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Buenos días, tardes o noches, damas y caballeros. ¿Cómo se encuentran el día de hoy? Yo bastante bien la verdad, aunque obviamente hoy no les vengo a hablar sobre mi estado de ánimo, vamos a hablar de la revolución, algo que se hace cada vez más presente y que denota una calidad que inspira confianza para la realización de más producciones, obviamente si leíste el título, sabes de lo que estoy hablando, nada más y nada menos que del cine relacionado a los videojuegos, con éxitos como The Last of Us, Sonic y Mario Bros hace que se tome más confianza y seriedad para la creación de obras de este género. Ahora que más que intentar redimirse de aquélla película de Need for Speed qué no fue recibida muy bien por la crítica (aunque a algunas personas normales les gustó), por lo que una película de un videojuego o quizás deberíamos llamar mejor un simulador de carreras llamado Gran Turismo debería ser capaz de cumplir ese objetivo, aunque es un poco complicado para los que conocen de qué va, al no haber modo campaña no hay una historia como tal que puedan adaptar, por lo que se enfocaron en transmitir la esencia del juego y además consiguieron dar un con una historia real para basar toda la narrativa de la obra, historia real que la verdad resulta ser muy sorprendente y llamativa para el espectador. Así que sin más nada que decir, hablemos un poco de Gran Turismo.

Good morning, afternoon or evening, ladies and gentlemen. How are you today? I'm quite well, actually, although obviously today I'm not here to talk about my mood, let's talk about the revolution, something that is becoming more and more present and that denotes a quality that inspires confidence for the production of more productions, obviously if you read the title, you know what I'm talking about, nothing more and nothing less than the cinema related to video games, with successes like The Last of Us, Sonic and Mario Bros make it more confident and serious to create works of this genre. Now that more than trying to redeem that movie of Need for Speed that was not received very well by the critics (although some normal people liked it), for which a movie of a videogame or perhaps we should better call a racing simulator called Gran Turismo should be able to fulfill that objective, although it is a bit complicated for those who know what it is about, since there is no campaign mode there is no story as such that they can adapt, so they focused on transmitting the essence of the game and also managed to give a with a real story to base the whole narrative of the work, real story that the truth turns out to be very surprising and striking for the spectator. So without anything else to say, let's talk a little about Gran Turismo.

_{[_Source_](https://www.elespanol.com/series/cine/20230811/sorprendente-historia-real-inspirado-pelicula-gran-turismo/785671714_0.html)}

VERSIÓN EN ESPAÑOL (click aquí)

La película nos pone en la piel de un joven Jann Mardenborough, un jugador empedernido de Gran Turismo, el cual tiene un propósito claro desde pequeño, ser piloto de carreras profesional, sueño que persigue desde los 5 años. Aunque para el papá de Jann todo lo que él hace es una pérdida del tiempo, piensa que debería salir de su habitación y buscar una profesión de verdad o volver a la universidad para que consiga una carrera, todo esto influenciado aún más por el hermano de Jann quien posee un contrato con un equipo de fútbol, quien podría decirse que sí "hace algo con su vida". La vida de Jann dará un brinco al enterarse de un concurso para ser candidato a la academia GT, donde varios jugadores de Gran Turismo alrededor del mundo se enfrentarán para obtener un puesto que les hará su sueño realidad, ser pilotos de verdad. Todo este programa es realizado por Danny Moore, como una idea de marketing para que la gente se interese en los carros, en específico los de Nissan, empresa que acepta con la única condición que haya una persona experimentada en el tema para evitar accidentes, por lo que recurrirán a Jack Salter, un expiloto que tuvo todo para ser el mejor pero se retiró antes de tiempo debido a un accidente. El objetivo de Jann será convertirse en un piloto de verdad y demostrar ante el mundo entero que los "pilotos virtuales" también saben cómo manejar un auto de carreras.

The movie puts us in the shoes of young Jann Mardenborough, a hardened player of Gran Turismo, who has a clear purpose since he was a child: to be a professional racing driver, a dream he has pursued since he was 5 years old. Although for Jann's father everything he does is a waste of time, he thinks he should leave his room and look for a real profession or go back to university to get a degree, all this influenced even more by Jann's brother who has a contract with a football team, who could be said to be doing "something with his life". Jann's life will take a leap when he finds out about a competition to be a candidate for the GT academy, where several Gran Turismo players from around the world will compete for a position that will make their dream come true: to be real pilots. All this program is carried out by Danny Moore, as a marketing idea to get people interested in cars, specifically those of Nissan, a company that accepts with the only condition that there be an experienced person in the subject to avoid accidents, so they will turn to Jack Salter, a former pilot who had everything to be the best but retired early due to an accident. Jann's goal will be to become a real pilot and show the world that "virtual pilots" also know how to drive a racing car.

_{[_Source_](https://eltiempolatino.com/2023/08/27/cultura/entretenimiento/pelicula-gran-turismo-supera-a-barbie-en-taquilla-con-173-millones-en-su-estreno/)}

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La cinta no se arriesga demasiado en cuanto a su trama y es que tampoco tendremos giros de guión sorprendente o un argumento complicado, estamos ante la clásica historia de superación con elementos básicos y muy marcados, total lo que vemos ante nosotros es una historia real, con algunas pequeñas modificaciones por su puesto para darle ese toque final para hacerla totalmente entretenida. Y no pienses mal en lo absoluto, que se recurran a clichés en este caso no hace a Gran Turismo mala, más bien hace que funcione a la perfección, yendo a por una fórmula ya conocida por la audiencia, algunas veces tendremos ese sentimiento de que esto ya lo hemos visto antes pero que luego se supera rápidamente con esas intrépidas carreras llenas de velocidad y que debido a los ángulos en que son grabadas hacen una clara alusión a los videojuegos. Tendremos durante el transcurso de la película diferentes subtramas como el amor o el énfasis en ciertas rivales con otros pilotos, el ser desprestigiado hasta por la gente de tu mismo equipo y demás, aunque la más importante es conseguir que el papá de Jann acepte que estaba equivocado, que en realidad no entendía lo que hacía su hijo. También no podemos olvidar a Jack Salter quien veremos cerrar de una vez por todas ese trauma que lo hizo dejar el ser piloto, donde solo necesitaba un motivo para seguir avanzando y lo encuentra siendo la mano derecha de Jann, acompañándole en todas sus carreras.

The film doesn't take too much of a risk in terms of its plot and that's because we won't have any surprising plot twists or a complicated plot, we're dealing with the classic story of overcoming with basic and very marked elements, in the end what we see before us is a true story, with some small modifications of course to give it that final touch to make it completely entertaining. And don't think badly of it at all, that clichés are used in this case doesn't make Gran Turismo bad, rather it makes it work perfectly, going for a formula that the audience is already familiar with, sometimes we'll have that feeling that we've seen this before but then it's quickly overcome with those daring races full of speed and that due to the angles at which they're shot make a clear reference to video games. Throughout the film we'll have different subplots such as love or the emphasis on certain rivals with other drivers, being discredited even by people on your own team and so on, although the most important one is getting Jann's dad to accept that he was wrong, that he actually didn't understand what his son was doing. We also can't forget about Jack Salter who we'll see finally close that trauma that made him stop being a driver, where he only needed a reason to keep moving forward and he finds it by being Jann's right-hand man, accompanying him in all his races.

_{[_Source_](https://tierragamer.com/noticias/cine/gran-turismo-estrena-el-avance-de-su-pelicula-y-sera-una-cinta-deportiva-diferente/)}

VERSIÓN EN ESPAÑOL (click aquí)

Hay que serles muy sinceros, quienes en verdad se llevan la atención durante toda la película son David Harbour quien hace de Jack Salter y Orlando Bloom, quien hace de Danny Moore, opacan durante casi toda la cinta a nuestro protagonista aunque no se siente del todo mal, encaja más bien perfectamente, debido a que se nos dice que Jann Mardenborough no es muy bueno ante las cámaras. El punto principal que es calcar la esencia de Gran Turismo se consigue a la perfección, dándonos tanto escenas del simulador como escenas reales grabadas con pilotos, siendo un dato curioso que el verdadero Jann Mardenborough fue el doble de riesgo de él mismo. Tienen que ver las impresionantes que son las tomas y como la mayor parte del tiempo se nos da una vista en primera persona en el coche para que sintamos esa inmersión. Todo está cuidado al detalle, estudiado para que sea perfecto, como en Gran Turismo, vaya, que está creado para ser lo más realista posible. Lo que puede parecer un poco raro es la selección de música antes de comenzar a una carrera y es que Jann simplemente escucha a una especie de artista con canciones relajantes antes de salir a conducir, usualmente se usaría acá una canción motivadora. Sinceramente creo que cualquier persona puede ver esta cinta, al ser una historia basada en hechos reales y no una historia sacada de un juego puede atraer a más público, totalmente recomendada, recuerda a películas como Ford v Ferrari en algunas ocasiones.

