From time to time there is that TV Series that I enjoy watching a lot, I do like fantasy theme TV Series although at a adult age not young kids discovering magic, for example The Magicians was a TV Show I enjoy same as The Rings of Power but I'm not a such a fan of other fantasy stories like Harry Potter.

Season two of WOT is in full force and introducing new characters or catching up with story lines is over, the fourth episode introduce its last main character with Selene now known as Lanfear, she was a mystery at first during the season but now she is pissed, not only now we know that she is a forsaken but we are starting to understand her interest to Rand, she is basically in love with him, he is too precious for him but she wants him to join her, she doesn't want to force him this is why so far she haven't hurt him, it will remain a mystery what she was going to do when she started channeling. Rand finally meet her real personality, Lanfear on his dreams, she is a dream walker, she can get into others people mind when they are dreaming without been invited, once she is in you are on her world with her rules and you can die on that world too.

On episode five we also get to know a bit more about Seanchan too, a city that looks a lot like Constantinople to be honest, Damane another term on their thong use to those women who can channel, they are not free they are leash by Seanchan and are use as a weapon by their controller or master in this case known as Sul'dam using a collar known as a'dam, all women who can channel including Aes Sidai are consider a marath'damane, an abomination of nature and need to be controlled, similar to how Aes Sidai think of men who can channel although they have this though because men who can channel usually go mad including the Dragon Reborn.

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Moiraine got just in time when Selene was on top of Rand, she was about to channel after she tied him to the bed and Moiraine cut her throat but this was just a temporary solution and to loose her they had to pull a few old tricks like getting on horses and then leave them going into an opposite direction on foot but this was just to gain some time before Lanfear figure it out. Moiraine plan didn't work as she thought because Logain was suppose to teach Rand how to explode his power but that never happen, now he is unprepared and Lanfear is after them, she also told him the truth, this is just starting and a higher dark power has been unleash.

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Perrin finally gets some good amount of screen time, we already know he is a tracker but for some reason he is having a hard time to accept what he is, Elyas tries to guide him although he is not a big help since he is of the mind that the pack has to stay together and all Perrin can think about is his friends who have been capture by the Seachan Army, one of them Uno Modesta killed when he revise to swear loyalty.

Eamon Valda and the White Cloaks, children of the light, a blast form the past season one, Eamon torture Perrin because he is consider a monster, anyone who can channel is a monster for the White Cloaks, they have now take over the small village that Seachan Army and High Lady Suroth attacked.

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When Perrin return to the Village with the intention of finding some of his friends or where they were taking, he free Aviendha who is a Maidem of the Spear, a great fighter that was capture by the White Cloaks and put on a cage, Perrin who has a great heart free her without knowing who she is but soon she show him her skills as a fighter, a fucking John Wick of the Spear putting down a good amount of White Cloaks when they surround them after Perrin free her, she is now in debt with him so she follow him where ever he goes.

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Things start to unfold at The White Tower when Verin Mathwin gets back, there are rumors of Aes Sidai missing, she also went looking for Egwene and Nynaeve but they were no where to be found at the tower, she seek information on her two friends at the library who can get her more information about this reports, who got in and out of the tower but something is odd about the reports, like either someone fake the reports or use some sort of spell what they call a weave, in this case on Sheriam Sedai who wrote the report. This would only mean that there is a traitor between the lines of the Aes Sidai, someone join the dark power, one of her sisters.

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At this point no body knows at The White Tower but the traitor is Liandrin, I have been thinking why she did it and there is only one answer, her son who is dying, she actually explain this to Nynaeve before knock her out and deliver her with Egwene and Elayne to High Lady Suroth by orders of Ishamael, Liandrin had some compassion for Nynaeve and before she left cut her ropes so they could have a chance to escape. This shows how Liandrin is not that bad but still a selfish traitor after all.

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Verin Sedai caught Liandrin when she was coming back, of course Liandrin had alibi and brought some white asparagus to try to sweet Verin wiith but she already know something is cooking and is after the traitor, she doesn't know yet Liandrin is guilty.

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High Lady Suroth is just part of the army, she is not the one in power to dictate what their people do or not, in fact Ishamael is using her, High Lady Suroth doesn't seem she can channel, nos sure how then they get to such high power probably just been part of a royal family. Ishamael was after the Horn of Valere and deliver it to the High Lord Turak who is commander for the Seachan Army, I dont know what is up with this people and long nails but it seems a symbol of high power among them, High Lady Suroth nails get trim because she disobey orders at invading land she was not suppose to but this was Ishamael plan all this time.

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To calm down things and get on High Lord Turak good side, Ishamael not only offer The Horn of Valere as a gift but also brought a very powerful women, this was Egwene who gets put on a'dam, a very powerful collar and then a leach by her new master, I like this scene very much since Madeleine Madden did a great job at showing Egwene pain when she was put on the collar, it has some sort of power over those who can channel that makes Egwene scream in pain and put her on her knees without giving her any orders, just looks insane, also the way the collar turns into a half chest piece in a transformer way look so sick.

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During the entire episode Moiraine and Rand were running from Lanfear until they got back to her home, at home was her sister and nephew who welcome both, Moiraine was running out of time and knew it was only a few days or hours before Lanfear find them, she once gave her sister an advice and that is to truly think if things are necessary, in this case means "Does Rand really needs to be protected from Lanfear?" even though he is not in control of his powers Lanfear would have kill him long time ago, been with Rand for three months and it was just fucking around, literally, so Moiraine throw him into the lion den, let Rand sleep so Lanfear can come to him that way they will find out her real plan, that's the cover image for this post.

There is really no excuse to think this TV Series is crap, its true that season two started very slow but it was necessary, even though the TV Series is not probably word by word close to the books they at least taking some time to not rush things, make it last as much as possible to develop the story at a pace that doesn't feel they cutting corners like for example the Perrin story, it was about time his character get a bit more of screen time, same goes for Mat and I think they will on the next episodes, it cant be always Egwene, Nynaeve and Rand, so to balance things some episodes need to be a bit slower, for example episode five there was not much fighting but there was a lot of good drama and unfolding more of what Ishamael and High Lady Suroth want, that's to take over Seachan, he is expecting Rand to join them at their city and be on their side too, WOT is just getting better and better.

I know I'm behind on this series but I love it and prefer to take my time to enjoy it, not staying up late during weekdays, I usually load up everything into my VR setup and watch all this TV Series on Saturdays when I stay home, relaxing.

Special Ops Lioness is still ramping up at an internal level of the team, there are few things that we now for sure so far, one is that Joe is in charge and two that Cruz is going to be the bait but after loosing a Lioness to a tattoo on her side Joe doesn't want to risk it again and this time is taking her Lioness Cruz to another level of pain because the hardest part of Joe's job is to when she has to extract her after she gets discovered, she has to know how much time she has before Cruz breaks and start singing, with your head on the line most do and that's how much time Joe needs to know before she takes the decision to drop a missile from a drop on Cruz head.

The series seem to be very criticize on forums and review sites for how they taking advantage of political problems and mold them to their stories even when events are not close to what is real or not, I think all that is bullshit because anyone that consider themself mature enough should know that this is TV Show this is not a fucking documentary, people watching TV should only be looking for some sort of entertainment, some dopamine, free your mind for an hour and know well that this does not has to be close to reality, I think so far actors has done this very well, entertain and for an action series with a some what unique theme Lioness, I truly give this first two episodes solid 7.5/10

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Joe learn the hard way from her previous experience that when an agent blow their cover, a women in this case; and they have more than ten men looking around with a big ass Machete on their hands trying to find her to behead them and set on fire while they get recorded, everyone brakes, they stop thinking and have no clue what to due, that's when clock starts ticking for Joe and why last time she took the decision to drop the hammer and a missile before her Lioness go through all that pain, this time she got Cruz a well trained Marine but Joe feels even Cruz breaks, usually in this type of stories Marines like Cruz who have nothing to loose, no family, no children, no boyfriend, they still have ghosts from the past that hunts them, everybody does, but its up to us how to keep them in the closet, Joe knows this very well and wants to learn Cruz breaking point, that's what she meant here to put Cruz through the grinder.

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Work for an intelligence agency and in a program like Joe is probably the worst job to keep a family, similar to her Neal, Joe's husband also has one of the worst job in the planet, I say this because some times he has to face parents and tell them their child has little chances to survive a decease and its probably just to enjoy the little time they might have left, he is a doctor that work with patients with terminal cancer and some times he needs balls of steel to be the ones who drop the news to the family of his patient.

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Episode two sets clear how hard Joe's job is at home, a repercussion of her true job, been most of the time away, keeping secrets from her family, been away from their kids who are as though as her, Kate her daughter seem to not know the limits yet but Joe is soon to show her whats what a may be put her through some parenting grinder, Kate feels her parents marriage is fake and they going to divorce probably because they are most of the time separated but that's doesn't seem the case as Joe and Neal are staying together, so far the series is still on that phase of letting viewers get interested on characters side stories besides the entire Lioness mission.

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We already know Cruz story, her ex boy friend paint it very well when he said she doesn't dance, smoke or fuck anymore, that's how they met, Cruz was probably a stripper. On episode one she was very anxious and didn't know how to react to the fact that she is going blind into the mission but that's the beauty of it to make it look as real as possible and cut down the risk of saying something to her asset she is not suppose to know. After her first encounter Aaliyah, the asset; Cruz is taken back to the US and put into an apartment that's making her go crazy and decides to burn some time but Joe had other plans for her.

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Joe finally gave green light to the mission, that's kidnap Cruz and make it look as real as possible so she feels real pain, make her feel afraid, vulnerable and try to break her soul in half, they try all kind of torture but it was not enough so Joe had to jump to the stage, come clean that this is just an exerciser, I would never know because I haven't been in such situation or training but I THINK at some point after so much pain, torture, no sleep, changes in temperature, noise, your body and mind wants it to stop so it did not take much time for Joe to break Cruz mentally reminding her about her past, how shitty was her life because Marines could not after beating her up but Joe takes it to a new level. You might find this shitty because so far Cruz have gone through a lot until now but it seems Cruz has become what she needed to defend herself back in the past, like when she said she join the Marines because she felt safe that time a Marine protect her from her ex boyfriend Hector but again it depends on the amount of torture she has gone through and that can make people sensitive enough to break to such poor speech, there is a saying "words hurt more than actions"

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Joe was taking this exerciser to the extreme until she breaks, all Cruz is been ask is to say his name, her brothers name, that's the trigger, Marines running the exercise know technically this is going too far already, they were going to push Cruz one more time, this scene has some fucking killing fights, I love this part when Cruz starts to kick some ass but that's after she almost break but Marine Cody running the exerciser gets called to stand down and stop the exerciser, Joe is screwed as now Cruz doesn't know her breaking point but Marines think other wise, Cruz did look broken at the time so she probably learn one or two things about herself.

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Joe again reminds Cruz how eventually she might get caught and when that happens is Joe's job to extract her but that's not going to be easy and with little time to do so, the possibility of surviving such situation are very little but at the moment Cruz feels so shitty about herself, that's the effect of torture, latter on when Cruz recovers her mojo things turn different, to help Cruz integrate with the team and recover she puts her on the same house as the rest of the team.

