Longform reviews of films, TV, anime, books, and audiobooks, written by the scrobble.life community and published to the Hive blockchain, so each one is owned by its author and can earn rewards from readers. 34,394 reviews and counting.
Kolejny sezon świata Yellowstone skończyliśmy już jakiś czas temu, ale w natłoku wszystkiego nie było kiedy napisać o tym tych paru zdań. Ale bez obaw: fabuła może się zatrzeć, ale wrażenia pozostaną gorące. Wyborne to było, wyborne! Aż szkoda, że na razie to wszystko. Powstają spin-offy, ale trzeba poczekać. Ciekawe, czy będą trzymały poziom.
We finished another season of the Yellowstone universe some time ago, but with everything else going on, there wasn't time to write these few words about it. But don't worry: the plot may fade, but the impressions will remain vivid. It was excellent, excellent! It's a shame that's all for now. Spin-offs are being created, but we'll have to wait. I wonder if they'll keep up the quality.
W 1923 roku zastajemy w Yellowstone już wymurowane i prężnie działające ranczo Duttonów. Dba o nie Jacob, poczciwy i miły Harrison Ford. Kiedy jednak na horyzoncie wyłania się podstępny wróg, który chce odebrać Duttonom wszystko, i zaczyna się krwawa wojna, Jacob nie da rady utrzymać rancza. Dlatego konieczne jest wysłanie wołania o pomoc aż do gorącej Afryki, gdzie na dzikiego zwierza poluje jego bratanek (o ile dobrze kojarzę koligacje rodzinne), Spencer.
In 1923, we find the Dutton ranch in Yellowstone, already well-built and thriving. Jacob, the kind and affable Harrison Ford, cares for it. However, when a cunning enemy emerges, intent on taking everything from the Duttons, and a bloody war begins, Jacob finds himself unable to hold on to the ranch. Therefore, a cry for help must be sent to the scorching heat of Africa, where his nephew (if I remember the family connections correctly), Spencer, is hunting wild game.
Spencer wyruszy na ratunek, a wraz z nim jego żona. Długa to jednak będzie podróż i szalenie niebezpieczna. A tymczasem sytuacja w Yellowstone się zagęszcza, akcja dzieje się wartko, serial porywa.
Spencer will set out to rescue her, and his wife will join him. However, it will be a long and incredibly dangerous journey. Meanwhile, the situation in Yellowstone is escalating, the action is fast-paced, and the series is riveting.
Oczywiście mnie jako wciąż jednak dość świeżo upieczoną matkę najbardziej wzrusza wątek narodzin Johna Duttona i bohaterstwa jego matki. Serio można uronić łezkę nad tym, jakim cudem przeżył ten mały człowiek.
Of course, as a still relatively new mother, I'm most moved by the story of John Dutton's birth and his mother's heroism. It's truly heartbreaking to see how miraculously this little man survived.
Dwa sezony serialu 1923 trzymają mocny poziom całej rozbudowanej serii i zaostrzają apetyt na więcej. Oby twórcy dowieźli kolejny produkt, który nas nie zawiedzie!
Two seasons of 1923 maintain the strong quality of the entire extensive series and whet our appetite for more. Let's hope the creators deliver another product that won't disappoint!
Muy buenas mi gente bella de esta plataforma donde todos hacemos vida, feliz viernes para todos, y un feliz inico de semana, ya rumbo a las fiestas navideñas. El dia de hoy les traigo una novela que ha estado un poco olvidada en la historia, pero la cual tienen unos grandes protagonistas y increibles actores y actrices del pais. Espero sepan cual es y si no sabes aqui se las presento.
Portada realizada por mi.
INTRODUCCIÒN.
-
Bienvenida Esperanza es una telenovela de RCTV emitida en 1983, con guion y autoría de Fausto Verdial y dirigida por Renato Gutiérrez. La producción es un melodrama romántico cargado de conflictos familiares, secretos y amores imposibles, con Mayra Alejandra y Carlos Olivier en los roles principales.
Esperanza Acuña es una joven de clase media cuya familia decide arriesgar su fortuna en las carreras de caballos. Durante esta etapa conoce a Julio Mendizábal, hijo de un comerciante adinerado, y surge un amor genuino entre ambos.
Sin embargo, Julio ya está comprometido con Mariana Trias, y cuando debe elegir, decide casarse con ella, dejando a Esperanza desilusionada y embarazada. Su padre la expulsa de su casa y, para proteger su hijo, Jacinto (quien creció junto a ella) le propone matrimonio para criar al bebé como si fuera suyo. Esperanza acepta con el corazón dividido.
Con el tiempo, el matrimonio entre Julio y Mariana se rompe, y Julio intenta regresar con Esperanza y su hijo. Pero Jacinto, herido por la falta de rechazo de ella, se cierra emocionalmente. En medio de esa tensión, Esperanza descubre que sus verdaderos sentimientos han cambiado y que lo que tanto buscaba no era lo que imaginaba.
La telenovela combina el romanticismo clásico con elementos de sacrificio y traición, desarrollando personajes fuertes y creíbles. Mayra Alejandra borda a Esperanza como una joven decidida, sensible y capaz de reinventarse por amor y dignidad. Carlos Olivier, como Jacinto, interpreta a un hombre leal pero herido, que debe decidir entre su deber y su deseo.
El guion de Fausto Verdial, autor reconocido de la época, aporta profundidad a la narrativa, construyendo una historia llena de giros emocionales. La dirección de Renato Gutiérrez da fluidez a la trama y maneja bien los conflictos familiares y románticos, logrando un equilibrio entre la tensión dramática y los momentos de ternura.
Bienvenida Esperanza es una telenovela emblemática de RCTV en 1983, que destaca por su combinación de romance, drama social y conflicto íntimo. Representa muy bien el estilo melodramático de la época, con personajes resonantes y una historia que apela tanto al corazón como a la reflexión sobre las decisiones y sus consecuencias. Es una producción valiosa por su guion sólido, su elenco icónico y su mensaje de esperanza y redención.
Tema musical de la telenovela.
Bueno mi gente esto es todo por el dia de hoy, espero les guste esta ediciòn, es una novela la cual es muy conocida por el publico, pero tiene grandes artistas quienes trabajaròn en ella, y por eso es que la traigo a este gran archivo que estoy creando en la revista, la cual es el proposito revivir con nostalgia esas grandes historias de la tv Venezolana, y para que la generaciòn nueva sapa cuales son todas esta increibles historias. Mil bendiciones.
Since the tantalising sequence near the end of Predator 2 in 1990, fans of Ridley Scott's Alien and John McTiernan's Predator had dreamed of a crossover that would unite these two titans of science fiction horror. When Paul W.S. Anderson finally delivered Alien vs Predator in 2004, it served as a brutal reminder of the proverb: be careful what you wish for. Despite being widely regarded as one of cinema's greatest disappointments, its modest box office returns inevitably spawned a sequel. Aliens vs Predator: Requiem, released in 2007, not only failed to redeem its predecessor but plunged both franchises into an abyss of mediocrity so profound that it has since been largely forgotten—a deliberate act of collective amnesia by studios and fans alike who recognise it as the embarrassing nadir of two legendary cinematic universes.
The film opens with a continuation of the previous instalment's cliffhanger: Predators departing Earth, oblivious to a facehugger lurking aboard their vessel. Within moments, an alien bursts from an infected Predator's chest, rapidly maturing into the monstrous 'Predalien'—a grotesque hybrid combining the worst attributes of both species. This abomination slaughters the crew and crashes the ship near Gunnison, Colorado, where it begins its campaign of terror. The creature's reproductive methods are particularly horrifying: local hunters and their children fall victim to facehuggers, only to have chestbursters erupt from their bodies in scenes of gratuitous violence. Meanwhile, on the Predator homeworld, a lone warrior known only as 'Wolf' (Ian White) embarks on a mission to eliminate the Predalien, treating humans as little more than collateral damage in his quest for honour.
Gunnison's overwhelmed Sheriff Eddie Morales (John Ortiz) finds himself thrust into a nightmare scenario as disappearances escalate into power failures and widespread carnage. He eventually joins forces with a disparate group of survivors: recently released convict Dallas Howard (Steven Pasquale), his teenage brother Ricky (Johnny Lewis), Ricky's girlfriend Jesse (Kristin Hager), ex-soldier Kelly O'Brien (Reiko Aylesworth) and her young daughter Molly (Ariel Gade). Their attempts to escape are hampered by disagreements over evacuation plans orchestrated by the suspicious Colonel Stevens (Robert Joy), whose military agenda appears more concerned with containment than rescue.
The producers clearly heeded criticisms of the first film's PG-13 rating, delivering an R-certified experience overflowing with graphic violence. Bodies are torn apart with visceral detail, while victims include precisely those characters typically spared in mainstream cinema—children and pregnant women meet particularly gruesome ends. For Alien franchise devotees, the film finally fulfils the long-held fantasy of xenomorphs invading Earth. Yet this concession to fan demands proves ultimately hollow, as the film's execution transforms what should have been a triumphant moment into a descent into darkness—both thematically and literally.
