time and money to rebuild so she still have on her plans locating Daryl, all Codron wants is to capture him and if possible kill him in revenge of his brother, they go about why she have to trust him to which he doesn't much context other than he wants revenge and he has seen Daryl before because that's the truth, he knows nothing about Daryl, this are some of the things that make me feel this episode was vague as fuck and slow too, they spend about five minutes at her office while she tries to light up a smoke and Codron not really proving why he is the man for the task, anyways she put him in charge of finding Daryl.

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After Daryl got pissed about them waiting for a pigeon to carry their message, Fallou offer them the option to look for some one who can help Daryl get into a boat to America, that is a truly fucking task locating a boat to get him from one continent to another, after all he probably got lucky and there is no way he can go back.

They are in Paris, Isabelle home tome and she left a stash at her apartment, money, drugs, jewelry, things they can use to trade, Daryl already kept his part of the deal to bring Laurent safe to Paris, now Isabelle feels she is on Daryls debt list so she is willing to do as much as it takes to keep her part of the deal. Some times Daryl is a fucking bastard, Isabelle was telling him about Quinn but that is part of her stupid past, they he makes fun of her how she upgrade Quinn with God, like that is as stupid as been with Quinn.

Zombies got into the building and got them surrounded at her apartment, while trying to escape Isabelle froze after she saw a little girl who use to life into the same building a as her turn into a Zombie the weird part is that she was not as deteriorated as the other Zombie what makes me think she was probably killed or die of some natural cause, remember in Walking Dead eventually everyone turns into a Zombie after dying unless you stick something through their head right away. The exit was blocked by thick branches that Daryl could not cut and he notice this Zombies were burners too, their touch and insides burn anything, same as they Zombies that he saw on episode one at the warehouse so he use one of the to burn down the branches with their acid insides.

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Daryl, Isabelle, Fallou, Laurent and Silvie got to a club, its the end of the world but seems people in Paris will keep on partying, question is where do they get the drinks, how they get currency, why do they get paid, there has to be some sort of economy to keep the place going, the man in charge was Quinn, Isabelle's ex boyfriend who safe them from getting robbed from local smart ass you were trying to out play Isabelle and Daryl to keep their drugs as they were trying to make a deal for boat.

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I really thought Quinn was going to be pissed and lock them down, after all he runs the place, got a crew and out power them but he wanted to play the big boy card, the play boy card, he owns the place, has money, power so Quinn takes Isabelle and Daryl to his office where he has everything from paints, antiques, champagne, offers them a drink but they just want to make a deal and get out.

Doubt if its true or not but after Isabelle tells him she is nun now and refuse to stay with him he reveal to her that Laurent is most likely his son, that her sister Lily was carrying his son so he was fucking her at the same time he was dating Isabelle, he wants Laurent to know the truth in exchange of getting a boat for Daryl but Daryl refuse and leaves then Isabelle gets pissed at Daryl, I didn't get that right was it either Quinn just wanted Laurent to know he is his father or is it also that he wants Quinn to stay?? I think was just Laurent know the truth.

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Cordon is after Daryl, some how he knows he was at Quinn place, back at Fallou's camp Quinn and Isabelle kept talking about Laurent and her destiny, but Daryl is still pissed at how she lies to the kid, his father now, his entire life, Daryl had enough with his failed attempts to get a boat helped by Isabelle, Laurent heard them and tries to run away after telling them he hates them.

Cordon got to the camp and starts chasing Daryl, before he left the camp Daryl tells Isabelle to meet her at the apartment, some lame chasing starts, then Cordon and Daryl got into a fight but nothing impressive, it was a very dark scene with both dress in black, the music was lame too, very bad ending for the episode in my opinion.

 

This episode was not bad but at best I give it a 7/10 and that's been generous, its on the verge of a six, there were a few interesting scenes like the musician with the Zombie band playing, Quinn's underground bar but then it raise the question of how he keeps the place running, the small drama that he is Laurent father was a good twist but nothing really interesting or impressive on this episode, what I really want to know is the purpose of Genet experiments with Zombies and why Daryl was a prisoner at her ship, eventually he will kill Codron that's for sure, the Laurent story I cant really care less, in my opinion is all about if and how Daryl gets back home, very lame episode, I hope the other three pack some punch.