It has to be said, the ones who really take the attention throughout the whole movie are David Harbour as Jack Salter and Orlando Bloom as Danny Moore, they overshadow our protagonist almost the whole movie but it doesn't feel bad at all, it actually fits quite perfectly, because we're told that Jann Mardenborough is not very good in front of the cameras. The main point that hits the essence of Gran Turismo is achieved perfectly, giving us both simulator scenes and real life scenes shot with drivers, being a curious fact that the real Jann Mardenborough was the stunt double of himself. The shots are impressive and how most of the time we're given a first person view inside the car so we can feel that immersion. Everything is taken care of in detail, studied to be perfect, like in Gran Turismo, I mean, it's created to be as realistic as possible. What may seem a bit strange is the music selection before starting a race and that's because Jann just listens to some kind of artist with relaxing songs before going out to drive, usually a motivational song would be used here. I sincerely believe that anyone can watch this movie, being a story based on real events and not a story taken from a game can attract more audience, totally recommended, it reminds us of movies like Ford v Ferrari in some occasions.

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

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In the cinematic environment, producers and major studios have a huge influence on the work that is delivered to the public. Even if the entire movie has already been designed by the screenwriters and directors, they can undergo any type of change if the “bosses”, in particular, don't like what is being done. Ideas are lost, narratives change direction, characters are deconstructed and project identities die.

These are just some very specific problems that can occur due to direct interference from producers and major studios. In the midst of all this there is a search for hegemony of power between those who will continue to give orders and those who will continue to follow them. On the other side, there is also the incessant search for more and more money, where what matters least is the vision of the professionals who are working on a movie or television series.

Disrespect can be even more damaging when an entire project is scrapped, or even cancelled. In this case, there is a risk of psychological damage (in addition to financial loss for both sides), which can directly affect the careers of many professionals. Behind the scenes of Hollywood there are countless clashes between those who command and those who obey. This hierarchy exists in any sector, but it is necessary to understand and respect the limits of each function.

Depending on the type of movie, there is a lot of money involved in producing a project. As a company, it is more than acceptable for producers and studio directors to give their opinion, but not to the point of “killing” a project and disrespecting a vision that is particular to each professional. Unfortunately, the right to work freely only happens when someone has already managed to build their own name within this sector, to the point of not accepting orders from third parties in their projects.

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Licencia para matar.

En el entorno cinematográfico, los productores y los grandes estudios tienen una enorme influencia en el trabajo que se entrega al público. Aunque toda la película ya haya sido diseñada por los guionistas y directores, estos pueden sufrir cualquier tipo de cambio si a los “jefes”, en particular, no les gusta lo que se está haciendo. Las ideas se pierden, las narrativas cambian de dirección, los personajes se deconstruyen y las identidades de los proyectos mueren.

Estos son sólo algunos problemas muy específicos que pueden ocurrir debido a la interferencia directa de productores y grandes estudios. En medio de todo esto hay una búsqueda de hegemonía de poder entre quienes seguirán dando órdenes y quienes seguirán cumpliéndolas. Por otro lado, también está la búsqueda incesante de cada vez más dinero, donde lo que menos importa es la visión de los profesionales que están trabajando en una película o serie de televisión.

La falta de respeto puede ser aún más dañina cuando se descarta o incluso se cancela un proyecto completo. En este caso, existe el riesgo de daño psicológico (además de pérdidas económicas para ambas partes), que puede afectar directamente a la carrera de muchos profesionales. Detrás de escena de Hollywood hay innumerables enfrentamientos entre quienes mandan y quienes obedecen. Esta jerarquía existe en cualquier sector, pero es necesario entender y respetar los límites de cada función.

Dependiendo del tipo de película, se necesita mucho dinero para producir un proyecto. Como empresa, es más que aceptable que productores y directores de estudio den su opinión, pero no hasta el punto de “matar” un proyecto y faltarle el respeto a una visión particular de cada profesional. Lamentablemente, el derecho a trabajar libremente sólo se da cuando alguien ya ha logrado construir su propio nombre dentro de este sector, hasta el punto de no aceptar encargos de terceros en sus proyectos.

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Licença para matar.

No meio do ambiente cinematográfico, os produtores e os grandes estúdios têm uma enorme influência nos trabalhos que são entregues para o público. Mesmo que o filme inteiro já tenha sido idealizado pelos roteiristas e pelos diretores, eles podem sofrer qualquer tipo de alteração se os “chefões”, em particular, não gostarem do que está sendo feito. As ideias se perdem, as narrativas mudam de rumo, personagens são descontruídos e as identidades de projetos morrem.

Esses são apenas alguns problemas muito pontuais que podem acontecer pela interferência direta dos produtores e dos grandes estúdios. No meio disso tudo existe uma busca pela hegemonia de poder entre quem vai continuar dando ordens e quem vai continuar a segui-las. Do outro lado, existe também a incessante busca por cada vez mais dinheiro, onde o que menos importa é à visão dos profissionais que estão trabalhando em um filme ou alguma série de televisão.

O desrespeito pode ser ainda mais danoso quando todo um projeto é desfeito, ou até mesmo cancelado. Neste caso, há o risco de danos psicológicos (além do prejuízo financeiro para ambos os lados), que podem afetar diretamente as carreiras de muitos profissionais. Nos bastidores de Hollywood há incontáveis embates entre aqueles que mandam e que obedecem. Essa hierarquia existe em qualquer setor, mas é preciso entender e respeitar os limites de cada função.

Dependo do tipo de filme, há muito dinheiro envolvido na produção de um projeto. Enquanto empresa, é mais do que aceitável que produtores e diretores de estúdios opinem, mas não a ponto de “matar” um projeto e desrespeitar uma visão que é particular de cada profissional. Infelizmente, o direito de trabalhar livremente só acontece quando alguém já conseguiu construir o próprio nome dentro desse setor, a ponto de não aceitar ordens de terceiros em seus projetos.

Episode eight of Fatal Attraction brings multiple revelations from Alex wild imaginary world to the her real killer, sorry to spoil it for people who haven't seen this drama series but Dan was never her murder, its shocking the reason why she was murder, Dan had way more reasons to kill Alex from been an abusive stoker, suspect of his mother in law murder, took his daughter not going to say kidnap because se was return but its close, so Dan or even Beth were the ones with true motives to end Alex's live but they didn't. The ending of this series felt a bit rush but I guess that's the problem with most mini series, it does conclude some of the mayor questions, for example:

• Did Dan killed Alex?
• Does Dan wins the case?
• Who killed Alex Forrest?

At the end of episode eight all this questions were answer and may be that's what matters but there were some other situations that emerge left without resolution, from my point of view it sucks because I know there will never be a second season or additional chapters to this series so this subjects wont be resolved.

Another thing that also got answer is that Beth never stop loving Dan, on this episode that was confirm, there is a scene where Dan is so tired he fall sleep with his cloth still on and Beth enters the room and look at him, she was probably thinking how he destroy his carrier and family because of a mistake but I think it was on a good way, I believe that even though some one makes you any kind of damage good times are never forgotten, you can be mad at the present but the past was probably so good it helps you overcome the current situation, in their case Dan having an affair with a delusional women who needed professional help with her mental health that ends up dead right at the moment her short affair relationship with Dan has ended, Beth tells Dan she doesn't need a judge to confirm he was innocent as his appeal was denied, the system would never let him win besides that they know he lied to protect his family and not been send to jail for life, Dan was the hero at the bureau so everyone was waiting for the day he gets in trouble to dog pile and get revenge, for some people its more fun to a hero died, even I enjoy it form time to time, its part of human nature.

Source

In an attempt to reason with Alex before she was killed, Beth decided to meet her and talk to her with the goal in mind to make peace with Alex and make her go away but she had no idea who she was dealing with, at this point there was no going back for Alex, that ship has sailed and now she is living in a world of her own imagination, she even say she was pregnant when she was not.

Source

I could tell probably how disappointed but probably relieved in some way Dan felt after his appeal was denied, he did his best effort to get it approve by doing proper investigation with Mike and contrary to what anyone may think he had support from people involve on all this mess that after many years support him like Beth and his daughter Ellen, he probably felt when you are told you are over qualified for the job and you were still the top performer from the company, at this point nothing makes sense anymore and the Alex case story began to faint, it was more about what will Dan do next?

Source

Dan got promoted at the firm he was working at after got out of jail but seems he will have to live with people thinking and even asking how he killed Alex now that he is off the hook he probably tell the "true story" to those who ask for it but he was not Alex murder, there is a lot of people who doesn't believe him including Earl and those who matter to him like his daughter Dan would still like to prove them he didn't do it but his opportunity has vanish and will have to deal/live with it, feels like Dan gets bully about Alex murder every day.

