SOURCE Damn what a fkn long name for an episode, "The Great Swirling Apparatus of Our Planets Function", anyways, Episode 4 of IT Welcome To Derry finally decided to pump some gas into the series not only with Penny Wise data dump but also with some of the most gory scenes we have seen before and it really trick me out at first, look I get it slow burns are cool and all but three episodes deep and we are just now getting some real movement so yeah this one hit hard and shows how we yet dont need full clown mode to be a good show. The whole flashback thing with the entity crashing to Earth and Taniel showing Dick all that ancient shit about his ancestors fighting this thing was pretty wild and I love it, like part of me digs the lore dump becuase it explains why Pennywise or the Galloo cannot just pack up and leave Derry those star fragments acting like a prison perimeter is smart but at the same time sometimes less is more you know sometimes the monster is scarier when you do not know every single detail about where it came from and why it does what it does. The Marge scene though holy shit that was brutal watching her freak out thinking she has snail eyes popping out and then going full psycho with the band saw that is the kind of messed up horror I signed up for and then poor Lily trying to stop her and everyone walks in thinking she is the one who did it man that is rough I really need to see what happens next with that because leaving it hanging like that is killing me, but overall this episode finally feels like things are moving and it feels awesome, I just hope they keep this momentum going because I am ready for shit to really hit the fan.

• IMDB: https://www.imdb.com/title/tt19244304/
• Platform: HBO MAX

Source The kids finnaly got some photo evidence of this thing and they rush to the police station all excited thinking this is going to clear Hanks name and get the adults to actually pay attention but nope Chief Bowers looks at the pictures and sees nothing, like literally nothing just dead flowers and pigeon shit which is so frusturating because you know the entity is messing with everyones heads making the adults competently blind to whats happening right in front of them. The only thing that shows up in the photos is this clown figure in the background and even that Bowers just dismisses as a statue or whatever the hell he thinks it is, these kids cannot catch a break and its getting harder and harder for them to prove what they are seeing is real when the entity has this whole mind control thing going on with everyone in town. Will starts putting the pieces together about how the entity makes people scared on purpose because fear makes them taste better which is just gross when you think about it like this thing is literally seasoning its food by scaring the crap out of people before eating them, he explains it in this very scientific way talking about cortisol and adrenaline and how it changes the way humans taste which I thought was a cool touch becuase it makes sense in a twisted way. Lily comes up with the idea to use her moms Valium pills to stop themselves from feeling fear which is pretty smart honestly like if fear makes you tastier then maybe not feeling fear gives you some kind of protection, they call it mommys little helper and I had to laugh at that because yeah in the 60s everyone was popping pills for everything but hey if it keeps Pennywise away then why not.

Source

Source Now that whole Marge situation, that was hands down the most disturbing thing I have seen in this entire series so far and that includes all the creepy shit from the previous episodes, Marge is already feeling guilty about setting Lily up for this prank that the Patty Cakes are planning and shes nervous and sweating in the bathroom trying to psych herself up to go through with it. The biology teacher showed them this thing about parasites earlier in the episode how flatworms get inside snails and make their eyes bulge out so birds come eat them and spread the parasite and guess what Pennywise uses that exact fear against Marge, she looks in the mirror and sees her eyes growing huge like the snail eyes and she completely loses it starts freaking out thinking she has these parasite things coming out of her head and the only way to get rid of them is to cut them off. The sound effects in this scene were insane that distorted glug noise and then the way they showed her point of view through the bulging eyes looking at two different angles at the same time was just nasty, Marge grabs a wood chisel and tries to dig under her eye and then she runs her face across a band saw like what the actual fuck this is a kid doing this to herself because Pennywise made her think it was real. Lily hears her screaming and tries to help her but by the time the other kids run in Lily is covered in blood holding the chisel and everyone's thinking she did it, this is exactly the kind of thing that makes everyone think Lily is crazy and now shes probably going back to Juniper Hill wich sucks because she was actually trying to save Marge not hurt her but nobody is going to believe that, back then there was no cctv.

Source

Source The military side of things is getting more interesting because now Howerin is using his shining ability to dig around in Taniels memories and get the information Shaw wants about those pillars, the way they showed this whole sequence was pretty cool with Howerin stepping into Taniels mind and seeing all these doors that represent different memories and he finds the one he needs. Taniel remembers his aunt Rose telling him the story of the Galloo when he was a kid and we get this whole flashback about how the entity crashed to Earth inside a meteorite millions of years ago, the meteor breaks open and the dead lights come out and start terrorizing the area turning into whatever people are afraid of which back then was a moose with bloody antlers and later this creepy priest guy. The tribe from Taniels ancestors figures out they can use pieces from the meteor to trap the entity because if the meteor was its prison in the first place then pieces of it should still work as a cage, so they break off pieces and bury them around the western woods creating this barrier that the entity cannot cross and thats why its been stuck in Derry all this time. I thought this was a really smart way to explain why Pennywise never leaves town because in the movies and the book it never really made sense why this thing would just stay in one place when it could go anywhere, now we know its not because it wants to stay its because it has to stay trapped inside this circle of meteor pieces that the tribe buried hundreds of years ago. The fight scene between the tribe and the entity was pretty brutal you see this warrior woman Sesqui trying to protect her people and the entity takes the form of a priest and then a demon baby bursts out of his chest and stabs her mom which was just wild, eventually Necani uses the dagger made from the meteor to wound the entity and drive it back into the cave and then they bury the meteor pieces to keep it contained.