"Las películas Slasher son las más famosas dentro del género del terror"... Esa frase es muy cierta por lo fácil y a la vez lo complejo de realizar este tipo de films; la facilidad está en que estás películas se conforman por un asesino, víctimas y una sobreviviente y lo complejo es cumplir al crear un buen asesino, que las víctimas cumplan con ciertos clichés y que la protagonista sea igual de importante que su antagonista; personalmente creo que un buen motivo es y plus para estas historias que en mi opinión son las más divertidas y entretenidas dentro del género del terror; justamente la película a qué hago reseña cumple con todas las características antes descritas.

"Slasher films are the most famous in the horror genre"... That phrase is very true because of the ease and at the same time the complexity of making this type of films; the ease is that these films are made up of a killer, victims and a survivor and the complexity is to create a good killer, that the victims comply with certain clichés and that the protagonist is as important as her antagonist; personally I think that a good reason is and plus for these stories that in my opinion are the most fun and entertaining in the horror genre; just the film that I am reviewing meets all the characteristics described above.

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"You'r Next" film estrenado en el 2013, relata la historia de "Erin" quien acompaña a su novio a una reunión familiar la cual se llevará a cabo en una gran casa rural en el bosque; esta reunión tendrá episodios en dónde se refleja lo disfuncional de esta familia la cual está compuesta de cuatro hermanos y sus padres, pero todo eso quedará atrás cuando un grupo de asaltantes, enmascarados y armados, aparezcan cazando uno a uno, creando terror y desespero; eso hará que "Erin" revele que no es una víctima más y que está dispuesta a realizar cualquier acción y así no ser la próxima en morir.

"You'r Next" film released in 2013, tells the story of "Erin" who accompanies her boyfriend to a family reunion which will take place in a large rural house in the woods; This meeting will have episodes where the dysfunctional of this family which is composed of four siblings and their parents is reflected, but all that will be left behind when a group of assailants, masked and armed, appear hunting one by one, creating terror and despair; that will make "Erin" reveal that she is not a victim anymore and that she is willing to perform any action and thus not be the next to die.

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Este fue un film de los que no importa que enseñe de más los promocionales trailers, esta fue una de esas películas que quería ver y es que no me importó las expectativas que me creé con esta producción porque sabía que todas serían respondidas. El film es dirigido por Adam Wingard quien hace un excelente trabajo tomando ventaja del pequeño presupuesto de esta producción, en ciertos momentos, de manera rápida nos da la perspectiva en donde suceden los hechos del film y después nos lleva en dónde ocurre la acción; justamente ese trabajo es lo que me ha gustado porque la perspectiva de espectador es evidente, primero es la calma, después lo incómodo y de manera inmediata se pasa al caos y terror; esas escenas en particular a mitad del segundo acto es lo que valoro porque el manejo de la desesperación de personajes que han aceptado ser víctimas, después se cambia de perspectiva en donde todo se ve desde el punto de vista de un solo agresor; en mi opinión es un gran trabajo.

Ese cambio de perspectiva dependiendo a quien primeramente está dirigida ciertas escenas y quién después toma control de la historia es un gran acierto del guion escrito por Simon Barrett, quien a trabajo en muchos proyectos con Wingard; en esta película, cumple con muchas características, principalmente con la cantidad de víctimas lo cual puedo pensar que mientras más personajes hay, está la posibilidad de que existan más muertes, todo depende del sentido de las muertes y de la historia que se relata; primeramente es un drama familiar, después es el típico "Home Invasion" y finaliza como un puro y divertido Slasher, todo depende de quien toma control de la historia y eso la hace muy entretenida, no usaré el término "diferente" u "original", pero si creo que es una manera fresca de relatar una historia en este género del terror.