Source

This was probably one of the best moments on episode eight, Beth was just thinking out loud and ask if they should have Dan over for dinner, Arthur and Ellen look at her like WTF!!! then Beth ask if it would be weird, one thing is his ex wife and daughter having dinner with Dan but then including Arthur, Beth's new husband after Dan got to jail, besides Dan knew Arthur and he also paid for a big part of the legal fees for Dan case, this moment did make me laugh.

Source

The opening to what the writers would consider a big finale for the mini series, not sure if its the opening also for another mini series or something else, remember how Ellen was spying on his professor and Stella who was having a relationship with him, not sure if he was married but still, Ellen got Stella kicked out of school when she snitch on her, all this happen after Ellen have already try to convince her professor and Stella to stop seen each other on separate occasions. Stella knew it was Ellen so she confront her but Ellen looked very cold like she could not care less, I found weird why would she spy on them if she had no interest in any of the two unless she did.

Source

Probably the answer everyone was looking for, WHO KILLED ALEX?? well after seven episodes I had no clue but only believe Dan didn't do it because how he was presented on the series, the moment and motives he had to kill Alex and never did it but seems that Arthur decided to step in at the time either because of friendship, loneliness or love for Beth, at the time all Beth knew about Alex and her mother "accidentally" died, Arthur's wife was dying because of cancer, Beth called him crying because was was frustrated from all the things going on with Alex, Dan, her mother and daughter, Arthur couldn't control himself and decided to kill Alex to end Beth's problems, seems he did a great job because no body knew he was the killer and after Dan goes to jail then he wants to tell the truth but it was too late, the damage was done and his lawyer told him to shut up if he didn't want to go to jail because him telling the truth wont set Dan free.

Source

Here the part that frustrates me, until the part where Arthur wants to tell everyone he killed Alex I think that was the right ending a classic ending, but this scene comes up, the time Alex took Ellen for a walk without telling her parents decides to give her a small brain wash speech, telling her how his parents were lying to her specially his Dad and she has to learn who to trust, like she could trust Alex and from all the things she tells Ellen I got no clue how we jump into the last scene.

Source

I had this idea that it was possible Ellen was in love with her professor Richard but not to the point she would edit a bunch of audios of him to build up a scene where she could hear him saying how much he wants her, Ellen shows up at his apartment without him knowing not sure for what reason, obviously she wants him but to fuck? to kill him? to kidnap him and lock him down on the basement so only she could some how have him? the guy is shitting bricks he scared and who wouldn't if a women shows up without permission without you giving her a key and have this look on her face.

Although horror genre usually dominates Indonesian film industry, there are a few drama, action, and thriller that are often one of a kind. For foreign audiences, The Raid is quite familiar and dubbed as one of successful Indonesian action film. However, in its home country, action isn’t quite favored, let alone if it brings rather a controversial anecdote of the country. This is what happens to Foxtrot Six, a quite ambitious film that has dystopian action genre. This film was released back in 2019 starring Indonesian top actors and actress. Though it is a debut work for Randy Korompis, Mario Kassar, quite a name in Hollywood was one of the the producers in the film. So, it’s not as horrible as other makes it seems. This film is also considered one of the most expensive Indonesian film and has quite good CGI. Surely, do not expect Hollywood tier production but a hybrid work between the two creates its own flair. Only this early of this year, this film was available on Netflix.

The movie revolves around the idea that the world has reached 8 billion people and is going through food scarcity problem. Indonesia was not excluded and with more poverty, there is a group attempting to monopolize the situation through their policies. They first started a revolution and a coup d’etat. They are backed by a paramilitary called GERRAM.

Fast forward to 11 years later, one day, A former marine turned congressman, Angga(Oka Antara) proposed an idea to the group whose party is called “PIRANAS”. He proposed an off-the book mission to safe the party’s face and gaining more trust from the hungry people outside their main compound. One nigh, as was outside meeting a high ranking paramilitary person from Gerram, called Wisnu (Edward Akbar), Angga was kidnapped by a henchmen led by mysterious man who later was called Spec (Chicco Jerikho). Angga was then led into the hidden location of The reformist who is against Piranas and what they believed in. Inside those reformist, there’s a former president who was the object of the coup d'etat 11 years ago and also Sari, former journalist, co-founder of the reformist who is actually Angga’s past love interest. Things got even more intense when Angga was made enemy of the state. He eventually decided to contact his other former marine friends to fight GERRAM and reveal the dirty operation from PIRANAS.

First off, I have personally never watched Indonesian dystopian science fiction action. That was why, I was quite surprised. It felt like an ambitious production but also one step ahead that they can finally produce dystopian film. You can expect to see gundam-like suits, anti-cloaking wear, transparent screens and a lot more high-tech that looks like a typical Hollywood production. Although it has a good cinematography and CGI that are quite acceptable, its story was quite complex but also too simplistic. So, once again it falls into similar problem as typical Hollywood action films.

When you’re watching it as Indonesian, you can connect some references of the hidden message in the film. But watching it as an outsider, I reckon it was just a plain story without depth of its character development. Even Spec, a mysterious man turned out to be something that only up to us to decide his involvement in the whole ordeal. This can only be deduced if you're quite political but if not, it's going to be just there. Beside, it's also located around post-scene so, if you're an impatient audience, Spec will remain a mysterious character.

Unlike a lot of non-Hollywood production that uses script in its original language, this film uses English. Though the actors and actress have good English but some of the banter and the conversation didn’t feel natural. It was quite strange and I found it difficult to enjoy their conversation. I reckon, they already did their best and some of them felt a lot more natural but some was just forced. Still despite its cons, I enjoy the film as it was one of Indonesian dystopian film and the setting isn’t really far off. It really makes you ponder, What would happen once the world population reaches 8 billion? Considering in the film uses 2019 and 11 years in the future, I would have only been 33 and it's such an odd situation to think about. Anyhow, If you’re up to watching a foreign film, make sure to check out foxtrot six.

Synopsis: Barney Ross and his old (and new) work partners are back. Once again, together, they must fight against the villains, who are now in possession of specific weapons that can start the third world war.

Building a franchise within the action genre seems to be something that, at certain times, seems to already have a “recipe” ready. At least that's how many filmmakers imagine things work. It is no coincidence that in 2010, one of the great icons (among a small list currently) of action cinema, Sylvester Stallone, decided to bring together other famous names from the same segment to deliver to the public (which, by the way, is very specific here) a project full of nitroglycerin and testosterone. The result is very questionable in terms of narrative quality, but what was most important was there: the fun (from the most violent aspects to the most comical). Here, this does not happen.

AOTF

One of the worst problems with this sequel is understanding that the quality is no longer the same as the previous movie. In fact, this saga boosted by stereotypical figures from the action genre of the 80s and 90s was very clever in trying to bring together some important names from this cinematographic genre that wrote its name in the history of cinema and of course this would be a perfect marketing tool to attract a very specific type of audience. A common type of tactic in the market, but which was intensified here by the nostalgic factor of the cast. This worked, but the success of this reunion never outweighed the quality of the plots (which in all the previous movie were very weak).

In this movie, in particular, in addition to being weak, the plot is full of absurdities (beyond the normal and already seen before) and this excludes any empathy on the part of the public (even its main group). Even the connecting thread presents itself as a lame excuse to try to create a plot that doesn't have the slightest impact. Except for some efficient action scenes (which is the minimum expected for these types of movies), nothing works: terrible acting, with a script trying to make itself relevant and all this amid a lost direction. The friendly spirit at the beginning of the franchise no longer exists and this, essentially, is what breaks everything that tries to be built.

Los Angeles Times

Even before the opening credits appear on the screen, it is possible to feel that the project was a patchwork quilt made up of its lowest quality pieces. In many moments, there is an attempt to “evoke” the atmosphere of the 80s and 90s (relying, for example, on sexist jokes and “faces and mouths” from the more caricatured cast), but there is simply no identity present here anymore. These attempts fail because there is no connection between what is on paper and what ends up on the screen. Not even the “condominium meeting” (which, by the way, is much less significant than in the previous movies) functions as one of the main arguments of the plot, which only throws the characters onto the screen randomly.

There is no sense of urgency about the dangers presented and although some action scenes try to bring a kind of convenience to pave this feeling, this never happens because the script itself does not try to take this idea seriously. Anyone who has watched all the previous movies knows that you cannot expect a brilliant action script, but in the case of this sequel, the quality of the project is almost subterranean. I was quite disappointed with the final result because they failed to deliver the basics (which really weren't difficult to do) and at times, they even tried to “lower” the viewer's understanding of the story.