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After two cups ask Cruz what happen to her the team got her back and help Cruz get some revenge so she can feel better and show her they are there for her, she is now part of the team, Bobby specially throwing more gas into the fire, taking the boys to a bar where Marine Cody was to fuck him up and others with him. After a cool short bar fight and Cruz taking revenge on Cody (cover photo of the post), Cruz gets a call from Aaliyah and gets invited to a pool party.

 

I have no complains about the series so far, cool under cover agent story on a war against terrorist, episode one and two are only getting to get us interested on all characters story line, from Joe's family to her team and some other main characters who have not had much screen time yet is the case of Kaytlyn who look like Joe's boss, there are other actors who have not show yet like Morgan Freeman, we know this because he appears on the main cover for the series so this tells us we are just getting to know the characters. I also like how the episode ends with Cruz getting a call from her asset Aaliyah inviting her to party but that's it, lets viewers on suspense imagining whats next.

If it was a complain my only one would be that the torture scenes were too short, feel they try to make it look Cruz was there for a few days but it didn't feel that way, an exerciser like that can't take a few hours so it was probably best for the episode to leave Cruz the entire episode on the island so it felt a little more real, I'm talking about the sensation that it has been a couple of days under torture, they just crunch time too much, I hope its not the case on other episodes because then we will see characters going from place to place in seconds and that sux, that takes from the immersion effect of the story.

While most viewers on the netflix platform seem to only watch and talk about The Fall of the House of Usher, there is a British miniseries on that same platform, which I liked much more than the Flanangan production. Not much is said about this miniseries, and as I say at the beginning of the post, it has a good combination of crime story with science fiction.

Add to the mix of genres, that it is a British production with an ensemble cast where even the extras do a remarkable job. Maybe I'm exaggerating a little, but I like British productions more and more.

This is the adaptation of the graphic novel by Si Spencer. This British author has a long career as a comic book writer. I was completely unaware of the existence of this graphic novel, I'm not going to lie and pretend to know everything about it. I have read few comics and graphic novels, I am not a big consumer of stories in that format. Therefore, I cannot assess whether this adaptation does justice to the source material. I leave that assessment to those who have read the graphic novel.

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Mientras que la mayoría de los espectadores de la plataforma netflix parece que sólo ven y hablan de La Caída de la Casa Usher, hay una miniserie británica en esa misma plataforma, que me gustó mucho más que la producción de Flanangan. No se habla mucho de esta miniserie, y como digo al principio del post, tiene una buena combinación de historia policíaca con ciencia ficción.

A la mezcla de géneros, le sumamos que es una producción británica con un reparto de conjunto donde hasta los extras hacen un trabajo notable. Quizás exagero un poco, pero es que cada vez me gustan más las producciones británicas.

Se trata de la adaptación de la novela gráfica de Si Spencer. Este autor británico tiene una larga trayectoria como guionista de cómics. Desconocía por completo la existencia de esta novela gráfica, no voy a mentir y pretender saberlo todo sobre ella. He leído pocos cómics y novelas gráficas, no soy un gran consumidor de historias en ese formato. Por lo tanto, no puedo valorar si esta adaptación hace justicia al material original. Dejo esa valoración a quienes hayan leído la novela gráfica.

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Over the course of eight episodes, the mystery unravels, and each timeline provides data and revelations. We, as viewers, are also joining the threads of the story. The whole may not be that original, there are clichéd situations typical of crime thrillers and time travel, but each story in the four timelines has interesting characters, well constructed, with human conflicts.

Hillinghead and his personal prison, where a society condemns him to live a lie, unable to be who he wants to be. He loves his wife and daughter, but gets tired of the big farce, that's why he makes certain decisions, out of true love. A very important feeling in the whole plot, as it is the great motivation.

Whiteman, paying the consequences of his mistakes, receiving constant racist comments in the middle of a time when there was no hope for many, the Second World War. Inside that shell of a corrupt cop, there is actually a good-hearted man whom fate will give a chance to redeem himself and do a good deed.

Hasan, a policewoman, a descendant of immigrants in a multicultural London, a story set in the present, with the fear of terrorism and the racial conflicts of a decaying society, a city that looks like a volcano about to erupt. It is the events that occur in this timeline that will determine the past and the future.

Maplewood. An idealistic and lonely cop, who grew up in a dystopian society ruled by a commander who seems to provide health, comfort and welfare to the citizens, but only to those who are willing to give them their freedom. A world that despite the apparent general welfare, still has the same flaws as the current era, after all we are human and we have all our history making the same mistakes.

Each one will seek to solve the investigation, all will face obstacles, they can change their minds, discover lies and bring to light the truth, all may be related and even cross in space time. You just have to watch the miniseries and find out for yourself.

It is available on Netflix, I invite you to watch it and leave your opinion in the comments.

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A lo largo de ocho episodios se va desvelando el misterio, y cada línea temporal aporta datos y revelaciones. Nosotros, como espectadores, también vamos uniendo los hilos de la historia. Puede que el conjunto no sea tan original, hay situaciones tópicas típicas de los thrillers policíacos y los viajes en el tiempo, pero cada historia de las cuatro líneas temporales tiene personajes interesantes, bien construidos , con conflictos humanos.

Hillinghead y su prisión personal, donde una sociedad le condena a vivir una mentira, incapaz de ser quien quiere ser. Ama a su mujer y a su hija, pero se cansa de la gran farsa, por eso toma ciertas decisiones, por amor verdadero. Un sentimiento muy importante en el conjunto de la trama, ya que es la gran motivación.

Whiteman, pagando las consecuencias de sus errores, recibiendo constantes comentarios racistas en medio de una época en la que no había esperanza para muchos, la Segunda Guerra Mundial. Dentro de esa coraza de policía corrupto, en realidad hay un hombre de buen corazón al que el destino le dará la oportunidad de redimirse y hacer una buena acción.

Hasan, una mujer policía, descendiente de inmigrantes en un Londres multicultural, una historia ambientada en el presente, con el miedo al terrorismo y los conflictos raciales de una sociedad en decadencia, una ciudad que parece un volcán a punto de entrar en erupción. Son los acontecimientos que ocurren en esta línea temporal los que determinarán el pasado y el futuro.

Maplewood. Un policía idealista y solitario, que creció en una sociedad distópica gobernada por un comandante que parece proporcionar salud, comodidad y bienestar a los ciudadanos, pero sólo a aquellos que están dispuestos a darles su libertad. Un mundo que a pesar del aparente bienestar general, sigue teniendo los mismos defectos que la época actual, al fin y al cabo somos humanos y tenemos toda nuestra historia cometiendo los mismos errores.

Cada uno buscará resolver la investigación, todos se enfrentarán a obstáculos, pueden cambiar de opinión, descubrir mentiras y sacar a la luz la verdad, todos pueden estar relacionados e incluso cruzarse en el espacio tiempo. Solo tienes que ver la miniserie y descubrirlo por ti mismo.

Está disponible en Netflix, te invito a verla y dejar tu opinión en los comentarios.

Ever since I made that post about the upcoming Monarch: Legacy of Monsters (2023) TV Series I got interested on finding out the start of MONARCH and the chronology of the movies, there are other stories made up from multiple movies but they are just too big for me to learn everything from the start, it is just too much time so this seems smaller and about to kick off with its first TV Series based on a series of movies. The first movie that started things was Kong: Skull Island (2017) where Bill Randa finally find all this monsters he has been talking about for years, but he was not the first man from a modern society to discover the island after Hank Marlow a USA pilot from World War II crash there and had his first encounter with the guardian of the island, Kong.

At first I really thought I was going to be disappointed by this movie since the score on sites like IMDB was very low with only a 6.7/10 but when I start to go through the reviews most of them were positive, lots of 7+ reviews but it was only a few bastards that gave the movie a 2 or 3 complaining about the story that they probably didn't that much attention to, others complaining about how the concept about Kong was completely change from this giant ape who normally terrorize cities to now been the guardian of the island. I think MONARCH made a favor to Kong bringing it into the MONSTER VERSE, no body cares about movies based on the same concept over and over, what they were trying to do is build up the foundation to something bigger that now days will turn into a TV Series potentially extending the story of all this monsters into something different and bigger.

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The Vietnam war is about to be over and all troops send back home, Bill Randal currently in charge of MONARCH knows that the program can be shut down at any moment because so far they have found nothing and when the war ends things are going to rapidly change politically, he feels its now or never go make a discovery and prove the monsters he and his assistant Houston Brooks have been speculating about do exist so they talk to Senator Willis, ask him for one last chance to send them on an expedition to Skull Island, a place that has not been explore yet with many stories about boats disappearing, mysterious bombing like they were trying to kill something but its all speculation, luckily there is already an expedition to Skull Island and Bill and Houston knew about, LANDSAT a program to discover and explore the Earth is sending a team to Skull Island so MONARCH was able to piggy back after Senator Willis approval. A common question that came up was WHY THE FUCK ITS NOT BEEN EXPLORE? the reason is because its surrounded by a perpetual storm system like God doesn't want anyone else inside the island.

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Bill ask for a military escort, he knows if they find something on that island only military power can help them to get out alive, that's when one of my favorite characters comes in by the hand of Samuel Jackson, Colonel Preston Packard who doesn't want to leave the war, he is that soldier who feels there is nothing else at home that matters and he just want to keep pushing not to mention that they are "abandoning" the war but that's a total different topic. Colonel Packard is in charge to take LANDSAT and MONARCH to Skull Island and provide protection so they can explore it and come back home.

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As secondarily characters there are soldiers under Packard wing, most pilots, there is Cole, Slivko, Reles and Chapman all this pilots will follow Packard orders at all times, that was at first, until Packard obsession gets them close enough to death.

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Chapman a pilot who was flying the helicopter with the most gun power is played by Toby Kebbell who is on For All Man Kind new season, he did very well on this movie although his part was very small, this is Packard's first obsession to find Chapman when his helicopter goes down after an attack but not necesarly because he wants to safe Chapman, Packard was really after all the armament on Chapman's helicopter.

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Last duet of the story are James Conrad and Mason Weaver, Conrad the man in charge to guide them through the island he is famous for exploring inhabitable places and getting out alive so Bill and Houston look for him, they knew it would be expensive and they running low on money but if they want the best chances to get out alive Conrad is the guy to go with, as a bonus we get Mason Weaver who is going to play the pretty lady on the movie, photographer who actually goes to cover the LANDSAT expedition but she knows there is something else cooking besides the LANDSAT expedition but none of them have a clue of what they going to find on Skull Island.

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There is one detail that I didn't like and that was the amount of Choppers on the first shots when they get to the Island, there was only one ship that look like it can hold at best five to seven of them but when they start flying towards the Island looks like they were ten of them, also when already in the island they started to drop some small bombs to map out the surface because of the seismic waves.

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After they start dropping bombs this obviously disturb nature, you got the noise, the impact on earth, animals going wild running scared and this is when big dawg Kong shows up for the first time on the movie, I really like how they gave it this classic Vietnam war scenery with the sun going down and the sky orange but in some cases it was hard to see although I still think it look great, Kong itself was very well design in my opinion but it look small, latter on during the movie it is mention that he is still small, he is probably on his teens, point is that he got mad as fuck for all the bombing and shuts down all the choppers one by one this made him enemy number one to Colonel Packard, on this movie Kong is the protector of the Island, he is not a predator he protect humans and animals mainly for the real predators, GIANT LIZARDS!!