Directed by visual effects specialists Greg and Colin Strause, Requiem makes a catastrophic creative decision: almost every scene is shrouded in near-total darkness. The narrative conveniently features a power plant failure plunging Gunnison into blackness, while the predominantly nocturnal setting provides further justification for this visual approach. While undoubtedly cost-effective and helpful in securing the R rating by obscuring particularly graphic content from censors, this choice renders the film virtually incomprehensible. Even the climactic battle between the Predalien and Wolf becomes an indecipherable mess of shadows and poorly rendered CGI, leaving audiences unable to distinguish combatants or follow the action. What should have been a spectacular showcase of creature effects becomes a frustrating exercise in visual deprivation.
Shane Salerno's screenplay compounds these problems with characters so thinly drawn they might as well be cardboard cut-outs. Played predominantly by unknown actors, the human protagonists lack any discernible personality beyond their designated horror movie roles. Dallas is the obligatory tough guy with a hidden heart of gold; Ricky is the rebellious teenager; Jesse exists primarily to scream. Their suburban setting and the film's reliance on slasher movie tropes—teens making poor decisions, authority figures proving useless, survivors splitting up unnecessarily—transform what should be epic science fiction into a cheap, direct-to-video horror flick. Occasional references to the original Aliens and Predator films only serve to highlight the chasm between James Cameron's and John McTiernan's masterpieces and this pale imitation.
Despite grossing over $128 million worldwide against a modest $40 million budget, Requiem was universally rejected by critics and fans alike. Its commercial viability proved insufficient to overcome its artistic bankruptcy, forcing the Strause brothers to abandon plans for a third instalment. More significantly, when Ridley Scott returned to the Alien franchise with Prometheus in 2012, he deliberately excised the Alien vs Predator films from official canon—a tacit acknowledgment of their toxic legacy. This erasure was not merely pragmatic but necessary; to acknowledge Requiem as part of the Alien mythology would be to diminish the franchise's entire legacy.
What makes Aliens vs Predator: Requiem particularly unforgivable is not merely its technical incompetence or narrative poverty, but its fundamental misunderstanding of what made both franchises endure. Scott's Alien terrified through atmosphere and suggestion; Cameron's Aliens balanced spectacle with character depth; McTiernan's Predator combined military precision with primal horror. Requiem offers none of these qualities, substituting mood with murkiness, character with cliché, and tension with tedium. It reduces two of science fiction's most iconic creations to mindless killing machines in a story devoid of thematic weight or emotional resonance.
Today, Aliens vs Predator: Requiem occupies a peculiar space in cinematic history—as one of the most deliberately forgotten films of the early 21st century. Studios avoid mentioning it; fans pretend it never existed; even the directors have largely moved on to other projects. This collective amnesia is not merely deserved but necessary—a cultural immune response to a work so devoid of merit that its very existence threatens to contaminate the legacies it sought to celebrate.
It's my first time seeing Jo Jung-suk in an historical drama so you could say I saw this series mainly because of him and it's expected that I wasn't disappointed with his role in this one. I have loved his acting since I first saw him in "Oh My Ghost" where he was a romantic chef.
If I'm being very honest, I particularly love his kiss scenes and the chemistry he has with the female leads. It's almost like he has something deep with them off the camera. I thought it was just me fantasizing in "Oh My Ghost" until he did an even better one in this series I'm about to review.
"Captivating The King" is a 16 episode series released in the year 2024 starring Jo Jung-suk as a king's little brother who turned King through lies, Shin Sae-Kyeong as a noble lady who disguises as a man to enjoy baduk games around the town and Lee Sin-young as her former suitor.
The story tells of Yi In, the king's brother who returns from being a hostage under the Chinese emperor and becomes a threat to the king's throne. Regardless of the attempts to get rid of him, he eventually becomes the king after his brother's death. Having to face the hard reality of being a king, he severs all his past relationships and the most outstanding, is the one he had with a baduk game player, a lovable man he admires.
The story may obviously be based on politics and royalty but above that, it's about love, strategy (for revenge) and the game of baduk. Every part of the story played out perfectly by the cast. I'll say I had more fun watching how each game plays out and the few slow burn romance scenes.
Yi In, before he became king was so sweet and carefree, enjoying his time with a baduk player who he thought was a man that simply talks great about him in the midst of false allegations. Unaware of his true feelings or maybe rejecting the fact that he could be falling for a fellow man, he becomes a king who couldn't love his queen.
It's quite the surprise to watch villains being overpowered and even killed before they actually execute their plans against the protagonist, that aspect of the story gave this series a refreshing touch. And I can't say enough how satisfying it was to watch the king play the last villain until he met his death even in all of his unrepentant acts.
From the baduk game competition for a gidaereong (King's baduk mate) to playing baduk games with the king, Kang Hee-soo who has to hide her true identity while strategizing for a treason against the king, Yi In who she once trusted and fell in love with, both captivates each other in what I call a lovely slow burn romance.
The last scene in episode 8 where Yi In finds out that Kang Hee-soo is actually a lady and realized what he have had for her was real romantic feelings, that scene has become one of the unforgettable for me. It portrayed so much emotion of realization and acceptance as they pulled each other in for the long awaited kiss.
The series is a captivating one and has a good storyline but honestly, I didn't get the vibe in the first episode which kinda made sense after why it was like that. Aside that, the chemistry between main lead was totally it for the story. I also enjoyed watching the supporting characters bring comedy and twists to the story, rated 8/10.
I remember when I first heard a long time ago that Ron Howard was working on a new film with Ana de Armas, Vanessa Kirby, and Sydney Sweeney. At the time, the news I read was about possible romantic scenes between the three actresses, some of the most attractive women in Hollywood, but I didn't know anything about the plot then, and until two nights ago I didn't even know the film had already been released. Did it go unnoticed, or was I just out of touch with the film world and didn't realize it?
Recuerdo cuando hace mucho tiempo supe que Ron Howard se encontraba trabajando en una nueva película con Ana de Armas, Vanessa Kirby y Sydney Sweeney. En aquel momento la noticia que leí era sobre posibles escenas sexoafectivas entre las tres actrices, algunas de las mujeres más atractivas de Hollywood, pero no supe nada de la trama entonces y hasta hace dos noches ni siquiera sabía que la película ya se había estrenado, ¿pasó desapercibida o yo estuve aislado del mundo del cine y no me di cuenta?
Eden begins with a hopeless note about a critical moment in human history. After World War I and the global crash of 1929, Dr. Friedrich Ritter (Jude Law) and his wife Dora Strauch (Kirby) leave Germany and civilization behind, settling on Floreana Island in the Ecuadorian Galápagos. There, Ritter intends to write his masterpiece, a kind of philosophical manifesto on a new ideology that can save humanity from utter collapse. Meanwhile, the doctor designs an innovative and unorthodox treatment for Dora's multiple sclerosis. Far removed from the world, the couple seems to have found a haven of tranquility, but this solitude is soon disrupted. First to arrive are the Wittmers: Heinz (Daniel Brühl), his wife Margaret (Sweeney), and Heinz's son, Harry. The couple decides to move to Floreana because of Harry's tuberculosis and inspired by news reaching Europe from Ritter. Heinz is convinced that Ritter is a genius and wants to follow his example and live with his family far removed from a European society that is beginning to collapse. Ritter's reception is anything but friendly—his tranquility is disturbed—and everything worsens with the arrival of Baroness Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), a narcissistic and ambitious woman who arrives with a project to establish the most luxurious hotel in the world on the island of Floreana.
Eden inicia con una nota desesperanzadora sobre un momento crítico de la historia humana. Después de la primera guerra mundial y la crisis mundial de 1929, el doctor Friedrich Ritter (Jude Law) y su esposa Dora Strauch (Kirby) se van de Alemania y de la civilización y deciden asentarse en la Isla Floreana de los Galápagos ecuatorianos. Allí, Ritter pretende escribir su obra, una especie de manifiesto filosófico sobre una corriente nueva que pueda salvar a la humanidad de su absoluto derrumbe. Mientras tanto, el doctor diseña un tratamiento innovador y poco ortodoxo para que Dora se cure de su esclerosis múltiple. Alejados del mundo, la pareja parece haber encontrado un remanso de tranquilidad, pero esa soledad no tarda en verse alterada. Primero llegan los Wittmer, Heinz (Daniel Brühl), su esposa Margaret (Sweeney) y el hijo del primero, Harry. La pareja decide mudarse a Floreana a causa de la tuberculosis de Harry e inspirados por las noticias que llegan de Ritter a Europa. Heinz está convnecido de que Ritter es un genio y quiere seguir syu ejemplo y vivir con su familia alejados de una sociedad europea que comienza a colapsar. El recibimiento de Ritter no es nada amistoso - su tranquilidad se ve alterada - y todo empeora con la llegada de la Baronesa Eloise Bosquet de Wagner Wehrhorn (Ana de Armas), una mujer narcicista y ambiciosa que llega con el proyecto de establecer el hotel más lujoso del mundo en la isla de Floreana.
From there, we follow the stories of all these characters and how they cope with the harsh weather, the wildlife, the scarcity of fresh water on the island, and ultimately, with survival. Their primary task is to tame nature, to make this place a home, but then they will also have to tame their own animal nature, which will push them to the brink of becoming precisely what they have fled from. Civilization and barbarism did not stay far in Europe: they carry them within each of them.