Empire

Among frantic cuts of scenes and a much less inspired editing, as well as a more generic soundtrack with slightly more “bold” special effects, the plot takes on even more absurd contours when it tries to justify itself to the public as a movie that in many moments you don't know where you're not going. Written by six hands (something that really makes me question the script even more) and directed in a very sloppy way by Scott Waugh, the project becomes disposable (and forgettable within the franchise itself) well before reaching its fateful end, which in fact, it is marked by an uninteresting climax. A sequence of errors, over just over 95 minutes.

This time, Sylvester Stallone gives his character a much less emphatic identity (which he already has is quite limited, just like everyone in the main or supporting cast). Alongside him, Dolph Lundgren and Andy Garcia also return, but much less expressively and perhaps, in the midst of such a precariously cast cast, the one who still remains relevant is Jason Statham (basically because he manages to mix action and comedy in a genuinely funny). The female share is up to Megan Fox, who just delivers her usual beauty. There is little synergy among them and in most scenes it looks like practically all of them read the script at the last minute.

Kinorama Unna

After this sequel, I honestly believe that the producers won't have the courage to move forward. However, considering Hollywood's audacity (or is it stupidity?) in sabotaging its own projects, I wouldn't doubt the next movie. Expend4bles had real potential to have been at least good entertainment, but with the plot that tried to keep it standing, it's impossible to say anything encouraging about what made the final cut. Parading stupid decisions all the time, the script never fails to disappoint the viewer with poor execution and a chaotic setting (in the worst possible sense of the situation) of a plot completely recycled from other projects.

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CRÍTICA DE PELÍCULA: “Los mercen4rios” (2023)

Sinopsis: Barney Ross y sus antiguos (y nuevos) compañeros de trabajo han vuelto. Una vez más, juntos deberán luchar contra los villanos, que ahora poseen armas específicas que pueden iniciar la tercera guerra mundial.

Construir una franquicia dentro del género de acción parece ser algo que, en ciertos momentos, parece tener ya una “receta” lista. Al menos así es como muchos cineastas imaginan que funcionan las cosas. No es casualidad que en 2010, uno de los grandes iconos (entre una pequeña lista actualmente) del cine de acción, Sylvester Stallone, decidiera reunir otros nombres célebres del mismo segmento para entregar al público (que, por cierto, es muy específico aquí) un proyecto lleno de nitroglicerina y testosterona. El resultado es muy cuestionable en cuanto a calidad narrativa, pero lo más importante estaba ahí: la diversión (desde los aspectos más violentos hasta los más cómicos). Aquí esto no sucede.

Uno de los peores problemas de esta secuela es entender que la calidad ya no es la misma que la película anterior. De hecho, esta saga impulsada por figuras estereotipadas del género de acción de los 80 y 90 fue muy inteligente al intentar reunir algunos nombres importantes de este género cinematográfico que escribió su nombre en la historia del cine y por supuesto esto sería una herramienta de marketing perfecta. para atraer a un tipo de público muy específico. Un tipo de táctica común en el mercado, pero que aquí se intensificó por el factor nostálgico del elenco. Esto funcionó, pero el éxito de esta reunión nunca superó la calidad de las tramas (que en todas las películas anteriores fueron muy débiles).

En esta película, en particular, además de débil, la trama está llena de absurdos (más allá de lo normal y ya vistos antes) y esto excluye cualquier empatía por parte del público (incluso de su grupo principal). Incluso el hilo conductor se presenta como una pobre excusa para intentar crear una trama que no tenga el más mínimo impacto. Salvo algunas escenas de acción eficientes (que es lo mínimo esperado para este tipo de películas), nada funciona: actuaciones pésimas, con un guión que intenta hacerse relevante y todo ello en medio de un rumbo perdido. El espíritu amistoso del inicio de la franquicia ya no existe y esto, esencialmente, es lo que rompe todo lo que se intenta construir.

Incluso antes de que los créditos iniciales aparezcan en pantalla, es posible sentir que el proyecto era una colcha de retazos formada por piezas de la más baja calidad. En muchos momentos se intenta “evocar” la atmósfera de los años 80 y 90 (basándose, por ejemplo, en chistes sexistas y “caras y bocas” del elenco más caricaturizado), pero simplemente ya no hay ninguna identidad presente aquí. . Estos intentos fracasan porque no existe conexión entre lo que está en el papel y lo que acaba en la pantalla. Ni siquiera la “reunión de condominio” (que, por cierto, es mucho menos significativa que en las películas anteriores) funciona como uno de los argumentos principales de la trama, que sólo lanza a los personajes a la pantalla de forma aleatoria.

No hay ningún sentido de urgencia sobre los peligros presentados y aunque algunas escenas de acción intentan aportar una especie de comodidad para allanar este sentimiento, esto nunca sucede porque el guión en sí no intenta tomar esta idea en serio. Cualquiera que haya visto todas las películas anteriores sabe que no se puede esperar un guión de acción brillante, pero en el caso de esta secuela, la calidad del proyecto es casi subterránea. Me decepcionó bastante el resultado final porque no cumplieron con lo básico (que realmente no fue difícil de hacer) y, en ocasiones, incluso intentaron "bajar" la comprensión de la historia por parte del espectador.

Entre cortes de escenas frenéticos y un montaje mucho menos inspirado, además de una banda sonora más genérica con efectos especiales un poco más “atrevidos”, la trama adquiere contornos aún más absurdos cuando intenta justificarse ante el público como una película que en muchos momentos no sabes a donde no vas. Escrito a seis manos (algo que realmente me hace cuestionar aún más el guión) y dirigido de forma muy descuidada por Scott Waugh, el proyecto se vuelve desechable (y olvidable dentro de la propia franquicia) mucho antes de llegar a su fatídico final, que de hecho, está marcado por un clímax poco interesante. Una secuencia de errores, a lo largo de poco más de 95 minutos.

Esta vez, Sylvester Stallone le da a su personaje una identidad mucho menos enfática (que ya tiene es bastante limitada, como todos los actores principales o secundarios). Junto a él, también regresan Dolph Lundgren y Andy García, pero mucho menos expresivos y quizás, en medio de un reparto tan precario, el que sigue siendo relevante es Jason Statham (básicamente porque consigue mezclar acción y comedia de una manera genuinamente divertido). La participación femenina depende de Megan Fox, quien simplemente ofrece su belleza habitual. Hay poca sinergia entre ellos y en la mayoría de escenas parece que prácticamente todos leyeron el guión en el último momento.

Después de esta secuela, sinceramente creo que los productores no tendrán el valor de seguir adelante. Sin embargo, considerando la audacia (¿o es estupidez?) de Hollywood al sabotear sus propios proyectos, no dudaría de la próxima película. Los mercen4rios tenía un potencial real para haber sido al menos un buen entretenimiento, pero con la trama que intentó mantenerlo en pie, es imposible decir nada alentador sobre lo que hizo el montaje final. Haciendo alarde de decisiones estúpidas todo el tiempo, el guión nunca deja de decepcionar al espectador con una mala ejecución y una ambientación caótica (en el peor sentido posible de la situación) de una trama completamente reciclada de otros proyectos.

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CRÍTICA DE FILME: “Os Mercenários 4” (2023)

Sinopse: Barney Ross e seus antigos (e novos) parceiros de trabalho estão de volta. Uma vez mais, juntos, eles precisam lutar contra os vilões, que agora estão em posse de armas específicas que podem iniciar à terceira guerra mundial.

Construir uma franquia dentro do gênero de ação parece ser algo que, em certos momentos parece já ter uma “receita” pronta. Ao menos é assim que muitos cineastas imaginam que as coisas funcionam. Não por acaso, em 2010, um dos grandes ícones (dentre uma pequena lista atualmente) do cinema de ação, Sylvester Stallone, resolveu juntar outros nomes famosos do mesmo segmento para entregar ao público (que por sinal, aqui é muito específico) um projeto cheio de nitroglicerina e testosterona. O resultado é muito questionável em termos de qualidade narrativa, mas o que tinha mais importância estava lá: a diversão (desde os aspectos mais violentos até os mais cômicos). Aqui, isto não acontece.

Um dos piores problemas desta sequência é entender que a qualidade ela já não é mais à mesma desde o filme anterior. De fato, essa saga turbinada por figuras estereotipadas do gênero de ação dos anos 80 e 90 foi muito esperta ao tentar fazer uma reunião de alguns importantes nomes deste gênero cinematográfico que escreveu o seu nome na história do cinema e é claro que isso seria uma pela de marketing perfeita para atrair um tipo de público muito específico. Um tipo de tática comum no mercado, mas que foi intensificada aqui pelo fator nostálgico do elenco. Isso funcionou, mas o sucesso dessa reunião nunca superava a qualidade das tramas (que em todos os filmes anteriores eram muito fracas).