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After Kong shuts them down Packard had a little chat with Bill who then told him why they were there, what is MONARCH, he is not there to explore the land, he is there to find monsters and bring proof back because he believes there are way more monsters that have not been discover and they need to prepare, bring the cavalry, on the island they had many encounter with huge animals, from what looks like a giant Buffalo, spiders, insects, its like Australia x100.

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The survivors of the attack start exploring looking for shelter and how to get out of the island, the group split in two, you got Packard and his soldiers looking for Chapman and all that fire power and then there is Conrad leading the other group (MONARCH and LANDSAT) until they found Hank Marlow, the guy I mention crash the island many years ago during WW II, he has been living there for twenty eight years waiting to be rescue without luck until now when Bill and the rest arrive but this was not necessary a good thing for the island. Hank has been living with natives of the island and gave the guys a tour and had a short Q&A with them so they know whats the deal of the island, who is Kong to them and where not to go.

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I don't like to spoil the cool scenes so I'm just going to mention that there was NO LACK at all of fight scenes between humans and monsters and monster against monsters, you got flying monsters, you got giant baby lizard and then you got big mama lizard against Kong in the final fight, nothing was left to the imagination wondering of why things happen or what if, none of that bullshit, its true that we don't know yet from where all this monsters are coming but Houston did mention that his planet is not theirs, it belongs to this monsters and it was just a matter of time before they take it back, that's one of the reasons why MONARCH exist to prevent all this events.

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This was for sure the beginning of MONARCH, on this movie we only get that a man called Harry Truman funded MONARCH in 1946 but that's all we got from this movie, after credits there is a scene where Houston give more details to Conrad and Weaver of who are they facing but that's it, but he does show them some pictures of cave explorations and images on the walls of this caves that represent many of the different titans like Godzilla.

The reason to watching this movie was to find out more about MONARCH, I know I can go and read the MONARCH Fandom but that is not what I want, I want to have the same perspective of any other viewer once MONARCH: Legacy of the Monsters TV Show starts and that is the reference to the movies themself, my next movie to watch is Godzilla (2014) that is heavy shown on the first trailer for the tv series.

Kong Skull of Island as a Monster or Titans because when you say monster most people think about demons probably but this case its titans or MUTOS as MONARCH describe, this movie did a great job, the CGI was very good nothing to criticize also the amount of monsters that appear on the movie is good enough since it was not only Kong, on the movie appear seven monster animals in total that I can remember so it was not only about Kong, there is even an extra small fight between Kong and a Giant squid that felt like a bonus fight. In terms of the cast it had a good amount of known actors who also did a good job at bringing all this characters alive, I don't feel anything was fake or over the top neither. The only thing that I would do different is not killing Bill on this movie because I think he was a leader for MONARCH and finally when they get all proof they need to show he was right about all this monsters he gets killed, I don't him been alive would change the end/meaning of the movie but just a small detail that I would prefer.

Referring to MONARCH itself this is the movie that opens the door to explore what they have discover so far, from here its all about looking for all those other monsters out there, try to understand them, protect from them and even dominate or kill them depending on how dangerous they are, MONARCH already knows there are more out there and its a matter of time before they claim Earth back.

Si existe un género en dónde los estereotipos o clichés son de las características más importantes de la historia, ese género es el del terror, en especial el de los Slashers; personalmente soy quien piensa que junto a un buen asesino y una buena Final Girl, es necesario respetar las diferentes características de los personajes que desde un principio tiene escrito la palabra "víctima" en la frente; cada una de esas leyes son necesarias en estas producciones porque a pesar del poco tiempo que pueden tener en escena, estos personajes tienen la posibilidad de dejar más que una mancha de sangre.

If there is a genre where stereotypes or clichés are among the most important characteristics of the story, that genre is horror, especially the Slashers; personally I am one who thinks that along with a good killer and a good Final Girl, it is necessary to respect the different characteristics of the characters that from the beginning have the word "victim" written on their foreheads; each of these laws are necessary in these productions because despite the short time they may have on stage, these characters have the possibility of leaving more than a bloodstain.

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"The Blackening", comedia oscura con elementos de slasher, estrenada en las salas de cine este año y que relata la historia de un grupo de amigos afroamericanos que deciden reunirse para celebrar el "Juneteenth" (Día del fin de la esclavitud), en una alejada cabaña que quedan en el bosque; una celebración que se verá interrumpida cuando un tenebroso hombre enmascarado aparece obligarlos a ser parte de un macabro juego llamado "The Blackening", un juego que el premio será sobrevivir.

"The Blackening", a dark comedy with slasher elements, released in theaters this year, tells the story of a group of African-American friends who decide to get together to celebrate "Juneteenth" (End of Slavery Day) in a remote cabin in the woods; a celebration that will be interrupted when a scary masked man appears to force them to be part of a macabre game called "The Blackening", a game that the prize will be to survive.

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Cada vez más tengo la sensación que tanto las comedias como películas de terror tienen muchas similitudes; algunas de sus características las hace transitar por caminos parecidos hasta que llega el momento dar un paso definitorio al género que tendrá más peso en la historia; está película es otro ejemplo más de eso y la convierte en una excelente comedia la cual desde la sátira hace homenaje a films de terror; eso es por el guion escrito por Tracy Oliver y Dewayne Perkins, ambos escritores con un extenso currículum en producciones televisivas y que en esta oportunidad celebran la cultura afroamericana con sus pro y contras de una manera satírica, la decisión de hacer una comedia de terror es inteligente porque como dice el eslogan del film, no todos pueden ser el primero en morir, justamente eso es parte del chiste o ley en este estilo de films.

La dirección fue por parte de Tim Story quien dirigió ambas películas de "Fantastic Four" para la extinta 20th Century Fox y también dirigió la exitosa comedia "Barbershop"; en esta oportunidad hace el trabajo correcto en resultar la comedia y más cuando esté es un pequeño film en dónde no hay la necesidad de hacer algo artístico en las imágenes y si resaltar el trabajo de grupo de actores que comparten muchas escenas; en mi opinión es un buen trabajo, hay escenas cómicas, existe una buena conexión con los guionistas y se nota muy bien la química entre todos los involucrados en el proyecto.

More and more I have the feeling that both comedies and horror films have many similarities; some of their characteristics make them go through similar paths until the time comes to take a defining step to the genre that will have more weight in the story; this film is another example of that and makes it an excellent comedy which from the satire pays tribute to horror films; This is because of the script written by Tracy Oliver**_ and Dewayne Perkins**_, both writers with an extensive resume in television productions and this time they celebrate African American culture with its pros and cons in a satirical way, the decision to make a horror comedy is smart because as the film's slogan says, not everyone can be the first to die, that's just part of the joke or law in this style of films.

The direction was by Tim Story who directed both "Fantastic Four" films for the extinct 20th Century Fox and also directed the successful comedy "Barbershop"; this time he does the right job in resulting comedy and more when this is a small film where there is no need to do something artistic in the images and if highlight the work of group of actors who share many scenes; in my opinion it is a good job, there are comic scenes, there is a good connection with the screenwriters and the chemistry between all those involved in the project is very well noticed.

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Lo mejor del film son las actuaciones de la mayoría de sus protagonistas, existen un grupo de los actores que hacen un buen trabajo con respecto a las escenas de comedia y que completan a lo que posiblemente no tengan un buen desempeño actoral; cada uno cumple con un rol o con un estereotipo en específico y eso los hace ser comicos; mi personaje favorito es "Clifton" (Jermaine Fowler), "Dewayne"(Dewayne Perkins), "Shanika" (X Mayo) y "Allison" (Grace Byers); cada uno está muy bien interpretado, con sus características muy bien definidas siendo esas diferencias las que generan buenas escenas de comedia en el film.

The best part of the film are the performances of most of the main characters, there is a group of actors that do a good job with respect to the comedy scenes and that complete what may not have a good acting performance; each one fulfills a role or a specific stereotype and that makes them funny; my favorite characters are "Clifton" (Jermaine Fowler), "Dewayne"(Dewayne Perkins), "Shanika" (X Mayo) and "Allison" (Grace Byers); each one is very well played, with their characteristics very well defined being those differences the ones that generate good comedy scenes in the film.

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Después de ver este film empecé a buscar opiniones del público en general sobre este film y la mayoría alabaron la comedia y la única crítica negativa fue sobre las pocas o nulas escenas de terror de la película (según esa persona) y el abuso de los estereotipos de la cultura afroamericana, inmediatamente al leer eso pensé en lo equivocado que está quien piense de esa manera de "The Blackening", en mi opinión es una genialidad, es un film inteligente, cómico, divertido, entretenido y con todo eso, se toma el tiempo para mostrar temores reales; como dije anteriormente pudo tomar un camino con respecto a ciertas películas que puede estar influenciadas, me refiero a hacer un film turbio, con un terror extremo, pero regreso a la definición que le corresponde, el cual es una comedia oscura con elementos de slasher, una buena sátira que cumple de excelente manera.

After watching this film I started looking for opinions from the general public about this film and most of them praised the comedy and the only negative criticism was about the few or no horror scenes in the film (according to that person) and the abuse of stereotypes of African American culture, immediately when I read that I thought how wrong is whoever thinks that way about "The Blackening ", in my opinion it is a genius, it is a smart film, comic, funny, entertaining and with all that, it takes the time to show real fears; as I said before it could take a path with respect to certain films that can be influenced, I mean to make a murky film, with an extreme terror, but I return to the definition that corresponds to it, which is a dark comedy with slasher elements, a good satire that fulfills in an excellent way.

Different than popular opinion from Crystal Generation I did enjoy The Continental specially Episode Three for sure was the best, It's true that it was not so close to John Wick himself but that is the best part because this could the door that opens to other spin off from the same world, I kept saying it on my other two post of episode one and two, it was very little what was known about the High Table not even Charon knew the extend of it I might even dare to say not even Cormac for just thinking he could bring down the High Table, not even John Wick himself was able to bring it down but rather win under their own terms and he still dies on chapter four.

After a very slow episode two as expected the last episode was pure fire with constant action, I really enjoy how not only one character was able to put up some really good shooting and fight scenes, Yen, Miles, KD but the one who really stole the show as Lou, on episode two she did a great display of her fighting skills going against a gang that was bullying her but on the third episode I saw a fight scene I could never imagine.

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I have heard of shooting or fighting inside an elevator but fighting on a fucking phone booth? the greatest part is the balance of this fight, what make it so amazing is that it was not two crazy skill fighters but a man Mayhew who is way bigger and potentially stronger than Lou on that tight space and then Lou who is skinny, less weight, less brute force but she fucking him up so badly all inside of a two by two phone booth, this was only one of the few scenes that made this last episode amazing, on IMDB episode three got a solid eight and that says a lot, over all I give this series an eight out of ten.

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Winston manage to assemble a small crew but he is after something way bigger and that's Mazie's army although he haven't crack her code yet, Love that's is all she wants but what kind of love exactly? Miles and the rest almost back out when he told them Mazie is not yet with them but he was right they going to war so even with here there is no guaranty that their plan will work out, they are taking over a hotel that is basically a fortress.