A partir de allí vamos siguiendo las historias de todos estos personajes y la forma que tienen de lidiar con las inclemencias del tiempo, la fauna salvaje, la escasez de agua dulce en la isla y en resumen con la supervivencia. Su tarea primaria es domar la naturaleza, convertir ese lugar en un hogar, pero luego tendrán que domar también su propia naturaleza animal que los llevará a los límites de convertirse precisamente en aquello de lo que han huido. La civilización y la barbarie no quedaron lejos en Europa: la llevan dentro de cada uno de ellos.
Put that way, the story sounds interesting. And it is. Especially when you learn that the film, originally titled Origin of Species (a nice nod to Charles Darwin), is based on real events. The eight main characters in the film actually existed, and to write the screenplay, Noah Pink researched and read the memoirs of Dora and Margaret. However, despite that element of realism and a soundtrack composed by Hans Zimmer, I consider Eden to be a failed film because it doesn't truly captivate the viewer. In my opinion, one of the main reasons for this is the casting. Not the actors and actresses selected, but the roles assigned to each of them. The talent of the five main protagonists is undeniable; each has demonstrated their abilities on more than one occasion. However, the Baroness's French accent is unconvincing, as is Margaret's German origin; I think they should have chosen actresses with those backgrounds or who at least managed to seem more authentic. I'm not saying they are bad actresses, of course they aren't, but I don't feel they manage to shine in those roles. In my opinion, of the entire cast, the only one who delivers a convincing performance is Vanessa Kirby. The others, including Law and Brühl, fulfill their roles thanks to their talent, but they fail to make their characters memorable or their performances live up to what one would expect when seeing these big names in the credits.
Dicho así la historia parece interesante. Y lo es. En especial si se nos dice que la película, originalmente llamada Origin of Species (un bonito guiño a Charles Darwin), está basada en hechos reales. Los ocho personajes principales de la película existieron y para escribier el guión, Noah Pink investigó y leyó las memorias de Dora y de Margaret. Sin embargo, a pesar de ese elemento de veracidad y de una banda sonora compuesta por Hans Zimmer, considero que Eden es un fracaso de película porque no consigue cautivar verdaderamente al espectador. En mi opinión, una de las causas principales de ello es el casting. No los actores y actrices seleccionados, sino los papeles asignados a cada uno. El talendo de los cinco protagonistas principales no está en discusión; cada uno a su manera ha demostrado sus capacidades en más de una ocasión. Sin embargo, el acento francés de la baronesa no es convincente, como tampoco lo es el origen germano de Margaret; creo que debieron escoger actrices con esos antecedentes o que al menos lograran parecer más auténticas. No estoy diciendo que sean malas actrices, claro que no lo son, pero no siento que logren brillar en esos roles. En mi opinión, de todo el elenco, la única que consigue una actuación convincente es Vanessa Kirby; los demás, Law y Brühl incluidos, cumplen con su interpretación gracias a su talento, pero no consiguen que sus personajes sean memorables o que sus actuaciones estén a la altura de lo que uno esperaría al ver estos grandes nombres en los créditos.
And the other flaw I think the film has is the script. The story starts from an interesting premise, but some scenes felt forced and others unnecessary. Perhaps it was something that happened during editing, and maybe the film was originally longer, I don't know, but I got the impression that Eden would have worked better as a miniseries, about six or eight episodes that would have allowed us to delve deeper into the characters and explore the gradual escalation of the threats.
Y el otro defecto que creo que tiene la película es el guion. La historia parte de un contexto interesante, pero algunas escenas me parecieron forzadas y otra innecesarias. Tal vez fue algo que ocurrió en la edición y quizás la película tenía una duración más extensa al inicio, no lo sé, pero me dio la impresión de que Eden habría funcionado mejor como una mini serie, unos 6 u 8 episodios que nos permitieran profundizar más en los personajes y jugar con el aumento progresivo de las amenazas.
In some ways, the film reminded me of William Golding's Lord of the Flies and some themes explored in the TV series Lost, but it lacks the charm of both. And that note I read about intimate scenes between the three female leads turned out not to be true. Was it a publicity stunt by the filmmakers or just a rumor that spread uncontrollably? Ron Howard is a director with a wealth of experience; from the classic Cocoon in the mid-eighties to the Robert Langdon stories (a character created by Dan Brown and played by Tom Hanks), Howard has given us incredible works like A Beautiful Mind and Cinderella Man, other memorable ones like Apollo 13, and one of my favorites, Rush (also starring Daniel Brühl). He has also directed mediocre films like Solo: A Star Wars Story, among others. Of the last ten or fifteen years, besides Rush, I think he did a good job with In the Heart of the Sea, however, I believe his best days are behind him and Eden seems to confirm that. Some people have recommended Thirteen Lives to me, but I haven't seen it, so I'd appreciate feedback from anyone who has to see if it's worth a watch. Who has seen Eden? What did you think? Let me know in the comments.
En ciertos aspectos, la película me recordó a El señor de las moscas de William Golding y a algunos temas tratados en la serie de tv Lost, pero carece del encanto de ambas y aquella nota que leí sobre escenas sexoafectivas entre las tres mujeres protagonistas resultó no corresponderse con la realidad, ¿fue una estrategia de publicidad de los realizadores o un simple rumor que se esparció sin poder controlarlo? Ron Howard es un director con muchísima experiencia; desde la clásica Cocoon a mediados de los ochenta hasta las historias de Robert Langdon (personaje creado por Dan Brown e interpretado por Tom Hanks), Howard nos ha dejado obras increíbles como A Beautiful Mind y Cinderella Man, otras muy recordadas como Apollo 13, o una de mis favoritas, Rush (también con Daniel Brühl), pero también ha dirigido películas regulares como Solo: A Star Wars Story, entre otras. De los últimos diez o quince años, además de Rush, me parece que hizo un buen trabajo en In the Heart of the Sea, sin embargo creo que sus mejores días ya han quedado atrás y Eden parece confirmarme eso. Algunas personas me han recomendado Thirteen Lives, pero no la he visto, así que acepto comentarios de alguien que sí lo haya hecho para ver si merece que le de una oportunidad, ¿quienes han visto Eden? ¿qué les pareció? Los leo en los comentario.
Reviewed by | Reseñado por @cristiancaicedo
Other posts that may interest you | Otros posts que pueden interesarte:
Hello, Internet folks, how's it going? Today I want to talk to you about a film whose short version I had already seen. ‘When the Lights Go Out’ was born from a short film by a YouTuber who is a film buff, which showed an entity that moved forward thanks to the darkness. Here it is:
Hola, gente de Internet ¿todo bien? Hoy quiero hablarles de de una película cuyo cortometraje ya había visto. "Cuando las luces se apagan" nació del cortometraje de un youtuber aficionado al cine, el cual mostraba una entidad que avanzaba gracias a la oscuridad. Aquí selos dejo:
I honestly didn't know that this short film had a feature film by the same director. I found out from one of my favourite idols, Felix from Stray Kids, who said in an interview about paranormal things that the film was the one that impressed him the most and even reactivated his fear of sleeping with the lights off.
La verdad no sabía que este corto tenía una película a cargo del mismo director, me enteré por uno de mis Idols preferidos, Felix de Stray kids quien en una entrevista donde el tema trataba sobre cosas paranormales, dijo que la película fue la que más le impresionó más y que incluso reactivó su miedo a dormir con la luz apagada
With that in mind, I wanted to see it, but I think Felix got my expectations too high, lol. It's not a bad film, but I was honestly expecting much more (in terms of horror) from the story. I found it quite interesting.
Teniendo en cuenta esto quise verla pero, creo que Felix me hizo tener unas expectativas demasiado altas lol, no es una mala película pero la verdad esperaba mucho más (en cuanto al terror) respecto a la historia, me pareció bastante interesante
One of the things I liked most about the photography was the use of light and shadow. Since the entity in the film operates in the shadows, this aspect had to be very well done. Speaking of a dark entity that moves among shadows, they had to find a way to make it visible to the viewer's eyes. To do this, they used contrast and backlighting or partial lighting, keeping the lens in the shadows, so that its silhouette was perfectly visible without losing the mystery and terror.
Una de las cosas que más me gustó a nivel de fotografía es el manejo de lasluces y sombras. Ya que la entidad de la película se maneja en las sombras, este aspecto debía ser muy bueno. Hablando de una entidad oscura que se mueve entre sombras, debían encontrar la manera de que pudiese ser visible para los ojos del espectador,para ello usaron el contraste y luces posteriores o parciales, manteniendoalente en las sombras, asi su silueta era perfectamente visible sin perder el misterio y el terror
Although the film is shot in the dark, everything is perfectly understandable and clearly visible. This required a lot of work behind the scenes, but they did a great job.
Aunque la película se maneja a oscuras se entende todo perfectamente, se ve con claridad. Esto supuso un gran trabajo detrás pero lo hicieron muy bien
The story can be treated literally or ambiguously (as in Babadoock). An entity stalks a family with a tragic past, but the thing is that the matriarch of the family has a mental problem, hence the ambiguity of the paranormal event (I could be more specific, but that would be a spoiler, and I don't want to do that).