Neste filme, em específico, além de ser fraca, à trama é repleta de absurdos (além do normal e já visto anteriormente) e isso exclui qualquer empatia por parte do público (até mesmo do seu grupo principal). Até mesmo o fio conector se apresenta como uma desculpa esfarrapada para tentar criar uma trama que não tem o menor impacto. Exceto algumas cenas de ação eficientes (que é o mínimo esperado por estes tipos de filmes), nada funciona: péssimas atuações, com um roteiro atirando para todos os lados para se fazer relevante e tudo isso em meio à uma direção perdida. O espírito amigável do início da franquia já não existe mais e isso, essencialmente, é o que quebra tudo o que tenta ser construído.

Antes mesmo dos créditos iniciais subirem na tela, é possível sentir que o projeto foi uma colcha de retalhos feita com os seus pedaços de menor qualidade. Em muitos momentos, há a tentativa de “evocar” a atmosfera dos anos 80 e 90 (apostando, por exemplo, em piadas machistas e “caras e bocas” do elenco mais caricato), mas simplesmente não há mais nenhuma identidade presente aqui. Essas tentativas falham porque não há conexão entre o que está no papel, e o que vai para à tela. Nem mesmo à “reunião de condomínio” (que por sinal, é bem menos significativa que nos filmes anteriores) funciona como um dos principais argumentos da trama, que só joga os personagens na tela aleatoriamente.

Não há um senso de urgência sobre os perigos apresentados e apesar de algumas cenas de ação tentarem trazer uma espécie de conveniência para pavimentar essa sensação, isso nunca acontece porque o próprio roteiro não procura se levar imprimir essa ideia com seriedade. Quem assistiu a todos os filmes anteriores sabe que não se pode esperar um roteiro de ação brilhante, mas no caso desta sequência, a qualidade do projeto é quase subterrânea. Eu fiquei bastante decepcionado com o resultado final porque eles não conseguiram entregar o básico (que realmente não era nada difícil de ser feito) e em alguns momentos, ainda tentam “nivelar por baixo” a compreensão do telespectador sobre a estória.

Entre cortes de cenas frenéticos e uma edição bem menos inspirada, além de uma trilha sonora mais genérica com os efeitos especiais um pouco mais “ousados”, a trama ganha contornos ainda mais absurdos quando tenta se justificar para o público como um filme que em muitos momentos não sabe para onde não está indo. Escrito a seis mãos (algo que realmente me faz questionar o roteiro ainda mais) e dirigido de uma maneira muito desleixada por Scott Waugh, o projeto de torna descartável (e esquecível dentro da própria franquia) bem antes de chegar ao seu fatídico término, que aliás, é marcado por um clímax desinteressante. Uma sequência de erros, ao longo de pouco mais de 95 minutos.

Desta vez, Sylvester Stallone imprime uma identidade bem menos enfática ao seu personagem (que já tem é bastante limitado, assim como todos do elenco principal ou coadjuvante). Ao lado ele, Dolph Lundgren e Andy Garcia também retornam, mas muito menos expressivos e talvez, no meio de um elenco tão precariamente escalado, quem ainda se mantém como relevante seja Jason Statham (basicamente porque ele consegue mesclar ação e comédia de um jeito genuinamente divertido). A cota feminina fica por conta da Megan Fox, que apenas entrega a beleza que lhe é habitual. Há pouca sinergia entre eles e na maioria das cenas parece que praticamente todos eles leram o roteiro de última hora.

Depois desta sequência, eu sinceramente acredito que os produtores não terão coragem de seguir adiante. No entanto, considerando a ousadia (ou seria burrice?) hollywoodiana em sabotar seus próprios projetos, eu não duvidaria de um próximo filme. Os Mercenários 4 tinha um potencial real para ter sido ao menos um bom entretenimento, mas com à trama que o tentava manter de pé, fica impossível dizer algo animador sobre o que foi para o corte final. Desfilando decisões estúpidas a todo momento, o roteiro não se priva de decepcionar o telespectador com uma execução pífia e uma ambientação caótica (no pior sentido possível da situação) de uma trama totalmente reciclada de outros projetos.

Nuevamente, una película basada en un videojuego es llevada a la gran pantalla; justamente este es el estilo de films que presenta una gran dificultad en ser un éxito en taquilla y en dónde depende de la marca que representa, esto lo digo porque "Super Mario Bros.", película claramente basada en un muy famoso videojuego, por mucho tiempo se convirtió en el film más taquillero del 2023, pero eso no evita que otras películas basadas en otros juegos tengan el mismo resultado aunque también diré que a causa de ese éxito, ahora más que nunca este tipo de films tendrán espacio en las salas de cine; aunque debo decir que la calidad siempre será fundamental para el éxito.

Again, a movie based on a video game is taken to the big screen; this is precisely the style of films that presents a great difficulty in being a success at the box office and where it depends on the brand it represents, I say this because "Super Mario Bros.I say this because "Super Mario Bros.", a film clearly based on a very famous video game, for a long time became the highest grossing film of 2023, but that does not prevent other films based on other games to have the same result, although I will also say that because of that success, now more than ever this type of films will have space in theaters; although I must say that quality will always be fundamental for success.

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"Gran Turismo", es un film basado en la famosa franquicia de videojuegos de simulación de carreras de autos, estrenado en agosto de este año; la historia de este film se enfoca en "Jann Mardenborough" un joven inglés que es fan de este videojuego, su gran sueño es convertirse en un corredor profesional de autos, pero la situación económica de su familia le impide cumplir ese sueño, pero no todo está perdido porque la fabricante japonesa de automóviles, "Nissan", crea una academia para que los jugadores del simulador de Gran Turismo se conviertan en corredores profesionales; esta es la oportunidad que esperaba Jann y el cual deberá superar cada obstáculo que se presente para alcanzar la meta.

**Gran Turismo" is a film based on the famous car racing simulation video game franchise, released in August of this year; The story of this film focuses on "Jann Mardenborough" a young Englishman who is a fan of this video game, his big dream is to become a professional car racer, but the economic situation of his family prevents him from fulfilling that dream, but all is not lost because the Japanese car manufacturer, "Nissan", creates an academy for players of Gran Turismo simulator to become professional racers; this is the opportunity that Jann was waiting for and which must overcome every obstacle that arises to achieve the goal.

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Mi opinión sobre este tipo de films es que obligatoriamente deben estar muy ligados a las escenas que se observan en el videojuego que están basados, el fanservice es un elemento obligatorio y que de hacerse de la manera correcta, podemos observar una buena producción; esa sería mi opinión del trabajo del director Neill Blomkamp el cual crea muy buenas escenas en la pista de carreras; las hace muy entretenida, demuestran acción, tensión, todas muy bien realizadas, se notó que se quería ser muy detallista y en mi opinión se hizo un buen trabajo, la decisión de contar con Blomkamp es uno de los puntos positivos del film.

El guion escrito por Jason Hall y Zach Baylin, posiblemente es un gran acumulado de clichés; todo lo que se espera en ver de alguna película deportiva, están presente en este film; la historia cumple con la base del "outcast", del mentor, de los miedos y rechazo de los padres, el interés amoroso, el primer obstáculo, el gran obstáculo, el punto de inflexión, la charla motivadora y el gran regreso; me podrán disculpar si este es considerado como spoiler, pero esto es "Gran Turismo" posiblemente sea la película que estos guionistas escribieron con tanta facilidad y a pesar de que existe un factor importante y es que está basada en hechos reales; no es una biografía fidedigna de esa etapa de la vida de "Jann Mardenborough", pero se usó su experiencia y se agrega las características antes citadas.

My opinion about this kind of films is that they have to be very linked to the scenes that are observed in the videogame they are based on, the fanservice is a mandatory element and if it is done in the right way, we can observe a good production; that would be my opinion of the work of the director Neill Blomkamp who creates very good scenes in the race track; he makes them very entertaining, they show action, tension, all very well done, it was noticed that he wanted to be very detailed and in my opinion he did a good job, the decision to have Blomkamp is one of the positive points of the film.

The screenplay written by Jason Hall and Zach Baylin, is possibly a great accumulation of clichés; everything you would expect to see from any sports movie, are present in this film; the story delivers on the basis of the outcast, the mentor, the parental fears and rejection, the love interest, the first hurdle, the big hurdle, the turning point, the pep talk and the big comeback; you will excuse me if this is considered a spoiler, but this is "Gran Turismo" possibly the movie that these screenwriters wrote with such ease and even though there is an important factor and that is that it is based on real events; it is not a reliable biography of that stage of "Jann Mardenborough's" life, but his experience was used and the above mentioned characteristics are added.