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Ray McKinnon was a great addition to this mini series playing as Jenkins, an old sharp shooter who refuse to to recognize he is now old and need glasses, Mile's old friend still got it and turn out to be a key asset to take over The Continental, McKinnon also adds in my opinion the entire side of the comedy aspect of this mini series.

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On Episode three many are seeking the truth and revenge at the same time and if we pay attention almost every single story goes back to Cormac and the hotel, for example Lou and Mile's father use to work for Cormac and different to what Lou knows of her father he was another assassin under contract with Cormac, her brother Miles try to protect her from this sad truth but it was a local Asian Gangster name Chen who open her eyes, he gave her the very own gun her dad use to kill many, I'm no gun expert but that's a big ass gun looks like a .50

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Another revelation from this episode was KD story, she started the series as just investigating gangster that were going in and out of the hotel but she was after Frankie, I think she only mention him twice, after Frankie went MIA for her then she focus on Winston and the Hotel, never understood what truly happen inside the Hotel but she knew they protect all kind of criminals and latter infiltrate with a High Table Coin she got from a dead shooter who work for Cormac, her true story is that she was the only survivor after the fire Winston and Frankie started on an apartment, never told anyone all this time until she finally put her hands on Winston and was ready to pull the trigger and take vengeance by her own hands.

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Last best fight of the night was between Yen and The Twins, specially the Gretel who shoot Frankie in the head after he gave up and jump from the helicopter, the twins Hansel and Gretel were under contract by Cormac, Yen is a character that carry a lot of fighting power and now is full of rage to the point she doesn't care about her life anymore all she wants is to kill the twins, she doesnt even care about Winston plan thats why she goes old school when she met Frankie and puts on a C4 vest to blow up when she catch the twins. This was a very freaky fight from Gretel, this is a good example how an actor can be good at performing their role and not saying a word, in my opinion from the two Gretel was the best at it.

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After everything was settle and the fight was over, it's obvious this was a fight the good guys would win, many died but at the end it was expected for Winston to take over the Hotel, after all on the movies he is the manager of the continental, he faces the Adjudicator who pay him a visit, to a certain point she left Cormac to die because the High Table never send reinforces but Winston was aware she was not the person he would talk to but he had to send a message to those at a higher position within the High Table so he did what no body else would that's kill the Adjudicator, this action kinda contradicts how Winston behave on the movies when he did what the Adjudicator told him too although he was always trying what Cormac did, try to win using their own rules against the High Table, this was many years before the John Wick movies so probably he was young and wild back then.

The Continental was a mini series that at first I was skeptical about it since it landed on Peacock as its not a a AAA streaming media in terms of the content that is release on this service, another thing that got me worry is that most of the cast was a not very well known except Gibson and many have the opinion he is going down hill on his career, after all this I decided to give it a try for many reasons probably the most important one is that I love the underdog and this was the case, a series with a great story but release on a not popular streaming service with actors that not many know off.

After three good episodes I give The Continental a solid 8/10, the second episodes as expected was the slowest one but the first and third really nail it with a good story and packing a lot of action, many though this was going to be around the story of the High Table and probably John friendship with Winston but it was not the case, it was all about Winston and how he started at the Hotel, how he started doing business with the High Table, if we pay attention not much is reveal about the High Table during the series and this opens the door for some other spin off.

I didn't want to take the fun out of the action scenes so I didn't describe them just the final outcome of the different side stories besides Winston, everything on this story happen because of Cormac so it was just a matter of time before people like Winston, Lou, Frankie, KD and even the High Table take revenge.

Ever since the production of this miniseries was announced I was looking forward to seeing it. I was also sure that Mike Falangan would do a great job. I like most of his productions, both movies and miniseries, which have given him a lot of satisfactions and he is considered the new King of the horror genre. It was with The Curse of Hill House when he got the definitive consecration in his career. Although my favorite is still Midnight Mass.

His previous series: The Midnight Club, disappointed me a bit. I couldn't stand it, it bored me in many episodes. Despite that misstep, I still had confidence in Flanagan's ability, but unfortunately The Fall of the House of Usher has the same flaws that made me reject The Midnight Club. What I'm saying will surely earn me insults from Flanagan fans. It's not an attack on the director, I still think he's one of the best representatives of the genre today, but it just hasn't managed to captivate me like it used to.

It gives the feeling of a production where he had everything at his disposal, the set design, costumes and all the visual elements are impeccable. I'm also not going to deny that the miniseries has reaped a success of viewings, according to the Netflix platform, which equals success. But not everything that is successful means it's good. A lot of things fail here that I also noticed in his previous series. I hope Flanagan, who has signed a contract with Amazon Prime, can surprise me again in the future, to forget the bad moments.

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Desde que se anunció la producción de esta miniserie tenía muchas ganas de verla. También estaba seguro de que Mike Falangan haría un gran trabajo. Me gustan la mayoría de sus producciones, tanto películas como miniseries, que le han dado muchas satisfacciones y se le considera el nuevo Rey del género de terror. Fue con La maldición de Hill House cuando consiguió la consagración definitiva en su carrera. Aunque mi favorita sigue siendo Misa de Medianoche.

Su serie anterior: El Club de Medianoche, me decepcionó un poco. No la soportaba, me aburría en muchos episodios. A pesar de ese paso en falso, seguía confiando en la capacidad de Flanagan, pero desgraciadamente La caída de la casa Usher tiene los mismos defectos que me hicieron rechazar El club de medianoche. Lo que estoy diciendo seguramente me granjeará insultos de los fans de Flanagan. No es un ataque al director, sigo creyendo que es uno de los mejores representantes del género en la actualidad, pero simplemente no ha conseguido cautivarme como antes.

Da la sensación de ser una producción en la que lo tenía todo a su disposición, la escenografía, el vestuario y todos los elementos visuales son impecables. Tampoco voy a negar que la miniserie ha cosechado un éxito de visionados, según la plataforma Netflix, lo que equivale a éxito. Pero no todo lo que es éxito significa que sea bueno. Aquí fallan muchas cosas que también noté en sus series anteriores. Espero que Flanagan, que ha firmado un contrato con Amazon Prime, pueda volver a sorprenderme en el futuro, para olvidar los malos momentos.

Flannagan takes Edgar Allan Poe's work, short stories, poems and even small elements of the famous writer's life and mixes them all together in a very loose way. Don't expect an adaptation that is too faithful to Poe's literary work. There are even sequences in which Poe's texts are recited. References that Poe fans will quickly spot. Will they love it? Many die-hard Poe fans may not like what Flannagan has done. I'm not such a strict viewer when it comes to adaptations, I just wanted a work that would shock, thrill and captivate me. Something that didn't happen this time.

Were eight episodes necessary? The way the miniseries was structured, my answer is a resounding No. It was so long that many episodes made me sleepy. I couldn't stand so much spiel trying to give them depth. I was shocked to see such unpleasant characters reciting parts of Poe, because it detracted from the credibility of the story.

Such an unattractive beginning, poorly structured, where they advance all the deaths and even in the order in which they occur. Taking away the surprise effect. I understand that the new generations like to be given the productions chewed and in teaspoons, as if they were babies. But this reaches unprecedented heights of mental laziness.

Eight episodes with an apparent central mystery, which is unraveled in the last episode. There was no need to drag it out. Each episode covers the death of one of the Ushers, with too much pretentious filler, with lots of dialogue, Poe fragments and references, as if that were enough to make the show transcend.

On the other hand, characters without depth. I laugh at some comparisons being made on twitter about a Succession style with a powerful family clan. Please. I wish this miniseries had three dimensional dialogues or characters in the style of that masterpiece called Succession . That series also had nasty millionaire characters, but endowed with enough humanity to make them believable.

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Flannagan toma la obra de Edgar Allan Poe, relatos cortos, poemas e incluso pequeños elementos de la vida del famoso escritor y los mezcla todos de forma muy libre. No espere una adaptación demasiado fiel a la obra literaria de Poe. Incluso hay secuencias en las que se recitan textos de Poe. Referencias que los fans de Poe detectarán rápidamente. ¿Les encantará? Puede que a muchos fans acérrimos de Poe no les guste lo que ha hecho Flannagan. Yo no soy un espectador tan estricto cuando se trata de adaptaciones, sólo quería una obra que me impactara, me emocionara y me cautivara. Algo que no ha ocurrido esta vez.

¿Eran necesarios ocho episodios? Por la forma en que estaba estructurada la miniserie, mi respuesta es un rotundo No. Era tan larga que muchos episodios me daban sueño. No soportaba tanta perorata intentando darles profundidad. Me chocaba ver a esos personajes tan desagradables recitando partes de Poe, porque le restaba credibilidad a la historia.

Un comienzo tan poco atractivo, mal estructurado, donde adelantan todas las muertes e incluso en el orden en que ocurren. Quitando el efecto sorpresa. Entiendo que a las nuevas generaciones les guste que les den las producciones masticadas y en cucharaditas, como si fueran bebés. Pero esto alcanza cotas de pereza mental sin precedentes.

Ocho episodios con un aparente misterio central, que se desvela en el último episodio. No había necesidad de alargarlo. Cada episodio cubre la muerte de uno de los Usher, con demasiado relleno pretencioso, con muchos diálogos, fragmentos de Poe y referencias, como si eso bastara para que la obra trascendiera.

Por otro lado, personajes sin profundidad. Me río de algunas comparaciones que se hacen en twitter sobre un estilo de Succession con un clan familiar poderoso. Por favor. Ojalá esta miniserie tuviera diálogos tridimensionales o personajes al estilo de esa obra maestra llamada Succession . Esa serie también tenía personajes millonarios desagradables, pero dotados de la humanidad suficiente para hacerlos creíbles.

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Bueno, me encuentro aquí ante ustedes otra vez, en otra ocasión más narrando mi visionado de una película o serie semanal, aunque más que nada últimamente han sido más películas que otra cosa ahora que lo pienso. Esta vez como tal no la escogí yo, la escogió mi papá, él la estaba viendo en la sala; me llamó la atención y me quedé a verla con él, total era una película de terror, es el mes de Halloween así que no podía negarme ni oponer resistencia, obviamente siempre comienzo con cero espectativas porque ya de por sí una película de terror para mí tiene un listón muy bajo (la inmensa mayoría son malísimas), es muy raro cuando una película es de verdad buena, tienes que buscar mucho para encontrar tal extrañeza, las que intentan asustar simplemente optan por una trama sosa y llenar lo demás de screamers, por lo que prefiero más los slashers porque son más entretenidos (además es donde me he encontrado sorpresas y propuestas interesantes), para mi suerte los tiros de la película iban más por este estilo, si era algo estilo El Conjuro de verdad que no soportaría, son soporíferos esos filmes y los odio. Por lo que nos encontraremos a continuación será un poco de sangre, un pueblo misterioso con costumbres raras y claramente un misterio por resolver, aunque es posible que al final quedemos con más preguntas que respuestas. Así que sin más dilación, hablemos un poco sobre Dark Harvest.