La historia puede tratarse literal o ambigua (como en Babadoock) Una entidad que asecha a una familia con un pasado trágico, la cosa es que la matriarca de la familia, tiene un problema mental y de allí la ambiguedad del evento paranormal (podría ser más específica pero caería en da spoilers y no quiero)
I find the story interesting. We are talking about an entity that was once human but nevertheless had certain ‘powers,’ and also about a bittersweet ending that you can either love or hate. I particularly like happy endings, but I can accept this type of ending because it makes sense within the story that is being told and the way the plot is carried out.
Me parece que la historia es interesante, hablamos de una entidad que fue humana alguna vez pero que sin embargo tenía ciertos "poderes" y también de un final agridulce puedes marlo u odiarlo. Particularmente me gustan los finales felices sin embargo puedo aceptar este tipo de finales ya que tienen sentido dentro de la historia que quiere contarse y la vía por la que la trama es llevada
As for the handling of terror... it left much to be desired. I liked the first scene with the entity because it alluded to the short film that was the starting point, but I found the other appearances to be quite predictable or rather generic in general.
En cuanto al manejo del terror... dejó mucho que desear, la primera escena dela entidad me gustó porque hacía alusión al cortometraje que fue punro de partida, sin embargo las demás apariciones me parecieron bastante predecibles o bastante genéricas en general
I can only praise this scene because it uses analogue horror (the only kind that scares me nowadays, provided it is well executed), and it is the scene where Diana wants Sophie to follow her. However, it is the way she moves that is frightening, moving backwards without turning her back on Sophie, with her hands clasped and her fingers moving erratically.
Solamente puedo rescatar esta escena debido a que emplea terror analógico (el único que hoy día me asusta y siempre que este bien implementado) y es la escena donde Diana quiere que Sophie la siga, sin embargo su forma de moverse es lo que da miedo, desplazandose hacia atrás, sin darle la espalda a Sophie con las manos encorbadas y moviendos los dedos de forma erratica
In summary... Felix is easily impressed lol. While it's not a bad film, for someone like me (who is used to the horror genre), the film didn't scare me, and if a horror film doesn't scare me, I simply don't like it. It's up to you whether you want to see it or not :3
En resumen... Felix es impresionable lol si bien no es una mala película, para alguien como yo (acostumbrada al género terror) la película no me asustó y para mi si una película de terror no me asusta, directamente no me gusta. Ya quedará de parte de ustedes si quieren verla o no :3
And well, people, that's all for today's post, I hope you liked it. Thank you very much as always for supporting my work, I welcome new readers, I love you all very much, I send you a hug and I'll see you in another post.
Y bueno, gente, esto ha sido todo por el post de hoy, espero que les haya gustado. Muchas gracias como siempre por apoyar mi trabajo, le doy la bienvenida a los nuevos lectores, les quiero mucho a todos, les envío un abrazo y ya nos encontraremos en otro post
I made the cover and farewell image in Canva
La imagen de portada y despedida la realicé en Canva.
One thing that I tend to take notice of in a film or a series is whether or not the people making it had enough material to make it the length that they end up making it, whatever it happens to be.
In films we see the "bloat" happen a lot less frequently although since it has been determined apparently a long time ago, that films need to be 90 minutes long or more, often films can have a bunch of filler that doesn't do anything for the story or the characters, simply for the sake of making the film longer.
With series, this is far more noticeable than it is with films. Often there were be "padding episodes" normally buried in the middle of a season, where relatively useless aspects of the overall plot are pursued, none of which has any sort of impact on the overall trajectory of the series. While not the biggest violator I have seen (this non-award goes to the Punisher series) The Beast in Me certainly does utilize this very tiresome tactic in their pursuit to have 8, 1-hour long episodes in season 1.
Because of this, I can't really recommend this show even though it is pretty well done when they get to it and actually focus on the main point of the plot.
This show is a crime thriller of sorts where a best-selling author Aggie Wiggs ends up being the next door neighbor of a man whose wife disappeared under suspicious circumstances and through happenstance the two of them end up teaming up to write her next book and have it be about him instead of what she was planning on doing (and was failing to make much progress on) when they meet one another.
The next door neighbor in question is Nile Jarvis, who is a real-estate developing multi-millionaire type who is aggressive and tactful in everything that he does and Aggie at first doesn't trust him at all, but upon reflection she realizes that he is correct in his opine that her current choice of book is not a good topic and that she should write about him.
They get down to actually making that happen in a series of events that honestly, take too long and this is part of the reason why I started to feel as though they were intentionally dragging things out. I mean, we, as the viewers are blindingly aware of the fact that she is going to say yes to the idea otherwise there is no show so I don't really see the point in dragging out this decision across multiple episodes. It gets tiresome pretty quick.
I have to hand it to Claire Danes for her role of playing Aggie. She does a wonderful job of portraying a semi-washed-up author who is suffering from writer's block as well as battling some inner demons created by tragic circumstances that have happened in her recent past. I have intentionally not mentioned what they are for the sake of avoiding spoilers.
I did also feel a little bit bad because seeing Claire all old and wrinkly made me feel a bit old and wrinkly. I remember back when she was youthful and considered a sex-symbol many years ago. What can I say? We all have to get old, right?
Some of you may react the way that I did in my happiness to see Jonathan Banks be in something again. His role in this series isn't too much of a departure from his character, I think it was "Mike" from Breaking Bad and Better Call Saul. As you would expect, he steals every scene that he is in but don't get your hopes up too high because he isn't in very many of them.
As the story (very very slowly) gets moving, we get to see that there is a lot more to what is going on than just writing a book about a man who the world believes is a murderer even though he was never convicted of any such crime. We are kept in a perpetual ping-pong match of emotion as we attempt to determine whether or not Nile actually is a monster, or if he is just a victim of circumstance while being on the wrong side of the press.
They do a very good job with this: At no point in time are you very certain whether or not he is guilty and just when you think you have it all figured out, they do some pretty clever switcharoos on us.
While the story is told primarily from Aggie's point of view, there are also glimpses into the FBI investigations as well as corruption of politics and how money truly does control everything in this world. I appreciated a lot of that.
What I didn't appreciate was the fact that basically the entire middle of this series could have not even been episodes (especially episodes 5 and 6) and almost nothing about the story would have changed. The sequences where Aggie runs off to have drawn out conversations with her ex have absolutely nothing to do with the overall story and to me seemed entirely like filler in order to ensure they had 8, 1-hour episodes to push out the door to Netflix.
This isn't enough reason to not watch it though because despite this very big problem, it still manages to be one of the better series that exist right now on the market. Also, this series is fully released so you don't have to get annoyed about it being released 1 week at a time which seems to be the trend in series on most streaming services these days.
Should I watch it?
If you can get past the fact that the center parts of nearly every episode outside of 1 and 8 is often filler designed to eat up the 1-hour required duration of each episode then I think you will do just fine. For me, this meant walking around my house and doing other things while I simply listened to the dialogue. Doing so resulted in me not missing a damn thing too.
I really wish they hadn't done this because they could have not done that, and just had this thing be 6 episodes instead of 8. I would imagine that it is pretty difficult to come up with 8 hours or material, but I also don't understand why it is that streaming services, especially streaming services that pump out all the episodes at a single point in time, decide to do this. To me it just seems unnecessary. The only justification that I can come up with is that while they were filming it or even before they had even sold it, they needed to make it appeal to a wide range of potential buyers. Perhaps they didn't know Netflix was going to pick it up. I don't know how these sorts of things work.
Even though it does suffer from bloat, there is a lot of entertainment value to be had here and it is a good story with very competent actors for the most part.
So while I will warn you that there are going to be moments where you are screaming internally "get on with it already!" it is still worth seeing and I fully intend to finish the last two episodes by the end of the day.
The only way to legally watch this at the moment is through a standard Netflix subscription
I don’t like Woody Allen at all, although I admit he has made some good films. As a director and writer he’s definitely talented, but when he acts he talks so much that the word “acting” loses its meaning and becomes something I simply can’t handle, something I can’t enjoy in any way. Especially when I’ve seen actors express incredible emotions and meaning just through their eyes or subtle facial movements.
I never managed to finish Annie Hall which is otherwise considered a masterpiece. I just couldn’t stand listening to Woody Allen talking endlessly, so I always stopped the film around the thirty minute mark. I tried two or three times.
Now that I’ve got that off my chest, let’s get to the main point. In Woody Allen’s film Blue Jasmine where he participated as both director and writer, Cate Blanchett won the Oscar for Best Actress.
For the plot, the imdb summary is enough:
“A New York socialite, deeply troubled and in denial, arrives in San Francisco to impose upon her sister. She looks like a million dollars, but brings no money, peace, or love.”
Cate Blanchett as Jasmine, the New York socialite, manages to make you feel the crushing difficulty of her situation while at the same time preventing you from feeling any real sympathy for her. On the contrary you almost feel a sense of dislike. And all these feelings keep shifting ever so slightly, blurring the boundaries inside you. In doing so, she passes on the crystallized confusion the protagonist is trapped in. It’s very hard to like or dislike someone who has nothing left standing inside. Someone who, beyond the polished shell, is empty. Blanchett conveys this human condition through her performance.