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Las actuaciones no son buenas, los personajes o mejor dicho, los actores con más experiencia son víctimas de los clichés impuestos desde el guion; el personaje de "Jann" Interpretado por Archie Madekwe es aburrido, no es motivador, no sentí compromiso del actor, su trabajo es simple y creo que en vez de interpretar a un joven hombre con la ambición de conseguir algo que se sienta real, siempre tiene la actitud de un niño, es un personaje que no evoluciona. Anteriormente, hice referencia a como el guion afectó a los actores experimentados, eso lo note en el trabajo de Orlando Bloom, quien interpreta a "Danny Moore", un ejecutivo de Nissan; su interpretación es sobreactuado, no aporta nada en los dos últimos actos de la historia, al principio es alguien con una gran idea, pero después no hay nada que lo conecte a los otros protagonistas, lo peor es justamente que la brevedad de su trabajo, no es buena; con respecto al otro personaje importante en este film, me refiero al ex corredor, mecánico y entrenador de la academia GT, "Jack Salter", Interpretado por David Harbour, diré que su trabajo como mentor es bueno, algo necesario para este tipo de historias aunque lamentablemente después del cambio de mentalidad hacia su pupilo hace que su personaje se vea como una parodia, no me gustó la imagen del personaje al final de la historia.

The performances are not good, the characters or rather, the more experienced actors are victims of the clichés imposed from the script; the character of "Jann" played by Archie Madekwe is boring, he is not motivating, I did not feel commitment from the actor, his work is simple and I think that instead of playing a young man with the ambition to achieve something that feels real, he always has the attitude of a child, he is a character that does not evolve. Previously, I made reference to how the script affected the experienced actors, I noticed that in the work of Orlando Bloom, who plays "Danny Moore", a Nissan executive; his interpretation is overacted, he does not contribute anything in the last two acts of the story, at the beginning he is someone with a great idea, but then there is nothing that connects him to the other protagonists, the worst thing is just that the brevity of his work, it is not good; regarding the other important character in this film, I mean the former racer, mechanic and trainer of the GT academy, "Jack Salter", Played by David Harbour, I will say that his work as a mentor is good, something necessary for this kind of stories although unfortunately after the change of mentality towards his pupil makes his character look like a parody, I did not like the image of the character at the end of the story.

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Al final, "Gran Turismo" a pesar de sus imperfecciones es un film entretenido; critico la gran cantidad de clichés en su historia, pero creo que eso ha sorprendido a alguno que otra persona que sin expectativas por esta historia se sientan sorprendidos por lo receptiva que es; en lo personal resaltó la gran decisión de no parar en realizar escenas de las carreras de autos en los dos últimos actos del film, en mi opinión eso la hace entretenida, porque hay buenas e impactantes escenas, se nota el realismo y para quien está familiarizado con las carreras de autos, así como el juego, notará lo detallista del film. A pesar de no considere perfecta esta película, igual la recomiendo, su más de dos horas de duración pasan rápido y posiblemente sea del completo gustó de muchas personas que sean o no fans del videojuego.

In the end, "Gran Turismo " despite its imperfections is an entertaining film; I criticize the large number of clichés in its story, but I think that has surprised some people who have no expectations for this story and feel surprised by how receptive it is; I personally highlighted the great decision of not stopping to make car racing scenes in the last two acts of the film, in my opinion that makes it entertaining, because there are good and shocking scenes, the realism is noticeable and for those who are familiar with car racing, as well as the game, will notice the detail of the film. Even though I don't consider this movie perfect, I still recommend it, its more than two hours of duration pass quickly and it will probably be liked by many people, whether they are fans of the videogame or not.

You might think "another Walking Dead spin off" there will be more in the future, The Walking Dead is way more than just the OG series and they going to milk it, I'm happy with it as long as the actors remain the same if possible and production is as good, with new TV Series format each episode is one hour long including intro/outtro also with The Walking Dead spin off there is at the end a "On the next episode..." that either gives you snippets of whats next and an analysis of whats happening.

This story is about the man you see on the image above, Daryl Dixon who left home looking for something new, something meaningful and exciting, it looks like the story doesn't start from the beginning so it might be confusing at first and you will ask yourself how did he got there? all there is a guy tied to a boat, did he do that to himself? no, there is much more than that.

Zombies are not the topic anymore but if I'm not mistaken this is the first time that we see a mutation on them, on Daryl Dixon there are "boilers" as they call them, Zombies that can burn your skin as they touch you, their insides are acid and burn anything in contact, they die the same way just stick something to their head, they are also slow as usual, same as The Walking Dead: Dead City, Zombies are not the topic of the story anymore, its about the journey of the main Character.

Daryl had no mission when he got to France, yes by the way this story is develop in France, so that's cool that the story moves to another continent, in here Daryl face language barrier, I can imagine myself, nothing to loose, surviving, exploring the country I have never been at, must be cool, only problem is that the world is trying to kill you every minute, either Zombies get your or humans does.

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If you are new to the story, don't know who this guy is or how he got there, this is Daryl Dixon, arrives to a beach in France after he was tied to a boat, details will be tell down the road. The end of man kind has happen, the world is full of Zombies, those who survive feel usually lonely and threatened by existence itself, its very rare to see people happy on The Walking Dead universe other than kids or anything involving kids, adults just never, I guess the stress of staying alive, the suffering of loosing love ones, Daryl is the same, that's one of the reasons whey he end up tied to a boat.

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All we know is that Daryl was looking for something new or meaningful, I don't know why yet because if I'm not mistaken he had a wife and kid back home, people who care for him, now he arrive the shores of France, starts exploring to find out it is just the same thing, he finds a guy audio tape with recordings that this guy has been 19 months navigating the sea, Spain, France, there is no safe place until slowly they all start to die for different reasons, so Daryl I think leaving home was stupid.

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Until now we were still in regular schedule, he starts exploring and got attack by Zombies at a warehouse where he was looking for supplies or anything of value, only difference is that when this Zombies touch you, they burn your skin since their rotten insides are acid and burn anything in contact, once this happen my first question was, is he infected? do they now turn when they get touch? how long it takes for him to turn? , after he got burn by this Zombie end up killing all of the and took off.

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Zombie apocalypse all the remaining survivors have turn into real mother fuckers in one way or another, so if this ever happen trust no one you don't know, as Darys keeps exploring he find this two, Maribelle and her grandfather, they look innocent at not a threat at first, I thought at first they were going to shoot Daryl, but they offer him to trade medical supplies for food so he accept.

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The entire world is full of Zombies, its a virus, every human that dies turns into a Zombie so unless there is a cure there will always be Zombies around, but there are less every day I guess, humans start to go out more so some one has to take charge of the territory, guerrillas form and start to control the country, a patrol finds Daryl and his new "friends", they start an argument about who Daryl is, they try to take Maribelle with them and he tries to stop them but shoot him back, I was like they can't kill him yet so Maribelle and Daryl end up getting out of this tight situation, kill them all but her smart ass grandfather decides to betray Daryl, the old bastard was not blind at all so takes a cheap shot at him, knock him out. This guerilla guys were part of the group related to Daryl in a way, the reason why he got tied to the boat, part of the story that has not been explained yet, one of they two guys that were killed, by Maribelle not even Daryl, was the guerrilla boss brother, he would want so revenge right?

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Daryl is found wounded, burn, knocked out; by Sister Isabelle, they saw each other from the distance at a place he was exploring, he is taking to the convent she is part of and the first thing they did was to cauterize where he was touche by the Zombie, yes it spread, yes people die and turn because of that so I was right on that one, it was only obvious.

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The convent is a kind of sanctuary, good amount of nuns who are basically self sustain, traditions and believe in God is not so strong during the times of apocalypse but humans still respect it and keep their distance so it gives them some what protection been inside the convent, reason why they could stay alive without been attacked.

At the convent there were all nuns except there was a 12 year old kid who was born at the convent, his mother died. I should have seen this at first, Isabelle was kind of a modern nun as she does not discard others people believes and knew how to use a gun, defend herself.

Daryl meets the kid, Laurent; since he is the only kid in the convent they teach him everything they could from math, geography, instruments, but there was something more, classic messiah story, nuns think Laurent is the savior of the world and Daryl the messenger, they have this prophecy that Daryl needs to take Laurent to Paris so he can guide society, not sure why they would think this, if you look around there is no government, there is no country, there is no resistance, there is just Zombies and humans who kill each other, the nuns even had a Zombie inside the last father turn and they thought this was a punishment from God that at some point would end and father Pere Jean would once again be human, the moment Daryl discover this he took some supplies, guns and walk away.

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When Daryl was leaving he notice the guerrilla going into the convent, they were looking for him, Maribelle snitch on him, she was found with her grandfather by the guerrilla because obviously no body kills the boss brother and stay alive, the fighting between nuns and the guerrilla starts after they "killed" Pere Jean.