This was one of those films that no matter what the promotional trailers show, this was one of those films that I wanted to see and I didn't care about the expectations that I created with this production because I knew that all of them would be answered. The film is directed by Adam Wingard who does an excellent job taking advantage of the small budget of this production, in certain moments, quickly gives us the perspective where the events of the film happen and then takes us where the action happens; just that work is what I liked because the perspective of the viewer is evident, first is the calm, then the uncomfortable and immediately goes to the chaos and terror; those scenes in particular in the middle of the second act is what I value because the handling of the desperation of characters who have accepted to be victims, then the perspective is changed where everything is seen from the point of view of a single aggressor; in my opinion it is a great job.

That change of perspective depending on who first is directed certain scenes and who then takes control of the story is a great success of the script written by Simon Barrett, who has worked on many projects with Wingard; in this film, it meets many characteristics, mainly with the number of victims which I can think that the more characters there are, there is the possibility that there are more deaths, it all depends on the sense of the deaths and the story that is told; first it is a family drama, then it is the typical "Home Invasion" and ends as a pure and fun Slasher, it all depends on who takes control of the story and that makes it very entertaining, I will not use the term "different" or "original", but I think it is a fresh way to tell a story in this genre of horror.

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No soy de resaltar las actuaciones en este tipo de films, más cuando la participación de varios de los actores son muy breves, pero si presto atención a quienes deben cumplir con los clichés de este estilo de films y en esta película existe un acierto al desarrollar a personajes que presentan ciertas características que se observan mucho en las películas Slashers, por ejemplo lo referente a los promiscuos, bromistas, tímidos, heroicos, cobardes, primera víctima, malos y buenos, todos están presentes de una manera y otra en este film; ahora existe a quien si valoro en estas películas y esa es "The Final Girl" y "Erin" Interpretada por Sharni Vinson es una de mis favoritas, es de las mejores que he visto, es impresionante y por ella puedo ver hasta 10 películas en dónde su personaje sea la protagonista; es la mejor.

I am not one to highlight the performances in this type of films, especially when the participation of several of the actors are very brief, but I do pay attention to those who must comply with the clichés of this style of films and in this film there is a success in developing characters that have certain characteristics that are observed a lot in the Slashers films, for example regarding the promiscuous, jokers, shy, heroic, cowards, first victim, bad and good, all are present in one way or another in this film; Now there is someone who I do value in these movies and that is "The Final Girl" and "Erin" played by Sharni Vinson is one of my favorites, she is one of the best I have seen, she is impressive and for her I can see up to 10 movies where her character is the protagonist; she is the best.

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Después de diez años de estrenada, "You're Next" sigue siendo una completa genialidad, está revisión del film me hizo disfrutarla aún más y valoro que en un film de ta solo 94 minutos de duración, pueda desarrollar la historia de ciertos personajes, de su protagonista y hasta antagonista, los cuales estos últimos pueden tener otras películas más enfocadas en estos personajes, pero creo que el de "Erin" es quien más potencial tiene para explorar y me sorprendió que ni su director, ni su guionista decidieran extender esta historia, convertirla en una franquicia y posiblemente esto es lo que rompe con los demás producciones dentro del género slasher. Este film tiene un ritmo imponente, toma necesarias pausas, para después arrancar nuevamente y sorprender con buenas escenas; no queda duda del porqué la considero como uno de los slasher que más me ha gustado de ver y para quien no la ha visto, solo me queda recomendar este gran film.

After ten years of release, "You're Next" is still a complete genius, this review of the film made me enjoy it even more and I appreciate that in a film of only 94 minutes long, it can develop the story of certain characters, its protagonist and even antagonist, which the latter may have other films more focused on these characters, but I think "Erin" is the one who has more potential to explore and I was surprised that neither its director nor its screenwriter decided to extend this story, turn it into a franchise and possibly this is what breaks with other productions within the slasher genre. This film has an imposing rhythm, it takes necessary pauses, and then it starts again and surprises with good scenes; there is no doubt why I consider it as one of the slasher films that I have liked the most to see and for those who have not seen it, I can only recommend this great film.