Is the film a masterpiece
It didn’t impress me in terms of directing or writing. I’m also negatively predisposed toward Woody Allen. What did impress me were the performances, first from Cate Blanchett as Jasmine and also from Sally Hawkins as Ginger who was nominated for an Oscar for this supporting yet crucial role.
For these two performances alone, Blue Jasmine is worth watching.
Written by: Glenn Mazzara
Directed by: Guy Ferland
Running Time: 45 minutes
The episode Cupid & Psycho of The Shield is a compelling example of the show’s ability to blend realism with dramatic tension, even as it occasionally strays from the gritty, unvarnished realities of urban life. While the series as a whole is often praised for its unflinching portrayal of the struggles of law enforcement and the systemic corruption that underpins it, Cupid & Psycho reveals a subtle but telling contradiction: the characters’ tendency to escape consequences that would have been fatal in real life. This is a narrative choice that reflects the constraints of Hollywood fiction. Creator Shawn Ryan, aware that real-world consequences would have made the series very short, opted for a balance between realism and dramatic license. This is evident in the the episode, where characters are able to avoid the legal and moral repercussions that would have been inevitable in a real-life scenario. Yet, even with this dramatic necessity, The Shield remains deeply rooted in the harsh realities of urban America, particularly in its depiction of the systemic failures and moral ambiguities that plague law enforcement.
One of the most intriguing aspects of Cupid & Psycho is the way it weaves multiple storylines and subplots into a single episode, a hallmark of the show’s structure. Written by Glen Mazzara and directed by Guy Ferland, who would go on to become the most prolific director of The Shield, the episode is a masterclass in narrative complexity. While some of these subplots may feel loosely connected, they collectively create a mosaic that reflects the multifaceted nature of the characters’ lives. The episode’s ability to juggle multiple threads—ranging from a murder investigation to a political scandal and a personal tragedy—demonstrates the show’s commitment to exploring the interconnectedness of its characters.
The main storyline of Cupid & Psycho centers on a high-stakes police investigation that begins with a car chase in Los Angeles. Danny and Julien are involved in the pursuit, which ends in a fatal crash. However, the discovery of a grotesquely burned man in the trunk of the crashed vehicle introduces a chilling twist: the man is alive. The burned man, played by Howard Freeman, is identified as Eric, a former college friend of the deceased driver, Andy. The connection between Eric and Andy is not just a personal one but also a professional one, as both were involved in a meth production operation. Eric’s injuries, which match those of a meth lab explosion, suggest that the drug trafficking is a central element of the case.
The case is assigned to Vic and Claudette, newly formed detective partnership. Meanwhile, Shane is paired with Dutch as a new partner, another decision that is influenced by the leaked IAD investigation against the Strike Team. This investigation, which was leaked to the press, has led to Aceveda using it as an excuse to temporarily dissolve the Strike Team and place its members in regular detective rotations.
As Vic and Claudette investigate, they uncover a web of connections that link Eric, Andy, and the meth production operation. The trail leads them to Effi Montecito (Johnny Whitworth), a man who lived in a college frat house and was giving meth to students as part of a hazing ritual. However, the supply was also created by Effi’s brother, Paul (Derek Hamilton), who points to Manny Sandoval (Jonathan Neill Schneider), a loan shark who financed the meth production. Manny’s arrest is a turning point in the episode, as he uses his knowledge of the drug’s whereabouts as leverage to convince Vic and Claudette to release him.
Meanwhile, the subplot involving Kim Kelner (KK Dodds), the widow of a man whose murder one year ago was unsolved by retired detective Tom Gannon, adds another layer of complexity to the episode. Shane, who sees this as an opportunity to “score” with a lonely widow, contrasts with Dutch, who takes the case more seriously. Dutch’s determination to uncover the truth leads him to make a connection with Kim, despite the potential for a romantic relationship with Danny.
The main season arc of stolen drugs is another critical element of the episode Vic’s strategy to convince Julien, who is afraid of revealing his homosexuality to his peers, to retract his statement against the Strike Team is a calculated move. Julien’s initial resistance to this strategy is a reflection of his internal conflict, but his eventual retraction leads to the collapse of the case against Vic and his colleagues. Aceveda’s fury at this development is a clear indicator of the political stakes involved, as the collapse of the case could jeopardise his political career. However, Machado’s reassurance that starting the investigation is enough to secure his future run for city council is a reminder of the show’s focus on the political machinations that underpin law enforcement.
The subplot involving Fran (Amy Bollenbacher), woman who is in an on-off relationship with two men—Hooper (Jeremiah W. Birkett) and Lamar Tilton (Page Kennedy)—adds a layer of personal tragedy to the episode. She manipulates their feelings, bringing two of them into her home, which results in petty vandalism fueled by jealousy. The subplot, which was introduced in the pilot, is initially amusing to Danny and Julien, but it escalates into a tragic outcome when Hooper is arrested for killing Lamar and Fran.
Despite the episode’s complex structure and multiple storylines, Cupid & Psycho is ultimately a well-directed and well-acted episode that is held together by a general motive: the characters’ attempts to escape ruin. Vic’s struggle to avoid arrest for corruption, Aceveda’s fear of losing his political ambitions, and Manny Sandoval’s desire to avoid legal consequences are all central to the episode’s narrative. However, the show’s ability to subvert these expectations is what makes it compelling. The karmic twist where Fran pays the ultimate price for her role in the subplot is a powerful reminder of the show’s commitment to realism and moral ambiguity.
At the end, Cupid & Psycho is a masterclass in narrative complexity and character-driven storytelling. While the episode’s multiple subplots may sometimes feel disjointed, they collectively create a rich tapestry that reflects the show’s themes of corruption, justice, and the personal costs of pursuing the truth. Despite the occasional narrative ambiguity, the episode is a compelling example of The Shield’s ability to blend realism with dramatic tension, making it a standout episode in the series.
I finished Ghost of Tsushima, and I feel like this was more than just a game for me. I felt a thousand and one emotions; it truly touched a chord in my heart. I already talked about Act I in another post, last month actually, but now that I've finished everything, including Iki Island, which is part of the Director's Cut (an expansion), I can say that the entire story feels like watching Jin Sakai grow, seeing him break down and rebuild himself. Something this game made clear to me is that "doing the right thing" doesn't mean the same thing to everyone, and that it can also be a very lonely path.
Terminé Ghost of Tsushima y, siento que esto fue más que un juego para mi. Sentí mil y unas emociones, realmente tocó una fibra de mi corazón. Ya hablé del Acto I en otro post, el mes pasado de hecho, pero ahora que terminé todo, incluyendo Isla Iki que forma parte del Director’s cut (una expansión) puedo decir que la historia completa se siente como ver crecer este personaje de Jin Sakai, también lo veremos romperse y reconstruirse. Algo que me dejó en claro este juego es que “hacer lo correcto” no significa lo mismo para todos, y que también puede ser un camino muy solitario.
As I mentioned before, we have this samurai, Jin, who tries to cling to his honor with all his might, but reality is stronger and breaks him, or perhaps opens his eyes, I don't know how to put it. Here come the losses, the decisions no one wants to make, the pressure of being the last hope when you have no strength left. Realizing that having "honor" isn't enough and won't help your people, understanding that you have to take other, less traveled paths at that point, the Ghost is born, an inevitable consequence.
Como les dije antes tenemos a este samurái, Jin, que intenta aferrarse a su honor con todo lo que puede, pero, la realidad es mas fuerte y lo rompe o le abren ojos, no sabría como decirlo, aquí vinos las pérdidas, las decisiones que nadie quiere tomar, la presión de ser la última esperanza cuando ya no te quedan fuerzas. Darte cuenta que tener “honor” no es suficiente y no ayudará a tu gente, entender que hay tomar otros caminos menos transitados, en ese punto es donde nace el Fantasma, una consecuencia inevitable.
The main story is quite good, but I was also fortunate enough to play it with the expansion. I played the Iki Island section at the perfect moment in the game. This is the most emotional and vulnerable side of the character we see. Here, Jin not only has to fight against the Mongols who wanted to take over his home, but he also has to fight against himself and his own thoughts, his memories, his guilt, and the traumas he carries inside. This was truly a crucial piece for understanding the game, and I'm glad they included it.
Despite being a game, it ultimately leaves you reflecting deeply, because it wasn't just about killing Mongols to drive them from your home. There's something deeper to it all, and that's the human side we all carry within us, like when the only solution is to change, even if it goes against what you used to believe. You must change to survive; you must also lose much more than you gain individually, the sacrifice of becoming something you didn't want to be, but that was necessary. If you have the chance to play it with the expansion, do it; it really has a good story.
La historia principal es bastante buena pero que bueno que también tuve la dicha de jugarlo con la expansión, la parte de la isla Iki la jugué en el momento preciso durante el juego. Esta es la parte mas emocional y vulnerable que veremos del personaje, aquí Jin no solamente deberá luchar contra los mongoles que querían apoderarse de su hogar sino que también debe luchar contra si mismo y sus propios pensamientos, sus recuerdos, su culpa y traumas que lleva adentro, realmente esto fue una pieza bastante importante para entender el juego y me alegro que la hayan agregado.