Daryl is old and looks like on every fight from now he will end in the floor about to die and saved by some one else, really again? Once everything was over there were a lot of casualties, the place was a mess, lot of new Zombies around, few survivors and the nuns still have their prophecy with Daryl as the messenger and Laurent their savior, Daryl thinks twice what he has done and only wants to come home, Isabelle mention a port that is still active close to Paris, Daryl offer her a trade, he will take them to Paris and she will show him the way to the port.

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The scenes at the convent and Daryl are done but towards the end of the episode its reveal from where Daryl came, who tied him to the boat and a few characters that we know nothing about yet, the is a women who show up with body guards, her name Genet, look like she is in charge of a military movement or another guerrilla, probably she has a connection with the guerilla boss who tried to kill Daryl.

They either experimenting with Zombies or some how use them, on The Walking Dead: Dead City, The Croat use Zombies as fuel, extracting the methane, Zombies on the ship have masks so they cant bite others but I dont see gloves or anything that protect humans from contact so probably this are regular Zombies. Genet arrives because there was an incident at a lab inside, I assume it was Daryl since the Captain told Genet the responsible died after he went overboard, Genet doesn't trust the captain's word, she knows he is incompetent and knows the man who started all this is an American, soon we will see Genet after Daryl's ass.

I have never been interested in wrestling. In my country there was a time when American wrestling was broadcasted on a famous television channel, a show from which professionals have also emerged who have later dedicated themselves to acting, being very successful. I moved away from the euphoria that others professed, everything was faked, acted, a prepared show, something that Americans love, so for me it didn't make much sense.

Mexican wrestling is somewhat unknown territory for me, the little I know is from having seen some movie or documentary some time ago, reading some article in some magazine, etc. For example, when I was a kid I liked to read a magazine where Santo, El Enmascarado de Plata, was the main character and fought against monsters and dangerous situations. He was a famous Mexican wrestler, a real star.

What really caught my attention was the use of masks by Mexican wrestlers. I know that this whole world and its rules have many fans in Mexico, I think at the same level as soccer, it is considered almost a religion, with its own customs, rules and totally rooted within the Mexican popular culture. I saw the movie Cassandro, with few expectations, since I am not a fan of this sport, but thanks to the movie, I have become interested in knowing more about everything related to Mexican wrestling and the names that have written its history.

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Nunca me ha interesado la lucha libre. En mi país hubo una época en la que se emitía lucha libre americana en un famoso canal de televisión, un espectáculo del que también han salido profesionales que luego se han dedicado a la interpretación, teniendo mucho éxito. Yo me alejé de la euforia que otros profesaban, todo era fingido, actuado, un espectáculo preparado, algo que a los americanos les encanta, así que para mí no tenía mucho sentido.

La lucha libre mexicana es un territorio un tanto desconocido para mí, lo poco que sé es por haber visto alguna película o documental hace tiempo, leer algún artículo en alguna revista, etc. Por ejemplo, cuando era niño me gustaba leer una revista donde Santo, El Enmascarado de Plata, era el protagonista y luchaba contra monstruos y situaciones peligrosas. Era un famoso luchador mexicano, una auténtica estrella.

Lo que me llamó mucho la atención fue el uso de máscaras por parte de los luchadores mexicanos. Sé que todo este mundo y sus reglas tienen muchos aficionados en México, creo que al mismo nivel que el fútbol, se considera casi una religión, con sus propias costumbres, reglas y totalmente arraigado dentro de la cultura popular mexicana. Vi la película Cassandro, con pocas expectativas, ya que no soy aficionado a este deporte, pero gracias a la película, me he interesado en conocer más sobre todo lo relacionado con la lucha libre mexicana y los nombres que han escrito su historia.

A mask. To transform us into someone else or hide what it really is. In this biopic, the mask he wears in Mexican wrestling also acquires another meaning. Saúl Armendáriz puts on a mask to transform himself into El Topo, but at the same time he keeps his own essence, his true self, hidden from a macho society and sports environment. Although he seems free, he actually lives in an inner prison, unable to show himself in all his splendor, to be accepted and failed.

The face, the liberation. To take off the mask, to show himself to the world. To change one's mind, to dare to break the established norms without fear. Breaking down the bars of a self-imposed cage will turn Saul, the mole, into Cassandro, unafraid to be free and get the recognition he deserves. Although not everything will be easy, the road to the top is full of obstacles and pain.

The interesting thing about Cassando is the respectful and sincere portrayal of the life of this exotic fighter. This type of wrestler was part of the show. Wrestlers in flamboyant and effeminate attire, clearly with homosexual tendencies, who served as a kind of buffoon in the show. They didn't win the fights, the glory went only to the masked wrestlers, strong, big, manly and crowd pleasing. Cassandro's merit is to have made his way with everything against him, winning the affection of the public.

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Una máscara. Para transformarnos en otra persona u ocultar lo que realmente es. En este biopic, la máscara que usa en la lucha libre mexicana adquiere también otro significado. Saúl Armendáriz se pone una máscara para transformarse en El Topo, pero al mismo tiempo mantiene oculta su propia esencia, su verdadero yo, ante una sociedad y un entorno deportivo machistas. Aunque parece libre, en realidad vive en una cárcel interior, incapaz de mostrarse en todo su esplendor, de ser aceptado y fracasado.

La cara, la liberación. Quitarse la máscara, mostrarse al mundo. Cambiar de opinión, atreverse a romper las normas establecidas sin miedo. Derribar los barrotes de una jaula autoimpuesta convertirá a Saúl, el topo, en Cassandro, sin miedo a ser libre y obtener el reconocimiento que merece. Aunque no todo será fácil, el camino hacia la cima está lleno de obstáculos y dolor.

Lo interesante de Cassando es el retrato respetuoso y sincero de la vida de este exótico luchador. Este tipo de luchador formaba parte del espectáculo. Luchadores con atuendos extravagantes y afeminados, claramente con tendencias homosexuales, que servían como una especie de bufones en el espectáculo. No ganaban los combates, la gloria sólo era para los luchadores enmascarados, fuertes, grandes, varoniles y agradables al público. El mérito de Cassandro es haberse abierto camino con todo en contra, ganándose el cariño del público.

About to complete a long 5 months, the Hollywood writers' strike seems to be seeing a light at the end of the tunnel. In a recent meeting between the screenwriters' association with the representative of the studios and producers (AMPTP), the dark period that has already brought a lot of losses (in particular, worrying financial losses) and the scenario that could get much worse, it seems that is having its dark fog dispelled by a recent agreement.

According to WGA, so far, the agreement between both sides has been quite fruitful. In summary, there are significant gains (both in financial matters and in terms of professional recognition) for the screenwriter class, and there is also a type of labor protection for those who are members of the union. This was a very essential step towards ending the strike, but even though it is positive, it still needs to be voted on by 11 thousand WGA members.

However, even with all this friendly atmosphere, no screenwriter is still allowed to return to their usual work as long as the final version of the agreement is duly presented, voted on and valid by those who have the autonomy to do so. This means that until then, the sector is still technically on strike. Particularly speaking, even if it is not so defined, it is very likely that the strike will actually come to an end... For the good of all.

Meanwhile, on the actors' union (SAG) side, the strike continues until there is an agreement between them and AMPTP. Negotiations need to be carried out separately because the demands requested by the two groups, despite being similar in some points, have different points that meet other needs that are not common to the two groups. At the end of it all, even though it is still a troubled period, things have improved significantly.

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En el medio del camino.

A punto de cumplir cinco largos meses, la huelga de escritores de Hollywood parece ver una luz al final del túnel. En una reciente reunión entre la asociación de guionistas y los representantes de los estudios y productores (AMPTP), se habló del período oscuro que ya ha traído muchas pérdidas (en particular, preocupantes pérdidas económicas) y el escenario que podría empeorar mucho más. Parece que un reciente acuerdo está disipando su oscura niebla.

Según WGA, hasta ahora el acuerdo entre ambas partes ha sido bastante fructífero. En resumen, hay ganancias significativas (tanto en materia financiera como en términos de reconocimiento profesional) para la clase de guionistas, y también hay un tipo de protección laboral para quienes están afiliados al sindicato. Este fue un paso muy esencial para poner fin a la huelga, pero aunque es positivo, todavía necesita ser votado por 11 mil miembros de la WGA.

Sin embargo, aún con todo este ambiente amistoso, ningún guionista podrá volver a su trabajo habitual siempre y cuando la versión final del acuerdo esté debidamente presentada, votada y válida por quienes tienen autonomía para hacerlo. Esto significa que, hasta entonces, el sector sigue técnicamente en huelga. En particular, aunque no esté así definido, es muy probable que la huelga llegue a su fin... Por el bien de todos.