Well, here I am again in front of you, on another occasion, narrating my weekly movie or series viewing, although lately it has been more movies than anything else, now that I think about it. This time I didn't choose it, my dad chose it, he was watching it in the living room; it caught my attention and I stayed to watch it with him, after all it was a horror movie, it's Halloween month so I couldn't say no or resist, obviously I always start with zero expectations because for me a horror movie already has a very low bar (the vast majority are terrible), it's very rare when a movie is really good, you have to look a lot to find such a rarity, the ones that try to scare simply opt for a bland plot and fill the rest with screamers, so I prefer slashers more because they are more entertaining (besides that's where I've found surprises and interesting proposals), for my luck the shots of the movie were more in this style, if it was something like The Conjuring for real I wouldn't be able to stand it, those films are soporific and I hate them. So what we will find next will be a little blood, a mysterious town with strange customs and clearly a mystery to solve, although it is possible that in the end we will have more questions than answers. So without further ado, let's talk a little about Dark Harvest.

_{[_Source_](https://bloody-disgusting.com/movie/3779140/dark-harvest-trailer-david-slade-set-to-unleash-halloween-legend/)}

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La película nos ubica en un pequeño pueblo donde en cada Halloween aparece un monstruo dispuesto a acabar con la cosecha de los habitantes, para lidiar con este problema la alcaldía otorga un premio al adolescente que pueda acabar con el monstruo, ganando así un Corvette con el cual podrá salir a viajar por el mundo y unos 25.000$, además de verse beneficiada la familia del ganador, dándole una casa en los estratos altos debido a que ahora su hijo es el "héroe" del pueblo. Nuestro protagonista será Richie, el hermano menor del anterior ganador de la cacería, se supone que las reglas le impiden participar en la nueva que se aproxima pero eso no le impedirá a él hacerlo para demostrar que es tan bueno como su hermano mayor y además como la única forma de salir del pueblo es ganar, desea hacerlo para luego reencontrarse con su hermano del cual tiene tiempo que sin saber nada, tarea que no será fácil. La cacería en concepto hace recordar a películas como La Purga donde las personas pueden hacer lo que quieran durante toda esa noche, acá los adolescentes se volverán más salvajes porque sus propios padres los encierran durante tres días sin comer para que desarrollen locura y tengan hambre, haciendo que actúen sin cabeza, llegando a matar personas que solo querían defender su negocio, además de ir cometiendo delitos por todo el pueblo.

The movie is set in a small town where every Halloween a monster appears, ready to destroy the townspeople's crops. To deal with this problem, the mayor offers a prize to the teenager who can kill the monster, thus winning a Corvette to travel the world with and $25,000, in addition to the benefits the winner's family receives, like a house in the upper class because now their son is the "hero" of the town. Our protagonist will be Richie, the younger brother of the previous hunt's winner, who is not supposed to participate in the new one coming up because of the rules, but that won't stop him from doing it to prove that he is as good as his older brother, and also because the only way out of the town is to win, so he wants to do it to then find his brother, whom he hasn't heard from in a while--a task that won't be easy. The hunt makes you think of movies like The Purge, where people can do whatever they want during that one night. Here, the teenagers will become more savage because their own parents lock them up for three days without food, so they go crazy and become hungry, making them act without thinking, even to the point of killing people who only wanted to defend their business, in addition to committing crimes all over town.

_{[_Source_](https://www.popcultureplanet.net/articles/dark-harvest-gives-us-a-new-horror-icon-in-sawtooth-jack)}

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Lo que es más curioso es ver cómo los adultos se lavan las manos, sacrifican a sus hijos con el objetivo de obtener lujos, técnicamente los dejan a su suerte pueden morir en cualquier momento, incluso cuando intentan salvarse entrando a sus casas, sus padres le echan, no tienen ninguna piedad, solo quieren el dinero y la casa lujosa, no tienen amor por sus hijos y esto se entiende más cuando te das cuenta que varios de ellos conocen la realidad de la cacería, inclusive cuando acaba todo, hacen como si nada hubiera pasado, hacen una celebración que parece más una burla para el ganador y para los fallecidos, no se honra la muerte de nadie, solo existe el supuesto "héroe", que aunque parezca un buen logro parece ser más una maldición, todos los anteriores héroes no fueron vistos nunca más, lo que nos hace llegar a pensar lo peor, provocando que tengamos nuestras propias dudas, dudas que vamos aclarando con el pasar de los minutos. Lo que nos provoca aún más duda es el Gremio de Agricultores y su firma de actuar, cómo son capaces de tener el control de todo el pueblo, por qué no dejan salir a nadie del mundo, cómo hacen para tener todo bajo control, ¿son ellos quienes no dejan actuar a los adultos? ¿por qué solo participan los adolescentes? ¿Es debido a que están llenos de hormonas y testosterona?

It's curiouser and curiouser to see how adults wash their hands, sacrifice their children in order to get luxuries, technically they leave them to their own devices they can die at any moment, even when they try to save themselves by entering their homes, their parents throw them out, they have no pity, they just want the money and the luxurious house, they have no love for their children and this is understood more when you realize that several of them know the reality of the hunt, even when it's all over, they act like nothing happened, they make a celebration that looks more like a mockery for the winner and for the deceased, no one's death is honored, there's only the supposed "hero", who although it may seem like a good achievement, seems more like a curse, all the previous heroes were never seen again, which makes us think the worst, causing us to have our own doubts, doubts that we clear up as the minutes go by. What causes us even more doubt is the Farmers' Guild and their acting signature, how are they able to have control of the whole town, why don't they let anyone out of the world, how do they keep everything under control, are they the ones who don't let adults act? Why only teenagers participate? Is it because they're full of hormones and testosterone?

_{[_Source_](https://www.popcultureplanet.net/articles/dark-harvest-gives-us-a-new-horror-icon-in-sawtooth-jack)}

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La película cuenta con un bajo presupuesto pero técnicamente hicieron magia con todo el dinero que tuvieron, nos otorgan un monstruo con una apariencia de alienígena bastante simple pero que cumple con su objetivo, además de que el alienígena en sí esté todo demacrado y la cabeza tenga forma de calabaza tiene un toque que lo hace único, en cuanto a las muertes y sangre, está bien conseguido no se ve para nada mal aunque en algunos momentos se llega a exagerar, los efectos usados durante las escenas de acción hacen que se vea único y se note el frenétismo de todo lo que está ocurriendo. En cuanto a la ambientación, la película recrea de forma perfecta los años 60, quizás demasiado bien, puede con el objetivo de hacernos ver que el entorno y las situaciones que allí ocurren son muy ficticios, cosa que también se puede ver reflejado con los personajes que podemos encontrar, todos lucen casi que parecidos y es difícil diferenciar entre ellos, acentuándose el asunto debido a los atuendos de pandilleros y por el estilo de peinado que llevan, por no mencionar también a los estudiantes participantes del club de fútbol americano con sus típicas chaquetas. Todo es tan descabellado y la resolución final termina rozando lo absurdo, había tantas acciones que se podían hacer para evitar lo que ocurre que es inentendible. Dark Harvest en sí no es buena pero tampoco llega a ser tan mala, se queda en un punto medio donde podía ser mejor pero baja el nivel terminando, sinceramente no la recomendaría.

The movie has a low budget but technically they did magic with all the money they had, they give us a monster with an appearance of an alien quite simple but that fulfills its purpose, in addition to that the alien itself is all emaciated and the head has the shape of a pumpkin has a touch that makes it unique, as for the deaths and blood, it is well achieved it does not look bad at all although in some moments it comes to exaggerate, the effects used during the action scenes make it look unique and the frenzy of everything that is happening is noticed. As for the setting, the film perfectly recreates the 60s, perhaps too well, it can with the goal of making us see that the environment and the situations that occur there are very fictitious, something that can also be reflected in the characters we can find, they all look almost alike and it is difficult to differentiate between them, accentuating the matter due to the gang clothing and the hairstyle they wear, not to mention also the students participating in the American football club with their typical jackets. Everything is so outlandish and the final resolution ends up bordering on the absurd, there were so many actions that could be done to avoid what happens that it is incomprehensible. Dark Harvest is not good but it is not so bad either, it stays in a middle point where it could be better but it lowers the level ending, I would not recommend it.

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

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Synopsis: Unconsciously, Brandon and Mel (a very talented young dancing couple) invoke a mysterious presence: a dark force that is looking for their baby (who is yet to be born).

For the most part, movies within the “short movie” category are strategically designed to tell a story in a brief and succinct way. The execution of these scripts always happens quickly, in order to keep the viewers' attention in relation to what is being told, and with this movie things are no different and the pace of the project is even interesting, but the big problem here is a subjectivity within its own context.

Leisurebyte

There are no further explanations about how the script develops. At the beginning, there is even a good introduction about what is to come (offering the audience a false perspective on the entire project in relation to its more narrative terms), but the temporal transitions that try to justify the terrible construction of the script (which starts in 1955 and then migrates to 1973) are used in a very artificial way and do not cause any impact.

Basically, it is an old and abandoned church that was renovated, later being transformed into one of the most famous clubs in the intense city of Los Angeles. However, during a certain night, there is a kind of “demonic conjuration” that brings a kind of evil spirit that is looking for a baby. The “prize” that this entity seeks is a child that is yet to be born and belongs to the dancer couple Brando and Mel.

Leisurebyte

The only argument that works within this laughable and weak script is the fact that there is an attempt to make connections between what happened before (in the oldest period, within a religious institution... in this case, a church) and what is happening in the current moment (the disco dance floor in 1973). There is a duality of facts, which at least tries to show the public a conflict between parallel realities that is experienced by Mel and his recent worldview.

Just like Mel, the audience is also lost as to what is being told. The subjective content of the plot turns a weak cast into something completely forgettable at the expense of a poor narrative construction. The past and the present try to converge to create a frightening cohesion of realities that never really brings any greater scare (with the exception of a few seconds involving a very specific scene inside a room).

Leisurebyte

Each and every character within the movie is just an unimportant accessory to try to pave the script. Nothing happens in a justifiable way here (including the demonic conjuration itself, which is not presented with the necessary potential to become the main argumentative line of the plot) and this makes their presence even more useless because there is not the slightest type of development as for them. There is no way to have any “empathy”.

Statically speaking, despite the production being clearly poor (financially speaking) it is noticeable that the visual part of the project is good. The product is well intentioned, bringing some very interesting contrasts between the vibrant, intense colors and the lighter, grayer colors. This helps to create loyalty to the “parallel worlds” that make the script more acceptable within a broader context. There are also some nice photography touches here.

Ready Steady Cut

Disco Inferno also has a pulsating and fun soundtrack (a reality very coherent with the time the script is focusing on), creating a relatively convincing atmosphere to set the story. Matthew Castellanos directs and also writes the script for this short movie (failing miserably in both roles), which stars the apathetic duo Soni Bringas and Stephen Ruffin. A movie with no beginning, no middle or satisfactory ending.

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CRÍTICA DE PELÍCULA: “Disco Inferno” (2023)

Sinopsis: Inconscientemente, Brandon y Mel (una joven pareja de baile muy talentosa) invocan una presencia misteriosa: una fuerza oscura que busca a su bebé (que aún no ha nacido).