A pesar de ser un juego, al final te deja reflexionando mucho, porque no solo se trató de ir matando mongoles por ahí para sacarlos de tu hogar. Hay algo más profundo en todo esto, y es la parte humana que llevamos dentro, como cuando la única solución que tienes es cambiar, así eso vaya en contra de lo que solías creer. Debes cambiar para sobrevivir, también debes perder mucho más de lo que ganarás de forma individual, el sacrificio de convertirse en algo que no querías pero que era necesario. Si tienen la oportunidad de jugarlo con la expansión háganlo, realmente tiene una buena historia.
There are movies you watch because you expect brilliance and then there are movies you watch because your curiosity urges you to just press play. This movie falls firmly into the second category, and honestly? I wasn’t even mad, just mildly stressed, slightly entertained and occasionally confused.
From the start, the film throws you into this high-adrenaline chase where Olga Kurylenko (playing Kiara) is a desperate woman whose daughter has been kidnapped, and she has hours to gather a huge sum of money. Then you have Harvey Keitel as this shady, powerful nightclub owner who looks like he knows ten ways to ruin your life. The vibe is gritty, neon-lit, and slightly sweaty, that late-night panic kind of aesthetic.
Kiara isn’t your typical action heroine either. She’s frantic, emotional, and dangerously determined. She’s got no calm superhuman energy, just full-on mother on the edge mode. And that made her relatable. I love a woman who looks like she hasn’t slept in three days but still manages to outwit criminals because I know motherhood is basically a survival skill set.
There are things that worked for me and things that didn’t. One is, the action sequences are messy in a human way, not polished Marvel choreography, but scrappy, survival-driven fights. The pacing almost gave me whiplash but in a way that kept me awake. But, for a thriller, I wasn’t as thrilled as I expected.
Kiara and the terrible stranger she teams up with are the most unlikely duo ever but them later working together was kinda fun. Also, the desperation feels real on the adult's end. The kids were basically watering everything down by going full on recital mode and I’m directly pointing at Lucy, Kiara’s daughter.
In all honesty, this film is a paradox in itself. It’s fast-paced but thin, emotional but sometimes undercooked, stylish but occasionally low-budget around the edges. Some scenes are like they were written by someone who started with a great idea and then sprinted toward the end without breathing. But it’s oddly entertaining according to my younger brother.
My biggest critique is that the story tries to juggle too many twists and not all of them land. The intensity sometimes turns into noise, and a few emotional beats deserve more time to breathe. But Olga Kurylenko does try to carry the film with sheer force and I respect that. Theme-wise, it’s very much about desperation, motherhood, survival and the kind of choices you make when your world is crumbling.
Did I enjoy it?
Well in a messy, unpolished, say ‘this could’ve been better but I had a good time anyway’ way, absolutely.
Rating: 6/10
Hello, cinema fans. Today I'm here to talk to you about one of the best virtual world movies made in the last decade. A film that brought us the best of pop culture's golden age mixed with a story full of action, humor, crossovers, and references from start to finish. Produced and directed by the great Steven Spielberg, Ready Player One is based on the novel of the same name by Ernest Cline. The film stars Tye Sheridan, Olivia Cooke, Ben Meldensohn, T.J. Miller, Simon Pegg and Mark Rylance. Discover a film that brought us one of the most fantastic digital universes in cinema today.
SPANISH VERSION
Hola, fanáticos del cine. En esta oportunidad les vengo a hablar sobre una de las mejores películas de mundos virtuales que se hicieron en la década pasada. Una cinta que nos trajo lo mejor de la época dorada de la cultura pop mezclado con una historia repleta de acción, humor, crossovers y referencias de principio a fin. Producida y dirigida por el gran Steven Spielberg, "Ready Player One" está basada en la novela homónima de Ernest Cline. La película cuenta con el protagonismo de Tye Sheridan, Olivia Cooke, Ben Meldensohn, T. J. Miller, Simon Pegg y Mark Rylance. Conoce una película que nos trajo uno de los universos digitales más fantásticos del cine actual.
The film begins in the near future, in the year 2045, somewhere in Columbus, Ohio, where we meet a young orphan who lives with his aunt in one of the many trailers in this poor neighborhood. He himself tells us that in this world, most people seek to escape the cruel and dark reality. Interestingly, there is OASIS, a virtual reality entertainment universe where you can do whatever you want and be whoever you want with complete freedom. Our young protagonist, named Wade Watts, uses an avatar called Parzival and decides to participate in one of the challenges left by the creator before he died. Upon completing it, he will obtain one of the three keys that will grant the winner an "Easter Egg" with all its treasures.
SPANISH VERSION
Trama
La película inicia en un futuro cercano, en el año 2045 en algún lugar de Columbus, Ohio donde conocemos a un joven huérfano que vive con su tía en uno de los tantos remolques que hay en este pobre lugar. Él mismo nos narra luego que en este mundo la mayoría de la gente busca escapar de la cruel y oscura realidad. Curiosamente para esto existe OASIS, un universo de entretenimiento de realidad virtual donde puedes hacer lo que quieras y ser quien quieras con toda libertad. Nuestro joven protagonista, llamado Wade Watts utiliza un avatar de Parzival y decide participar en uno de los desafíos que dejó el creador antes de morir. Al completarla, obtendrá una de las tres llaves que le otorgarán al ganador un “Huevo de Pascua” con todos sus tesoros.
I think I've told you before that I'm not much of a fan of modern movies. Most of the films I remember and have brought up so far are from more than twenty years ago. However, in the past decade there have been some films that have had a big impact on me, and this is one of them. In particular, when it comes to the science fiction genre, I consider Ready Player One to be one of the best movies ever made. And I'm not just saying that because of its incredible visual effects, CGI, and great crossovers, but also because of its story, characters, and lessons. Of course, it was also directed and produced by one of the greatest geniuses in the world of cinema, Steven Spielberg.
I discovered this film thanks to an old acquaintance who showed it to me at his house years ago, shortly after its release. After watching the first few minutes, I couldn't forget it, even to this day. Although I didn't finish watching it back then, it had such an impact on me that I always wanted to find the perfect moment to watch it again and talk about it. It's no secret that Steven Spielberg's works have left their mark on more than one generation. Apart from adventure and action, one of the genres in which this great director has established himself is science fiction. We have already discussed some of his greatest and most successful works in this special feature.
SPANISH VERSION
Creo que ya les he dicho antes que no soy mucho de ver películas tan modernas. La mayoría de cintas que recuerdo y les he traído hasta ahora son de hace más de veinte años atrás. Sin embargo, en la década pasada hubo algunas películas que me impactaron bastante y esta es una de ellas. En especial, en lo que respecta al género de la ciencia ficción considero que entre las mejores películas que existen está Ready Player One. Y no solo lo digo por sus increíbles efectos visuales, CGI y grandes crossovers; sino también por su historia, personajes y lecciones. Por supuesto, también cuenta con la dirección y producción de uno de los mejores genios del mundo del cine, Steven Spielberg.
Conocí esta película gracias a que la ví en la casa de un viejo conocido hace años, poco después de estrenarse. Luego de ver los primeros minutos me fue imposible olvidarla hasta la fecha de hoy. Si bien no la he terminado de ver en aquel entonces, el impacto que me generó fue tal que siempre quise buscar el momento perfecto para verla de nuevo y hablar de ella. No es un secreto que las obras de Steven Spielberg han marcado a más de una generación. Aparte del género de la aventura y la acción, uno de los géneros con los que se consolidó este gran director es el de la ciencia ficción. Ya hemos hablado de algunas de sus más grandes y exitosas obras en este especial.
But this time, we're talking about one of his latest sci-fi cinematic masterpieces that completely defined an entire era and mixed it with all the best that today's virtual worlds have to offer. Ready Player One may not be the perfect movie for you if you're looking for something deep, unique, and introspective. But if, on the other hand, you're looking for a highly entertaining, fascinating, and very well-produced film, then this Spielberg movie is perfect for you. Its plot and story are very simple, with many typical clichés that don't really affect the viewing experience.
Of course, it sounds very repetitive to see the same old story that boils down to a futuristic, dystopian world where society seeks to escape reality through a virtual world full of entertainment. It's nothing new that hasn't been seen before on the big screen. It also has its typical evil organization seeking to dominate the world, a completely incompetent villain or antagonist, and a protagonist who "saves the world and gets the girl". These and more clichés are what you'll see in this film. But even so, I assure you that it will be worth watching, even when you find out that it lasts more than two hours.
SPANISH VERSION
Pero en esta ocasión toca hablar de una de sus últimas obras maestras cinematográficas de ciencia ficción que definieron por completo una época entera y la mezcló con todo lo bueno que ofrecen los mundos virtuales de la actualidad. Ready Player One puede que no sea la película perfecta para ti si lo que estabas buscando es algo profundo, único e introspectivo. Pero si en cambio tu intención es buscar una película de lo más entretenida, fascinante y muy pero muy bien producida a nivel audiovisual entonces esta cinta de Spielberg es perfecta para ti. Su trama e historia es de lo más sencilla, con muchos clichés típicos que no llegan a afectar tanto la experiencia de todo el que la vea.