Mientras tanto, por el lado del Sindicato de Actores (SAG), la huelga continúa hasta que haya un acuerdo entre ellos y la AMPTP. Las negociaciones deben realizarse por separado porque las demandas solicitadas por los dos grupos, a pesar de ser similares en algunos puntos, tienen puntos diferentes que satisfacen otras necesidades que no son comunes a los dos grupos. Al final, aunque todavía es un período difícil, las cosas han mejorado significativamente.

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No meio do caminho.

Prestes a completar longos 5 meses, a greve de roteiristas de Hollywood parece estar vendo uma luz no final do túnel. Em uma recente reunião entre a associação dos roteiristas com o representante dos estúdios e produtores (AMPTP), o período sombrio que já vem trazendo bastante prejuízos (em especial, prejuízos financeiros de ordem preocupante) e o cenário que poderia ficar muito pior, parece que está tendo o seu escuro nevoeiro dissipado por um acordo recente.

Segundo WGA, até então, o acordo entre ambos os lados foi bastante proveitoso. Em síntese, há ganhos significativos (tanto em questões financeiras quanto em questões de reconhecimentos profissionais) para a classe dos roteiristas, e há também uma espécie de proteção trabalhista para aqueles que são associados ao sindicato. Esse foi um passo muito essencial para o final da greve, mas mesmo sendo algo positivo, ainda precisa ser votado por 11 mil membros do WGA.

No entanto, mesmo com toda essa atmosfera amistosa, nenhum roteirista ainda está autorizado a retornar aos seus trabalhos habituais enquanto a versão final do acordo for devidamente apresentada, votada e validade por quem tem autonomia para fazer isso. Isso significa que até lá, o setor ainda está tecnicamente de greve. Particularmente falando, ainda que seja algo não tão definido, é bem provável que a greve realmente chegue ao seu final... Para o bem de todos.

Enquanto isso, no lado do sindicato dos atores (SAG), a greve continua até que haja um acordo entre eles e a AMPTP. As negociações precisam ser feitas separadamente porque as demandas requisitadas pelos dois grupos, apesar de ter uma semelhança em alguns pontos, tem pontos distintos que atendem a outras necessidades que não são comuns aos dois grupos. No final de tudo, mesmo que ainda seja um período conturbado, as coisas melhoraram significativamente.

After a few years being curious of this K-drama, I finally watched it. Crash Landing On You was quite popular back in the day. I kept hearing about it but only about a week ago, I got the time to. This romance k-drama revolves around a story of female CEO paragliding and lost into the north Korean territory. In North Korea, she meets Ri Jeong Hyeok, A North Korean captain who ended up protecting and helping her to eventually return to South Korea. This K-drama has 16 episodes starring Hyun-Bin and Son Ye-Jin as is available on Netflix.

This drama portrays the lives in North korea and how it’s seen through a South Korean socialite. Ye_jin plays as Yoon Se-Ri managed to experience what it was like living in North Korea. Since she is a south korean, captain Ri Jeong Hyeok had to conceal her real identity by saying that she's her fiancee who worked as an intelligent agent abroad. Eventually, Ye-jin got back to South Korea and the captain along with her teammate also went into the mission in South Korea.

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One of the nice thing about this K-drama is the main characters and its development that are seen throughout the film. Many people I talked to also mentioned that this K-drama is quite iconic and now I can see why. It’s hard not to fall in love with the characters in the series. There were also good amount of laugh and banter among the characters that made this can be categorized as comforting K-drama. The chemistry between the actors were also unmatched and it was as if they were a real couple. In the past, I really thought this K-drama would be way too cheesy and typical. But apparently, not. It’s just wholesome in its own way. Unfortunately, it's a lot less memorable to me compared to other Korean series that I've been following lately such as Moving, The Killing vote as well as The Uncanny Encounter. However, I would definitely recommend this K-drama if you’re only starting to dive into south korean series.

Episode six wakes up real Mason Kane, Carter find out a way to rebuild the backup that he had of Mason's memory, on episode one or two Mason recover a briefcase that contain two injections, one was Nadia Sinh memories and the other one was his but his got damage and everyone thought his memories were gone, well things turn out to be worst than I thought and real Mason Kane is sneaky, selfish and will betray anyone who is not on his best interest, seems that he haven't forgotten what has happen all this time he was living his second life, with Celeste as his wife and having a daughter with her, when he match both lifes together it seems he doesn't like himself, he cant stand what he did in the past and how things turn out to be, he would have never thought Celeste Graham who he intentionally wipe out her memory knowing Nadia was the one who took the Oz key, he never thought she would end up as his wife, if he ever tells her the truth probably Nadia and Celeste would team up and kill him.

This episode did had a lot of action, nuclear submarine, sky diving, shooting inside the submarine, disarm nuclear rockets before you run out of air, it was very intense towards the end plus most of the conspiracy finish unfolding, its reveal who Mason was working with and what he would do to get what he wants in this case was Nadia, Mason is a control freak and once took Citadel as hostage when he setup the submarine access with his own bio-metric finger print, no body else but only him could access just to have leverage over Citadel and made them tell him where was Nadia and bring her back, seems she dodge a bullet not marrying him.

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This episode is mostly about Mason, after all he recover his memory on this episode, he explains how he became a spy, he wanted to be some one but not for fame, when he was a kid his dad died and his mother left him so he was a man without country without flag, the only person he had was his grand mother, turns out his grand mother was Dahlia Archer the very same person who run Manticore so you probably have an idea who sold out Citadel.

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Dahlia has Mason daughter and is using her to get him take control of the submarine since she wants the nuclear missiles, during their interaction she never calls him son or show any kind of affection, that would reveal her cards

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Eight years ago, Citadel plan to hack into a Russian nuclear submarine that was fully automated, inside there were nuclear missiles so the target was to install a backdoor into the submarine system so if it was necessary any Citadel agent with enough access could stop the Russians from launching this nuclear weapons, Mason saw this as an opportunity to turn the submarine into his personal gadget to force Citadel bring back Nadia Sinh, this guy is not a force to be reckoned with.

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Bernard once told Mason, even he doesn't remember who he is all his training and skills are still there, its all muscle memory, he had to jump from a plain and land on a moving submarine for sure no one including Nadia have faith he would nail it, and he almost didn't but Davik was with him and help him at first, only because he needed Mason to access the submarine.

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Nadia smell that something was wrong when Mason was not answering communication, Davik almost got him killed so she jump to the submarine and took control of the situation, after she and Mason got Davik under control she had to now disarm the nukes although to get into the room had to lower her both temperature and there was not enough air in the room for her to disarm all missiles, she pull it out seconds before she pass out. They were now on their way to exchange the nukes cores for the Nadias daughter, Dahlia try to setup them but Nadia and Mason out smart her team.

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Probably every man who has a family and a mistress, they are all back into Citadel old HQ, there is Nadia and her daughter, Masons daughter; also Celeste/Abby now Mason's wife with their daughter too, but he still doesn't have his memories back as Mason Kane, the only one who caught the flow of the room was Carter like damn this guy.

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Once Mason recover his memories everything came to the light, he was Dahlia grand son who wanted to destroy Citadel for what they did to her and her son, Mason's father, she describe how they kill him, how they kill an entire building with UN workers, infants, all innocent, how they destroy the evidence and every confession, but Mason was at Citadel for other reasons, not help Dahlia, but once he could not make Citadel do as he wanted, locate Nadia and bring her back, he went to his grand mother for help to locate her, only problem is that she ask him in exchange to infiltrate Citadel and give her Citadel secrets, lets make clear there is no scene where he accepts but Dahlia shows up next talking with some one reveling all Citadel agents location and to take them out, I cant confirm it was Mason who sold out Citadel but we can confirm it was not Nadia.

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At the end of the episode there is Mason Kane in what looks like an interrogation room, Nadia on the other side of the mirror, Celeste comes in an ask Mason "Do you remember?" , with a despicable look he answers I don't know, Nadia turns back with a look, on her mind she was like this MF again with his mind games, its worst now because they don't know for sure if he remembers anything.

After this episode I give Citadel season one a solid 7.5/10 , lot of action, actors are not the best but good enough to keep me glue to the screen for the entire episode, wanting to know more about Mason past and what he did to get to Nadia, episode six was a great ending for the first season, I hope this story goes for another two or three seasons if possible, the production, music, everything feels exactly like that European spy style movie, if you are realistic with your expectations Citadel wont disappoint you, towards the end there is a scene with a woman who looks like Celeste but I'm not sure if that's a scene from their past life before everyone got their memories wipe out. Mason turn out to be the worst of all of them, they were all sneaky spies but he had this ability to lie, manipulate people and been the bad ass of the series, he almost got the beautiful Nadia under his control but she knew better, she was not as easy as he wanted, I like the love story between them how she never fall into his trap and always knew she could not trust Mason Kane.