En su mayor parte, las películas dentro de la categoría “cortometraje” están diseñadas estratégicamente para contar una historia de manera breve y concisa. La ejecución de estos guiones siempre se realiza rápidamente, para mantener la atención del espectador en relación con lo que se cuenta, y con esta película las cosas no son diferentes y el ritmo del proyecto es incluso interesante, pero el gran problema aquí es un subjetividad dentro de su propio contexto.

No hay más explicaciones sobre cómo se desarrolla el guión. Al principio, incluso hay una buena introducción sobre lo que está por venir (ofreciendo al público una perspectiva falsa de todo el proyecto en relación a sus términos más narrativos), pero las transiciones temporales que intentan justificar la pésima construcción del guion (que comienza en 1955 y luego migra a 1973) se utilizan de forma muy artificial y no causan ningún impacto.

Básicamente se trata de una antigua y abandonada iglesia que fue remodelada para luego transformarse en uno de los clubes más famosos de la intensa ciudad de Los Ángeles. Sin embargo, durante cierta noche, se produce una especie de “conjuro demoníaco” que trae una especie de espíritu maligno que busca un bebé. El “premio” que busca esta entidad es un niño que aún está por nacer y pertenece a la pareja de bailarines Brando y Mel.

El único argumento que funciona dentro de este guión ridículo y débil es el hecho de que se intenta establecer conexiones entre lo que sucedió antes (en la época más antigua, dentro de una institución religiosa... en este caso, una iglesia) y lo que está sucediendo. en el momento actual (la pista de baile disco en 1973). Hay una dualidad de hechos, que al menos intenta mostrar al público un conflicto entre realidades paralelas que vive Mel y su reciente cosmovisión.

Al igual que Mel, el público también está perdido en cuanto a lo que se cuenta. El contenido subjetivo de la trama convierte a un reparto débil en algo completamente olvidable a costa de una mala construcción narrativa. El pasado y el presente intentan converger para crear una aterradora cohesión de realidades que nunca provoca mayor susto (a excepción de unos segundos que involucran una escena muy específica dentro de una habitación).

Todos y cada uno de los personajes de la película son sólo un accesorio sin importancia para intentar allanar el guión. Aquí nada sucede de manera justificable (incluido el propio conjuro demoníaco, que no se presenta con el potencial necesario para convertirse en la principal línea argumental de la trama) y esto hace que su presencia sea aún más inútil porque no hay el más mínimo tipo de desarrollo como para ellos. No hay manera de tener “empatía”.

Estáticamente hablando, a pesar de que la producción es claramente pobre (económicamente hablando) se nota que la parte visual del proyecto es buena. El producto tiene buenas intenciones y aporta contrastes muy interesantes entre los colores vibrantes e intensos y los colores más claros y grises. Esto ayuda a crear lealtad hacia los “mundos paralelos” que hacen que el guión sea más aceptable dentro de un contexto más amplio. También hay algunos buenos toques fotográficos aquí.

Disco Inferno también cuenta con una banda sonora vibrante y divertida (una realidad muy coherente con la época en la que se centra el guión), creando una atmósfera relativamente convincente para ambientar la historia. Matthew Castellanos dirige y también escribe el guión de este cortometraje (fallando estrepitosamente en ambos papeles), protagonizado por el apático dúo Soni Bringas y Stephen Ruffin. Una película sin principio, ni medio ni final satisfactorio.

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CRÍTICA DE FILME: “Disco Inferno” (2023)

Sinopse: Inconscientemente, Brandon e Mel (um jovem casal de dançarinos bastante talentoso) invocam uma presença misteriosa: uma força sombria que está em busca do seu bebê (que ainda vai nascer).

Em sua grande maioria, os filmes dentro da modalidade “curta metragem” são estrategicamente pensados para contar uma estória de forma breve e suscinta. A execução desses roteiros sempre acontece de maneira rápida, afim de manter à atenção dos telespectadores em relação ao que está sendo contado, e com este filme as coisas são não diferentes e o ritmo do projeto é até interessante, mas o grande problema aqui é uma subjetividade dentro do seu próprio contexto.

Não há maiores explicações sobre como o roteiro vai se desenvolvendo. No início, até existe uma boa introdução sobre o que está por vir (oferecendo ao público uma falsa perspectiva sobre todo o projeto em relação aos seus termos mais narrativos), mas às transições temporais que tentam justificar à péssima construção do roteiro (que começa no ano de 1955 e depois migra para o ano de 1973) são utilizadas de uma maneira muito artificial e não causam nenhum impacto.

Basicamente, trata-se de uma igreja antiga e abandonada que foi reformada, sendo posteriormente transformada em uma das mais famosas discotecas na intensa cidade de Los Angeles. No entanto, durante uma determinada noite, há uma espécie de “conjuração demoníaca” que traz uma espécie de espírito maligno que está em busca de um bebê. O “prêmio” que essa entidade busca é uma criança que ainda vai nascer e pertence ao casal de dançarinos Brando e Mel.

O único argumento que funciona dentro desse roteiro risível e fraco é o fato de haver uma tentativa de conexões entre o que aconteceu antes (no período mais antigo, dentro de uma instituição religiosa... no caso, uma igreja) e o que está acontecendo no momento atual (a pista de dança da discoteca em 1973). Há uma dualidade de fatos, que ao menos tenta mostrar ao público um conflito entre realidades paralelas que é vivenciado por Mel e sua visão de mundo recente.

Assim como Mel, o público também fica perdido sobre o que está sendo contado. O teor subjetivo da trama torna um elenco fraco em algo totalmente esquecível em detrimento de uma construção narrativa pífia. O passado e o presente tentam convergir para criar uma coesão de realidades assustadora que nada verdade nunca trazer nenhum susto com maior relevância (com exceção de alguns poucos segundos envolvendo uma cena muito específica dentro de uma sala).

Todo e qualquer personagem dentro do filme é apenas um acessório sem importância para tentar pavimentar o roteiro. Nada acontece de maneira justificável aqui (incluindo a própria conjuração demoníaca, que não é apresentada com o potencial necessário para se tornar na principal linha argumentativa da trama) e isso torna à presença deles em algo ainda mais inútil porque não há o menor tipo de desenvolvimento quanto a eles. Não há como ter nenhuma “empatia”.

Estaticamente falando, apesar da produção ser algo nitidamente pobre (financeiramente falando) é perceptível que a parte visual do projeto é boa. O produto é bem intencionado, trazendo alguns contrastes muito interessantes entre as cores vibrantes, intensas com as cores mais leves e cinzentas. Isso ajuda a fidelizar os “mundos paralelos” que tornam o roteiro em algo mais aceitável dentro de um contexto mais amplo. Há também alguns toques de boa fotografia aqui.

Disco Inferno também tem uma trilha sonora pulsante e divertida (uma realidade muito coerente com a época onde o roteiro está se concentrando), criando uma atmosfera relativamente convincente para ambientar a estória. Matthew Castellanos dirige e também assina o roteiro deste curta metragem (falhando miseravelmente nas duas funções), que é protagonizado pela apática dupla Soni Bringas e Stephen Ruffin. Um filme sem começo, sem meio ou final satisfatório.

Synopsis: After an Osage tribe (unexpectedly) discovers oil on their land, some of its members begin to be mysteriously murdered. As the body count mounts, a mysterious investigation becomes the center of one of the most unbelievable conspiracies in American history.

From time to time, filmmakers emerge who establish themselves within the movie market not only because of their innovative vision of their own work, but also because they are very constant in their bets. Knowing what to do appropriately with a given script is something that only directors with undeniable excellence have going for them. Martin Scorsese is certainly one of those filmmakers, and once again, he proves (although he hasn't needed to do so for a long time) to the world how much his work is still necessary. This time, he bets on a literary adaptation (Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, a book written by American journalist David Grann), and delivers one of the best movies of his ongoing career. A very brutal and overwhelming work.

Variety

Set in the 1920s, the public is invited to follow a plot full of elements that favor investigative content at its highest level. Crime, violence and cheating are everywhere. Within an intricate network of disruptive political connections (evidencing a flawed judicial system, among other aspects with American governance content), the focus of the plot is entirely focused on the murders that are committed against an Osage nation (American indigenous tribe) and, in parallel, a very well prepared investigation by the newly created FBI (which at that time was building its base to, in the future, become an investigative intelligence force). The mission to try to solve all the crimes consisted of infiltrating a former Texan ranger into the community.

The work done on the script (which was written by six hands: Eric Roth, Martin Scorsese and David Grann) is very insightful in creating a very intriguing narrative. Everything is connected in a way that favors a very active and immersive growth within the elements that are presented as essential within their strong context. I need to say how interesting the pace of the movie is, which despite being a little over three hours long, never becomes a tiring experience. This is a point that needs to be emphasized, because the plot requires a long development and I think it would be a very wrong decision if the script opted for a more trivial or superficial approach to the plot or its characters themselves. This is the kind of movie that screams for precision in detail, and so it happened.

Dallas Morning News

Based on real events (which makes the project even more attractive, at least for me), the script delves very deeply into very controversial themes and plays on the screen how corruption has always been a problem within society and how this favors only the richest and most influential people who really go to great lengths to get what they want. The rootedness promoted by the secret investigation brings a very rudimentary atmosphere of tension that fits like a glove in connecting all the facts to the public. The negligence against the Osage tribe and a network of intrigues that are being discovered by the FBI as a result is very brutal, sometimes with a level of violence in its essence that is more than necessary to “draw” the suffering of an extremely unacceptable.

The cast is great. Leonardo DiCaprio, Lily Gladstone, Robert De Niro, Jesse Plemons are the big names here, but the support team also deserves recognition. Particularly speaking, the highlights are the duo Gladstone and Niro, who deliver the best performances in the movie. DiCaprio doesn't disappoint, but I wouldn't say this is his best work, while Plemons delivers only decent work. In the end result, none of the acting is bad, but because it's a Scorsese movie, it's natural that people don't expect anything less than something with a lot of power (and in some moments, this is a “debt” that the movie doesn't can pay). Masterfully overcoming these small mistakes (with a number of interesting and provocative characters), the cast is generally well led throughout their interpretations.

Apple

Also carefully calculated to be a movie aiming for many nominations for countless awards around the world, here it is more than obvious the need to invest in excellent character development, in addition to the story itself, which is the heart of the plot itself (which, incidentally, is an extremely dear topic for the United States because it represents one of its greatest and most sordid socio-political stains). I haven't read the book, but considering just the movie, if the book is better than the beautifully presented visual material, that's the kind of material I'll get my hands on ASAP. The level of cinematographic quality is extremely high (some moments are brilliant), Scorsese's trademark is there and marks his presence in the hall of the world's most competent directors.

Looking at its technical aspects, the main highlight is (without a shadow of a doubt) an extremely powerful photograph (to the point of being somewhat mesmerizing). At times it's as if the movie were being told through photos instead of images and sounds. Speaking of sounds, in a somewhat discreet way for Scorsese's productions, the soundtrack here is much more introspective (but is still very functional in moments that are essentially important) and there is also a "slower" editing work, however, quite assertive in cutting scenes at strategic moments. Furthermore, the bucolic lighting contributes to creating a mild atmosphere full of idleness, demarcating the project in all its essence with great intelligence and visual subjectivity.