Aunque, claro, suena muy repetitivo el hecho de ver la misma historia de siempre que se resume en un mundo futurista y distópico donde la sociedad busca escapar de la realidad por medio de un mundo virtual repleto de entretenimiento. No es algo nuevo que se haya visto antes en la pantalla grande. También tiene su típica organización malvada que busca dominar este mundo, un villano o antagonista completamente incompetente y un protagonista que “salva el mundo y se queda con la chica”. Estos y más clichés son los que verás en esta película. Pero aún así les aseguro que valdrá la pena verla, aún cuando se enteren de que dura más de dos horas.
As you read at the beginning, Ready Player One has a huge number of references and inspirations from popular culture, especially from the "golden age" of the 80s and 90s. Songs, movies, actors, artists, video games... all this and more mixed together in a virtual world that brings together several of the most famous universes in the world of entertainment (movies, TV series, and video games). It is literally an "Oasis" where all your geek and otaku dreams can come true just by putting on a headset. If you are a fan of any of these things, you can be sure that you will love this feature film full of Easter eggs and unparalleled references.
Personally, I find this mix of classic and modern to be one of the most entertaining aspects of this film. Not a minute goes by without getting excited about seeing each object, each place, each character, hearing a song, or simply a mention or reference to something that has marked more than one generation. I consider Ready Player One to be one of the few Spielberg projects where you can see a clear inspiration in everything he has loved in his life, captured in a cinematic work with a captivating story. On the other hand, speaking a little about the story we see in this modern science fiction film, I have some interesting things to mention.
SPANISH VERSION
Como ya leyeron al principio, Ready Player One posee una cantidad gigantesca de referencias e inspiraciones de la cultura popular, más sobre todo de la “época dorada” que serían los años 80 y 90. Canciones, películas, actores, artistas, videojuegos… todo esto y más mezclado en un mundo virtual que une varios de los universos más famosos del mundo del entretenimiento (cine, series y videojuegos). Es literalmente un “Oasis” donde todos tus sueños geek y otakus se pueden hacer realidad con solo ponerte un visor. Si eres fan de algunas de estas cosas, tenlo por seguro que será una maravilla para ti ver este largometraje repleto de easter-eggs y referencias sin par.
Toda esta mezcla de lo clásico con lo moderno es, en lo personal, de lo más entretenido que tiene esta película. No puede pasar un minuto sin emocionarse por ver cada objeto, cada sitio, cada personaje, escuchar una canción o simplemente una mención o referencia de algo que ha marcado a más de una generación. Considero que Ready Player One es de los pocos proyectos de Spielberg donde se puede ver una evidente inspiración en todo lo que le ha gustado en su vida y lo ha plasmado en una obra cinematográfica con una historia que atrapa. Por otro lado, hablando un poco de dicha historia que vemos en esta cinta moderna de ciencia ficción, tengo algunas cosas interesantes por mencionar.
The film tells the story of Wade Watts, a young orphan who lives his life immersed in the virtual world of OASIS, just like everyone else in this dystopian future. It's curious how they introduce us to the main character as someone with limited resources, no parents, and a horrible life, only to then see how everything changes when he enters this virtual world of unparalleled entertainment. I think it would be superfluous to mention the irony of this correlation between both realities, but this is just a clear example of how this story is slightly inspired by what we see in real life. It's no secret that many people experience horrible things in reality and always prefer to find a means of escape.
Mostly, that means of escape is social media or anything related to the virtual world of the internet, which everyone can quickly access from anywhere. Some even abandon everything and live 24/7 connected to this digital world, creating their own reality made up of dreams and fantasies. They imitate or pretend to be characters they are not, make friends and more on the internet without worrying about who is really on the other side of the screen. We see all of this reflected in this film, which makes certain references to the dangers of getting too involved in this digital world.
SPANISH VERSION
La película nos cuenta la historia de Wade Watts quien es un joven y huérfano que vive su vida inmerso en el mundo virtual de OASIS, al igual que lo hace todo el mundo en este futuro distópico. Es curioso cómo nos introducen como personaje principal a alguien de escasos recursos, sin padres y con una vida horrible para luego ver cómo todo cambia al entrar en este mundo virtual de entretenimiento sin par. Creo que estaría de más mencionar la ironía de esta correlación que hay en ambas realidades, pero esto es solo una muestra clara de que dicha historia está ligeramente inspirada en lo que vemos en la vida real. No es un secreto para nadie que muchos viven cosas horribles en la realidad y que estos siempre prefieren buscar un medio de escape.
Mayormente, dicho medio de escape son las redes sociales o lo que sea que esté relacionado a ese mundo virtual que hay en el internet y del cual todo el mundo accede de forma rápida por todas partes. Algunos hasta abandonan todo y viven 24/7 conectados en este mundo digital creando su propia realidad hecha con sueños y fantasías. Imitan o se hacen pasar por personajes que no son, hacen amistades y más en internet sin preocupación por quiénes están realmente al otro lado de la pantalla. Todo esto lo vemos reflejado en esta película, la cual da ciertas menciones a estos temas del peligro que hay en mezclarse de más en este mundo digital.
Another interesting detail we see in this story is about the friendships that are formed in this virtual world and how the image they project is so different from who they really are in real life. I know it sounds like one of those typical digital jokes that everyone knows, such as "everyone on the internet is a man until proven otherwise" and things like that. But it is a fact that in real life we meet people on social media who are very, very different from what they are in reality. The film also mentions the issue of security in this digital world with regard to sharing your personal data.
Of course, this action and science fiction film shows us the consequences of such a mistake of sharing private data in a somewhat extreme way, typical of the United States. But in essence, the message it conveys is understandable. As for the action, this film has an excellent repertoire of action scenes, chases, and unforgettable fights. In the end, we are talking about a virtual world where anything goes and you can take everyone down before they take you down. But the best thing about it is how these action elements are added as a resource to make this feature film more interesting and appealing with its story of organizations trying to monopolize and people searching for the greatest treasure in OASIS.
SPANISH VERSION
Otro detalle interesante que vemos en esta historia es sobre las mismas amistades que se crean en este mundo virtual y cómo dicha visión que estos tienen es tan distinta a lo que de verdad son en la vida real. Sé que suena a uno de los típicos chistes o bromas digitales que todo el mundo conoce como el de “todos en internet son hombres hasta que demuestren lo contrario” y cosas así. Pero es un hecho de que en la vida real conocemos personas en redes sociales que son muy pero muy diferentes a lo que son en realidad. También se menciona el tema de la seguridad que uno debe de tener en este mundo digital con respecto a compartir tus datos personales.
Claro, en esta película de acción y ciencia ficción se nos muestra las consecuencias de dicho error de compartir datos privados de una manera un tanto extrema, típico de Estados Unidos. Pero en esencia se comprende dicho mensaje que se transmite. En cuanto a la acción, esta película posee un excelente repertorio de escenas de acción, persecuciones y luchas inolvidables. Al final, estamos hablando de un mundo virtual donde todo se vale y puedes acabar con todos antes de que acaben contigo. Pero lo mejor de esto es cómo dichos elementos de acción están agregados como un recurso para hacer más interesante y atractivo este largometraje con su historia de organizaciones que intentan monopolizar y gente que busca el tesoro más grande que hay en OASIS.
I think you've already read about this treasure, this "Easter Egg" that will be given to whoever wins all the challenges and gets the three keys. I think this way of turning everything we see in this movie into a long chase or race is a very useful device, especially if the movie is over two hours long. From beginning to end, we see how our protagonist and his friends compete with others for the prize, but even more so, they compete to prevent a technology organization from winning the prize and taking over the entire OASIS and becoming a monopoly. Note that here we may find another slight reference to how, in the real world, the media is being controlled by large monopolies.
But anyway, continuing with the film, another interesting detail I saw in Ready Player One is the way in which the challenges in OASIS are composed and how the protagonist manages to solve each puzzle. Personally, I like that they have given such an interesting and important role to the creator of this virtual world in this film. Seeing how the memories of James Halliday's life managed not only to solve puzzles, but also to tell us a story about the genius who changed this world. We see that Halliday's character is someone who is withdrawn, unsociable, and a huge fan of popular culture and video games.
SPANISH VERSION
Creo que ya leyeron antes sobre dicho tesoro, ese “Huevo de Pascua” que se le entregará al que consiga ganar todos los desafíos y consiga las tres llaves. Considero que esta forma de convertir todo lo que vemos en esta película en una larga persecución o carrera es un recurso muy útil, sobre todo si dicha película dura más de dos horas. De principio a fin vemos cómo nuestro protagonista y sus amigos compiten con los demás por el premio, pero más aún compiten para evitar que una organización tecnológica consiga el premio y se adueñe de todo OASIS y se vuelva un monopolio. Ojo que aquí puede que encontráramos otra referencia leve sobre cómo en el mundo real el medio está siendo controlado por grandes monopolios.
Pero bueno, siguiendo con la película, otro dato interesante que vi en Ready Player One es la forma en la que están compuestos dichos desafíos que hay en OASIS y en cómo el protagonista consigue resolver cada acertijo. En lo personal, me gusta que le hayan dado un papel tanto interesante como importante al creador de este mundo virtual en esta película. Ver cómo los recuerdos de la vida de James Halliday lograron no solo resolver acertijos, sino también contarnos una historia del mismo genio que cambió este mundo. Vemos que el personaje de Halliday es alguien retraído, poco social y muy fanático de la cultura popular y los videojuegos.