Screen Daily

Since its pre-production, Killers of the Flower Moon promised to deliver a lot of things, but in fact, it ended up delivering much more than it had promised (even with a third act that was a little boring when considering everything else before). I would venture to say that in terms of cinematographic importance, this is one of the most important movies of this year, not only because of its primordial technical execution and because of an immersion of ideas and personal values common to all human beings who fight and value freedom, equality, respect and justice, but mainly because it manages to do all of this in a very solid, true way that certainly awakens a very high level of empathy (and also quite “cumulative” repulsion) in whoever is on the other side of the screen watching all this in astonishment.

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CRÍTICA DE PELÍCULA: “Los asesinos de la luna” (2023)

Sinopsis: Después de que una tribu Osage (inesperadamente) descubre petróleo en sus tierras, algunos de sus miembros comienzan a ser asesinados misteriosamente. A medida que aumenta el número de cadáveres, una misteriosa investigación se convierte en el centro de una de las conspiraciones más increíbles de la historia de Estados Unidos.

De vez en cuando surgen cineastas que se afianzan dentro del mercado cinematográfico no sólo por su visión innovadora de su propio trabajo, sino también porque son muy constantes en sus compromisos. Saber qué hacer apropiadamente con un guión determinado es algo que sólo los directores con una excelencia innegable tienen a su favor. Martin Scorsese es sin duda uno de esos cineastas, y una vez más demuestra (aunque hace tiempo que no necesita hacerlo) al mundo lo necesario que sigue siendo su trabajo. Esta vez, apuesta por una adaptación literaria (Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, libro escrito por el periodista estadounidense David Grann), y entrega una de las mejores películas de su lejana carrera. Un trabajo muy brutal y abrumador.

Ambientada en la década de 1920, se invita al público a seguir una trama llena de elementos que favorecen el contenido investigativo al más alto nivel. El crimen, la violencia y las trampas están por todas partes. Dentro de una intrincada red de conexiones políticas disruptivas (que evidencian un sistema judicial defectuoso, entre otros aspectos con contenido de gobernanza estadounidense), el foco de la trama se centra íntegramente en los asesinatos que se cometen contra una nación Osage (tribu indígena americana) y, en paralelamente, una investigación muy bien preparada por el recién creado FBI (que en ese momento estaba construyendo su base para, en el futuro, convertirse en una fuerza de inteligencia investigativa). La misión para intentar resolver todos los crímenes consistía en infiltrar en la comunidad a un ex guardabosques texano.

El trabajo realizado en el guión (escrito por seis manos: Eric Roth, Martin Scorsese y David Grann) es muy revelador a la hora de crear una narrativa muy intrigante. Todo está conectado de una manera que favorece un crecimiento muy activo e inmersivo dentro de los elementos que se presentan como esenciales dentro de su fuerte contexto. Debo decir lo interesante que es el ritmo de la película, que a pesar de durar poco más de tres horas, nunca llega a ser una experiencia agotadora. Este es un punto que hay que recalcar, porque la trama requiere de un largo desarrollo y creo que sería una decisión muy equivocada que el guión optara por un enfoque más trivial o superficial de la trama o de sus propios personajes. Este es el tipo de película que pide a gritos precisión en los detalles, y así sucedió.

Basado en hechos reales (lo que hace que el proyecto sea aún más atractivo, al menos para mí), el guión profundiza en temas muy controvertidos y reproduce en la pantalla cómo la corrupción siempre ha sido un problema dentro de la sociedad y cómo ésta favorece sólo a los más ricos y personas más influyentes que realmente hacen todo lo posible para conseguir lo que quieren. El arraigo promovido por la investigación secreta trae consigo una atmósfera de tensión muy rudimentaria que encaja como un guante para conectar todos los hechos con el público. La negligencia contra la tribu Osage y una red de intrigas que el FBI está descubriendo a raíz de ello es muy brutal, a veces con un nivel de violencia en su esencia más que necesario para “dibujar” el sufrimiento de una situación extremadamente inaceptable.

El elenco es genial. Leonardo DiCaprio, Lily Gladstone, Robert De Niro, Jesse Plemons son los grandes nombres aquí, pero el equipo de soporte también merece reconocimiento. En particular, destaca el dúo Gladstone y Niro, quienes ofrecen las mejores actuaciones de la película. DiCaprio no decepciona, pero no diría que este es su mejor trabajo, mientras que Plemons sólo ofrece un trabajo decente. Al final, ninguna de las actuaciones es mala, pero al ser una película de Scorsese, es natural que la gente no espere menos que algo con mucho poder (y en algunos momentos, esto es una “deuda” que el la película no puede pagar). Superando con maestría estos pequeños errores (con una serie de personajes interesantes y provocativos), el reparto en general está bien dirigido a lo largo de sus interpretaciones.

Cuidadosamente calculada también para ser una película que aspira a numerosas nominaciones a innumerables premios en todo el mundo, aquí resulta más que evidente la necesidad de invertir en un excelente desarrollo de los personajes, además de en la propia historia, que es el corazón de la propia trama (que por cierto, es un tema extremadamente caro para Estados Unidos porque representa una de sus mayores y más sórdidas manchas sociopolíticas). No he leído el libro, pero considerando solo la película, si el libro es mejor que el material visual bellamente presentado, ese es el tipo de material que tendré en mis manos lo antes posible. El nivel de calidad cinematográfica es altísimo (algunos momentos son brillantes), la marca de Scorsese está ahí y marca su presencia en la sala de los directores más competentes del mundo.

En cuanto a sus aspectos técnicos, lo más destacado es (sin lugar a dudas) una fotografía extremadamente poderosa (hasta el punto de resultar algo fascinante). Por momentos es como si la película se contara a través de fotografías en lugar de imágenes y sonidos. Hablando de sonidos, de forma un tanto discreta para las producciones de Scorsese, la banda sonora aquí es mucho más introspectiva (pero sigue siendo muy funcional en momentos esencialmente importantes) y también hay un trabajo de edición "más lento", aunque bastante asertivo en el montaje. escenas en momentos estratégicos. Además, la iluminación bucólica contribuye a crear una atmósfera suave y llena de ociosidad, demarcando el proyecto en toda su esencia con gran inteligencia y subjetividad visual.

Desde su preproducción, Los asesinos de la luna prometió entregar muchas cosas, pero de hecho, terminó entregando mucho más de lo que había prometido (incluso con un tercer acto que fue un poco aburrido considerando todo lo anterior). Me atrevería a decir que en términos de importancia cinematográfica, ésta es una de las películas más importantes de este año, no sólo por su primordial ejecución técnica y por una inmersión de ideas y valores personales comunes a todo ser humano que luchar y valorar la libertad, la igualdad, el respeto y la justicia, pero principalmente porque logra hacer todo esto de una manera muy sólida y verdadera que sin duda despierta un altísimo nivel de empatía (y también repulsión bastante “acumulativa”) en quien esté al otro lado de la pantalla viendo todo esto atónito.

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CRÍTICA DE FILME: “Assassinos da Lua das Flores” (2023)

Sinopse: Depois que uma tribo Osage (inesperadamente) descobre petróleo em suas terras, alguns dos seus membros começam a ser misteriosamente assassinados. À medida em que o número de corpos aumenta, uma investigação cheia de mistérios se torna o centro de uma das conspirações mais inacreditáveis da história americana.

De tempos em temos, surgem cineastas que se estabelecem dentro do mercado cinematográfico não apenas por sua visão inovadora sobre o seu próprio trabalho, mas também, por serem muito constantes em suas apostas. Saber o que fazer apropriadamente com um determinado roteiro é algo que apenas os diretores com excelência incontestável têm a seu favor. Martin Scorsese com certeza é um desses cineastas, e uma vez mais, ele prova (embora já não precise fazer isso há muito tempo) para o mundo o quanto seu trabalho ainda é necessário. Desta vez, ele aposta em uma adaptação literária (Killers of the Flower Moon: The Osage Murders and the Birth of the FBI, livro escrito pelo jornalista americano David Grann), e entrega um dos melhores filmes de sua longínqua carreira. Um trabalho bastante brutal, e arrebatador.

Ambientado na década de 20, o público é convidado a acompanhar uma trama repleta de elementos que favorecem o teor investigativo no seu mais alto nível. Crimes, violências e trapaças estão por todos os lados. Dentro de uma intricada rede de conexões políticas disruptivas (evidenciando um sistema judiciário falho, dentro outros aspectos com teor de governança americana), o foco da trama está totalmente voltado para os assassinatos que são cometidos contra uma nação Osage (tribo indígena estadunidense) e, em paralelo, uma investigação muito bem elaborada pelo recém-criado FBI (que naquela época estava construindo à sua base para, no futuro, se tornar uma força de inteligência investigativa). A missão para tentar solucionar todos os crimes consistiu em infiltrar um antigo ranger texano no meio da comunidade.

O trabalho feito no roteiro (que é escrito a seis mãos: Eric Roth, Martin Scorsese e David Grann) é muito perspicaz em criar uma narrativa muito intrigante. Tudo está conectado de uma maneira que favorece uma crescente muito ativa e imersiva dentro dos elementos que são apresentados como essenciais dentro do seu forte contexto. Eu preciso falar o quão interessante é o ritmo do filme, que apesar de ter um pouco mais de três horas, nunca se torna uma experiência cansativa. Esse é um ponto que precisa ser enfatizado, porque à trama pede por um desenvolvimento longo e eu acho que seria uma decisão muito errada se o roteiro optasse por uma abordagem mais trivial ou superficial sobre à trama ou sobre os seus personagens em si. Esse é o tipo de filme que grita por uma precisão de detalhes, e assim aconteceu.

Baseado em fatos reais (o que torna o projeto em algo ainda mais atraente, ao menos para mim), o roteiro mergulha muito fundo dentro de temas muito controversos e joga na tela como à corrupção sempre foi um problema dentro da sociedade e como isso favorece apenas as pessoas mais ricas e influentes que realmente não medem qualquer esforço para conseguir o que eles querem. O enraizamento promovido pela investigação secreta traz um clima de tensão bem rudimentar e que cai como uma luva para ligar todos os fatos para o público. A negligência contra a tribo Osage e uma rede de intrigas que vai sendo descoberta pelo FBI a partir disso é muito brutal, às vezes com um nível de violência na sua essência que é mais do que necessário para “desenhar” o sofrimento de uma situação extremamente inaceitável.

O elenco é ótimo. Leonardo DiCaprio, Lily Gladstone, Robert De Niro, Jesse Plemons são os grandes nomes aqui, mas a equipe de apoio também merece reconhecimento. Particularmente falando, os destaques ficam por conta da dupla Gladstone e Niro, que entregam as melhores atuações do filme. DiCaprio não decepciona, mas eu não diria que esse é o seu melhor trabalho, enquanto Plemons entrega apenas um trabalho decente. No resultado final, nenhuma atuação é ruim, mas pelo fato de ser um filme do Scorsese, é natural que as pessoas não esperem nada menos do que algo de bastante potência (e em alguns momentos, essa é uma “dívida” que o filme não consegue pagar). Sobrepondo-se com maestria a esses pequenos deslizes (com uma quantidade de personagens interessantes e provocativos), o elenco de uma maneira geral é bem conduzido ao longo de suas interpretações.