But more than anything else, we see that this genius ended up being a billionaire who regretted not having made certain decisions in the past. We see that his success with OASIS did not fill the void he had in his heart until the day he died. That's why seeing how everything intertwines and is revealed throughout the film until the end is one of the most fascinating and emotional things there is. Not only because of how it ends, but because of the way in which this creator and "god" ends up being an ordinary man with mistakes and regrets. If anyone says that this film does not have well-developed characters, then it is because they did not watch it in its entirety.
And speaking of characters, it's worth mentioning that there are a few generic characters in this film. For starters, we have the protagonist, that's right. Don't get me wrong, he has a good introduction and remarkable development, but both the script and the enormous amount of clichés and things we see in the film detract from its originality. For me, Parzival is more than just any protagonist who ends up as I told you above. I'm not saying that he doesn't have a scene or two that makes an impact, but beyond seeing a clear comparison between Wade and James, I don't see anything else noteworthy about this character.
SPANISH VERSION
Pero más que nada vemos que este genio solo terminó siendo un multimillonario arrepentido por no haber tomado ciertas decisiones en el pasado. Vemos que el éxito que tuvo con OASIS no llenó el vacío que tuvo todo este tiempo en su corazón hasta el día en el que falleció. Es por eso que ver cómo todo se va entremezclando y revelando a lo largo de la película hasta el final es de lo más fascinante y emotivo que hay. No solo por cómo termina, sino por la manera en la que dicho creador y “dios” termina siendo un hombre común y corriente con errores y arrepentimientos. Si alguien dice que esta película no tiene personajes bien desarrollados entonces es porque no la vieron completa.
Y hablando de personajes, hay que mencionar que sí hay uno que otro personaje genérico en esta película. Para empezar, tenemos al protagonista, así es. No me malentiendan, tiene una buena introducción y un desarrollo notable, pero tanto el guión como la enorme cantidad de clichés y cosas que vemos en la película le restan originalidad. Para mí, Parzival es más que un protagonista cualquiera que al final termina como ya les conté arriba. No digo que no tenga una que otra escena que sí impacte y todo, pero más allá de ver una clara comparación entre Wade y James, no veo que haya más nada que destacar de este personaje.
As for his friends in OASIS, each one has their own striking personality and everything, but nothing beyond the norm. The same goes for Art3mis, who is the typical girl who catches the protagonist's attention because of how cool she is, and they end up together in the end. Nothing new, I repeat. On the other hand, one character who did stand out, but for the wrong reasons, was the main antagonist and CEO of IOI, Nolan Sorrento. Honestly, there is no worse villain I have ever seen in movies than this useless character. I don't know if it's because of the comedy mixed into the film or because he's just a good-for-nothing who is only there to intentionally play the role of the evil leader.
Before continuing, I would like to clarify that I have nothing against the rest of the characters mentioned. I think each actor does an excellent job of acting and everything. The problem lies more in the script and the number of elements and clichés in the film that overshadow these performances. And talking of clichés, the ending of this movie isn't exactly the best ending I've ever seen, but at least it manages to wrap up the story in one way or another. Let's move on to the audiovisual aspect of this film, but not before mentioning something I have to say about CGI. It's no surprise to my two loyal readers that I'm not a big fan of animation or computer-generated imagery (CGI). However, I do appreciate and am fascinated by good CGI, not only in films, but also in series and anime.
SPANISH VERSION
En cuanto a sus amigos de OASIS, cada uno tiene su personalidad llamativa y todo, pero nada más allá de lo normal. En el caso de Art3mis ocurre igual, siendo la típica chica que llama la atención del protagonista por lo cool que ella es y terminan juntos al final, nada nuevo, repito. Por otro lado, un personaje que sí destacó, pero por los motivos incorrectos, fue el antagonista principal y CEO de IOI, Nolan Sorrento. De verdad, no hay peor villano que haya conocido en películas que este inútil. No sé si es por la mezcla de comedia que tiene la película o porque simplemente es un bueno para nada que solo está ahí cumpliendo con el papel de líder malvado de manera intencional.
Antes de continuar quisiera aclararles que no tengo nada en contra del resto de los personajes mencionados. Considero que cada actor realiza un excelente trabajo de interpretación y todo. El problema radica más en el guión y en la cantidad de elementos y clichés que hay en la película que opacan estas actuaciones. Y hablando de clichés, el final de esta película tampoco es que sea el mejor final que haya visto, pero al menos consigue cerrar la historia de alguna u otra forma. Pasamos ahora sí con el apartado audiovisual de esta película, pero no sin antes mencionarles algo que tengo con el CGI. No es una sorpresa para los dos únicos lectores que tengo desde siempre que no soy muy fan de la animación o los efectos visuales hechos por computadora (CGI). Pero, algo que sí valoro y me fascina mucho es un buen CGI, no solo en películas, sino también en series y animes.
Yes, I know what I just said sounds somewhat contradictory, but what I really mean is the difference between bad CGI and good CGI. Anyone can easily see this, especially if they have been watching movies and other audiovisual entertainment for a long time, like me. Bad CGI is like watching gameplay from the year 2000 without rendering. On the other hand, good CGI stands out, is appreciated, valued, and makes an impression. We've already seen cases where CGI stands out quite a bit if it's done well in movies. But in the case of the science fiction genre, and more specifically in movies from the past decade, there are many incomparable examples of good CGI at its finest.
This is thanks to geniuses like James Cameron with Avatar or Joseph Kosinski with Tron: Legacy, to name a few examples. But when someone like Steven Spielberg comes along and uses CGI in a large part of one of his films, you can see an incredible feat like the one we can enjoy with Ready Player One. Truly, there are scenes and feats in this film that are a non-stop audiovisual marvel. The level of visual detail, the extremely high quality of the CGI, the designs, the faces, the characters, the shots, the explosions... all this and more is the most fantastic thing this film has to offer. The most amazing thing is seeing scenes like the Iron Giant fighting Mechagodzilla.
I think the crossover theme is clear, but with Ready Player One being so excellently produced, it's fantastic to see scenes like King Kong destroying everything in the middle of a car race with the DeLorean from Back to the Future and Akira's motorcycle in the lead. And we can't overlook the incredible work done on the sound effects, which, as always, Spielberg manages to amaze us with perfectly set scenes. But it also has, of course, an impressive soundtrack, especially because it features classic songs from the 80s and 90s as well as compositions that make us feel nostalgic and emotional. In short, this is a perfect movie to watch and enjoy.
Personally, I give it a rating of 9.5/10 in terms of the science fiction and action genre.
SPANISH VERSION
Si, sé que suena algo contradictorio lo que les acabo de decir, pero en realidad me refiero a la diferencia que hay entre un mal CGI y un buen CGI. Cualquiera se puede dar cuenta de esto fácilmente y más si lleva tiempo en esto de ver películas y otros medios de entretenimiento audiovisual como yo. Un mal CGI es como ver un gameplay del año 2000 y sin renderizar. Por otro lado, un buen CGI se nota, se aprecia, se valora, se hace destacar. Ya hemos visto casos en el que el CGI destaca bastante si está bien hecho en películas. Pero en el caso del género de la ciencia ficción y más en especial en las películas de la década pasada hay muchos ejemplos incomparables de un buen CGI en su máximo esplendor.
Esto es gracias a genios como James Cameron con Avatar o Joseph Kosinski con Tron: Legacy, por poner unos ejemplos. Pero cuando alguien como Steven Spielberg viene a utilizar el CGI en gran parte de una de sus películas se puede ver una hazaña increíble como lo que podemos disfrutar con Ready Player One. De verdad, hay escenas y hazañas en esta película que son una maravilla audiovisual sin parar. El nivel de detalles visuales, la altísima calidad del CGI, los diseños, los rostros, los personajes, los planos, las explosiones… todo esto y más es de lo más fantástico que tiene esta cinta para mostrar. Lo más alucinante es ver escenas como el Gigante de Acero peleando contra Mechagodzilla.
Creo que quedó claro el tema de los crossovers, pero con lo excelentemente producida que está Ready Player One es fantástico ver escenas como la de King Kong destruyendo todo en medio de una carrera de autos con el Delorean de Volver al Futuro y la motocicleta de Akira en la delantera. Y no se puede dejar de lado el increíble trabajo que tiene con respecto a los efectos de sonido que, como siempre, Spielberg consigue maravillarnos con escenas perfectamente ambientadas con esto nomás. Pero también tiene, por supuesto, una banda sonora impresionante y más porque tiene soundtracks de clásicos de los 80 y 90 como también composiciones que nos generan nostalgia y emoción. En fin, esta es una película perfecta para ver y disfrutar.
Personalmente, le doy una calificación de 9.5/10 en lo que respecta al género de la ciencia ficción y la acción.
Tell me, have you seen this movie yet? What did you think of it? You can leave your answer in the comments.
Dime, ¿ya has visto esta película? ¿Qué te ha parecido? Puedes dejarme tu respuesta en los comentarios.
The only way to legally watch this at the moment is through a standard Netflix subscription 