Milimetricamente calculado também para ser um filme visando muitas indicações a incontáveis premiações mundo à fora, aqui fica mais do que óbvia à necessidade de apostar em um ótimo desenvolvimento de personagens, além da própria estória que é o coração da trama em si (que aliás, é um tema extremamente caro para os Estados Unidos porque representa uma de suas grandes e mais sórdidas manchas sócio-políticas). Eu não li o livro, mas considerando apenas o filme, se o livro for melhor do que o material visual lindamente apresentado, esse é o tipo de material que eu terei o mais rápido possível. O nível de qualidade cinematográfica é altíssimo (alguns momentos são brilhantes), a marca registrada do Scorsese está lá e carimba à presença dele no hall dos diretores mundialmente mais competentes.

Observando os seus aspectos técnicos, o grande destaque é (sem a menor sombra de dúvidas) uma fotografia extremamente poderosa (a ponto de ser algo hipnotizante). Em alguns momentos é se o filme estivesse sendo contado por fotos ao invés de imagens e sons. Falando em sons, de maneira um tanto quanto discreta para as produções do Scorsese, a trilha sonora aqui é muito mais introspectiva (mas ainda sim é muito funcional em momentos que são essencialmente importantes) e há também um trabalho de edição mais “lento”, porém, bastante assertivo em cortar as cenas em momentos estratégicos. Além disso, a iluminação com teor bucólico corrobora para criar o clima ameno e repleto de ociosidade, demarcando o projeto em toda sua essência com muita inteligência e uma subjetividade visual.

Desde à sua pré-produção Assassinos da Lua das Flores prometia entregar muita coisa, mas de fato, acabou entregando muito mais do que havia prometido (mesmo com um terceiro ato um pouco enfadonho quando considerado a todo restante anterior). Eu me arrisco a dizer que em termos de importância cinematográfica, esse é um dos filmes mais importantes deste ano, não apenas por sua execução técnica primordial e por uma imersão de ideias e valores pessoais comum a todos os seres humanos que lutam e prezam por liberdade, igualdade, respeito e justiça, mas principalmente porque ele consegue fazer tudo isso de uma maneira muito sólida, verdadeira e que certamente desperta um nível de empatia (e também de repulsa bastante “cumulativa”) em quem está do outro da tela assistindo a tudo isso atonitamente.

The lone hero, who seeks to do justice, help his friends, protect them from their enemies, in his own way, is where we see the third saga of this story, starring the great actor Denzel Washington.

El Héroe solitario, que busca hacer justicia, ayudar a sus amigos, protegerlos de sus enemigos, a su manera, es aquí donde vemos la tercera saga de esta historia, protagonizada por el gran actor Denzel Washington.

Robert McCall returns in this third saga; a man looking to escape from his past, with its traumas, however, this always haunts him, but in the same way, he will find a way to vindicate himself with the world, helping the oppressed, protecting them, and destroying evil.

In this third saga, we will see him face the Italian Mafia, in a small town in Sicily, Italy, with its cliffs and narrow streets, where this group of gangsters have cornered the inhabitants of the community; however, Robert seeing this, could not stay without doing anything, since in this place he found good friends who helped him, when he arrived badly wounded.

This would be in a few words as the redemption of this man, wanting to help and protect the people living in this place, a family, friends, siblings, children, with whom he made contact, and felt that good energy, that love and hospitality, which is not available anywhere, so seeing this situation, he could not help but get involved, help them, and nip in the bud all that evil that was stalking him and would not let them live in peace.

Robert McCall vuelve en esta tercera saga; un hombre buscando escapar de su pasado, con sus traumas, sin embargo, esto siempre lo persigue, aunque de igual forma, él encontrara la manera de reivindicarse con el mundo, ayudando a los oprimidos, protegiéndolos, y destruyendo el mal.

En esta tercera saga, lo veremos enfrentarse a la mafia italiana, en un pequeño pueblo de Sicilia, en Italia, con sus acantilados y estrechas calles, donde este grupo de mafiosos tienen acorralados a los habitantes de dicha comunidad; sin embargo, Robert al ver esto, no podía quedarse sin hacer nada, puesto que en este lugar encontró buenos amigos que lo ayudaron, cuando llego malherido.

Esto sería en pocas palabras como la redención de este hombre, al querer ayudar y proteger a las personas que residen en este lugar, una familia, unos amigos, hermanos, hijos, con los que él hizo contacto, y sintió esa buena energía, ese cariño y hospitalidad, que no se consigue en cualquier parte, por eso al ver esta situación, no podía evitar involucrarse, ayudarlos, y cortar de raíz todo ese mal que los estaba acechando y no los dejaba vivir en paz.

For the followers of this saga, we know what to expect, a man in search of redemption, willing to do anything, an expert in cold-blooded murder, without mercy, without contemplation, we can not expect less of him, and this is what we will see in this story; no doubt the performance of Denzel is impeccable, as always, with his way so little expressive, before his enemies, and anyone who approaches him, limited to say only what is necessary, without giving many details of his life, to protect those who care.

But that's not all, in this story we will also visualize this encounter between the small, and not so small Dakota Fanning, with this clamored man, where many will remember her in that story that starred both, when she was a child, the famous Lupita Ramos, in the remembered movie Man on Fire.

Para los seguidores de esta saga, sabemos qué esperar, un hombre en busca de la redención, dispuesto a todo, un experto en asesinar a sangre fría, sin piedad, sin contemplación, no podemos esperar menos de él, y esto es lo que vamos a ver en esta historia; sin duda la actuación de Denzel es impecable, como siempre, con su forma tan poco expresiva, ante sus enemigos, y a todo aquel que se le acerque, limitado a decir, solo lo necesario, sin dar muchos detalles de su vida, para proteger a quienes les importa.

Pero esto no es todo, en esta historia también visualizaremos este encuentro entre la pequeña, y ya no tan pequeña Dakota Fanning, con este clamado hombre, donde muchos la recordarán en aquella historia que protagonizaron ambos, siendo ella una niña, la famosa Lupita Ramos, en la recordada película Man on Fire (Hombre en Llamas).

Moments of tension, calm, action, drama, this and much more we will see in this film, a seemingly normal man, harmless, but inside he is a professional with weapons, in combat, an expert in martial arts, in shooting in cold blood, as I said without mercy, without thinking so much, when it comes to killing the bad guys, to destroy anyone who wants to hurt those they care about.

This reminded me of that famous phrase that says "Revenge is evil, it kills the soul and poisons it ", and if this is true, sometimes we get carried away by hatred, anger, and we do not think about the consequences of our actions, when it comes to taking justice into our own hands.

Momentos de tensión, de calma, acción, drama, esto y mucho más veremos en esta película, un hombre aparentemente normal, inofensivo, pero por dentro es todo un profesional con las armas, en combate, un experto en artes marciales, en disparar a sangre fría, como dije sin piedad, sin pensarlo tanto cuando se trata de acabar con los malos, de destruir todo aquel que quiera lastimar a quienes les importa.

Esto me hizo recordar a esa famosa frase que dice "La venganza es mala, mata el alma y la envenena", y si esto es cierto, a veces nos dejamos llevar por el odio, la ira, y no pensamos en las consecuencias de nuestros actos, cuando se trata de hacer justicia por nuestras propias manos.

The Equalizer or The Vigilante, is a movie that will keep you glued there, watching every detail, every scene, seeing how this man, this person, inside that quiet, harmless demeanor, transforms, and becomes this other ruthless, violent being, with the sole purpose of destroying those who do evil, taking justice into their own hands.

𝙸 𝚝𝚑𝚒𝚗𝚔 𝚝𝚑𝚒𝚜 𝚠𝚘𝚛𝚕𝚍 𝚗𝚎𝚎𝚍𝚜 𝚙𝚎𝚘𝚙𝚕𝚎 𝚕𝚒𝚔𝚎 𝚝𝚑𝚒𝚜, 𝚠𝚑𝚘 𝚍𝚘 𝚗𝚘𝚝 𝚝𝚑𝚒𝚗𝚔 𝚜𝚘 𝚖𝚞𝚌𝚑, 𝚊𝚗𝚍 𝚖𝚊𝚔𝚎 𝚙𝚊𝚢 𝚝𝚑𝚘𝚜𝚎 𝚠𝚑𝚘 𝚘𝚗𝚕𝚢 𝚌𝚛𝚎𝚊𝚝𝚎 𝚌𝚑𝚊𝚘𝚜 𝚊𝚗𝚍 𝚎𝚟𝚒𝚕, 𝚖𝚊𝚢𝚋𝚎 𝚗𝚘𝚝 𝚎𝚟𝚎𝚛𝚢𝚘𝚗𝚎 𝚍𝚎𝚜𝚎𝚛𝚟𝚎𝚜 𝚒𝚝, 𝚋𝚞𝚝 𝚌𝚎𝚛𝚝𝚊𝚒𝚗𝚕𝚢 𝚖𝚘𝚛𝚎 𝚝𝚑𝚊𝚗 𝚘𝚗𝚎 𝚍𝚘𝚎𝚜, 𝚠𝚑𝚊𝚝 𝚍𝚘 𝚢𝚘𝚞 𝚝𝚑𝚒𝚗𝚔?

The Equalizer o el Justiciero, es una película que te mantendrá allí pegado, viendo cada detalle, cada escena, al ver como este hombre, esta persona, dentro de ese porte tranquilo, inofensivo, se transforma, y se convierte en este otro ser despiadado, violento, con el único objetivo de destruir aquellos que hacen el mal, haciendo justicia por sus propias manos.

𝙲𝚛𝚎𝚘 𝚚𝚞𝚎 𝚎𝚗 𝚎𝚜𝚝𝚎 𝚖𝚞𝚗𝚍𝚘 𝚑𝚊𝚌𝚎 𝚏𝚊𝚕𝚝𝚊 𝚙𝚎𝚛𝚜𝚘𝚗𝚊𝚜 𝚊𝚜í, 𝚚𝚞𝚎 𝚗𝚘 𝚕𝚘 𝚙𝚒𝚎𝚗𝚜𝚎𝚗 𝚝𝚊𝚗𝚝𝚘, 𝚢 𝚑𝚊𝚐𝚊 𝚙𝚊𝚐𝚊𝚛 𝚊𝚚𝚞𝚎𝚕𝚕𝚘𝚜 𝚚𝚞𝚎 𝚜𝚘𝚕𝚘 𝚌𝚛𝚎𝚊𝚗 𝚌𝚊𝚘𝚜, 𝚢 𝚖𝚊𝚕𝚍𝚊𝚍, 𝚚𝚞𝚒𝚣á𝚜 𝚗𝚘 𝚝𝚘𝚍𝚘𝚜 𝚜𝚎 𝚕𝚘 𝚖𝚎𝚛𝚎𝚌𝚎𝚗, 𝚙𝚎𝚛𝚘 𝚜𝚒𝚗 𝚍𝚞𝚍𝚊 𝚖á𝚜 𝚍𝚎 𝚞𝚗𝚘 𝚜í, ¿𝚞𝚜𝚝𝚎𝚍𝚎𝚜 𝚚𝚞𝚎 𝚌𝚛𝚎𝚎𝚗?