#skiptvads, #inleo, #hive, #horror, #pennywise, #derry, #entity, #meteorite, #tribe, #flashback, #marge, #lily, #parasite, #snail, #bandsaw, #shining, #howerin, #taniel, #pillars, #deadlights, #galloo, #neibolt, #balloon, #valium, #fear, #cortisol, #sewers, #ritual

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I know some good Korean movies and TV shows that are not well-recognized but are perfectly made with creative storylines that take the mind into a fantasy world when watching. Two of such are Faith: The Great Doctor and Gu Family Book (Kang Chi). Anytime I’m asked to recommend Korean movies or series, they are always at the top of my list.

Faith: The Great Doctor:

It was many years ago that my younger one bought the DVD plate of the series. I watched only one season, and then a cousin borrowed it and refused to return it despite all my pleas. I wanted to continue watching it by all means because of how interesting the first season was. Funny enough, it was later, during the years when movies had become downloadable on the phone, that I downloaded all the seasons and finally gave it a shot.

The movie has a fictional storyline with a touch of fantasy, where time travel in its realness was used. It shows different and far-away centuries merged together.

Choi Young seeks the healing power needed to attend to Princess Nogoog. He has to use the link between their world and another world to travel and get a healer. Yeah, the “other world” he travels to is a modern city — a 21st-century city — while they are 700 years below. Surprisingly, the healer he finds and kidnaps is just a regular doctor, a female doctor whom he saw treating people. He drags her away, uses the same chamber, and returns to his world — a world completely strange to the kidnapped doctor, Eun-soo. Did you comprehend that? I found that idea in the storyline very creative.

In the movie, many dramas unfold, with Eun-soo trying to figure out the world she has found herself in, and other top political groups wanting to have Eun-soo to themselves because of the powers they think she possesses. And guess what? She doesn’t have any powers — it’s her medical skills that appear to them as supernatural! If you haven’t seen this series, you’ve been missing out on one of the biggest K-dramas in the world!

Here comes Gu Family Book,

A fantasy story with a storyline that will launch the mind into the fantasy realm. The best part of this series is the ending. It shows how people can be recreated identically from their first existence. Gosh! That part made me want to meet the scriptwriter and give him or her all the money in my wallet. Lol

Thanks for reading

Image 1 & 2

Amigos como estan, por aqui estamos el dia de hoy con una ediciòn mas de esta revista digital creando un gran archivo de las mejores telenovelas de nuestro pais Venezuela. Espero les guste la ediciòn del dia de hoy, la cual es una novela que reune a una gran cantidad de actores increibles.

¿Qué pasó con Jacqueline? es una telenovela venezolana de 48 capítulos, creada por Alicia Barrios y Gustavo Michelena, dirigida por César Bolívar y transmitida por RCTV en 1982. Protagonizada por Doris Wells (en el doble papel de Ana / Jacqueline / Melissa Vidal) y Jean Carlo Simancas (Alejandro Ascanio), la producción mezcla melodrama, suspense y giro psicológico alrededor de la identidad y el engaño.

-Título: ¿Qué Pasó Con Jacqueline?. -Cadena & Productora: RCTV (Venezuela). -Año: 1982. -Capítulos: 48 episodios. -Guion & Creadores: Alicia Barrios y Gustavo Michelena. -Dirección: César Bolívar. -Protagonistas: Doris Wells (Ana / Jacqueline / Melissa Vidal), Jean Carlo Simancas (Alejandro Ascanio). -Reparto destacado: Raúl Amundaray, Víctor Cámara, Alicia Plaza, Elba Escobar, Félix Loreto, Liliana Durán, Carlos Márquez, Yajaira Orta, entre otros. -Tema musical: “Tú y yo” de Emmanuel.

La historia sigue a dos gemelas huérfanas, Ana y Jacqueline (ambas interpretadas por Doris Wells). Ana padece una enfermedad cardíaca y, por complejas razones emocionales y de supervivencia, comienza a suplantar a su hermana Jacqueline hasta llegar a asumir su vida matrimonial con el arquitecto Alejandro Ascanio (Jean Carlo Simancas). En un giro dramático, Jacqueline sufre un accidente que desfigura su rostro; tras una reconstrucción facial reaparece bajo otra identidad —Melissa Vidal— con el propósito de recuperar a su esposo y desenmascarar a la hermana que le robó su vida. La trama despliega así un juego de identidades, engaños, lealtades rotas y la búsqueda de justicia personal.

La novela saca partido del virtuosismo actoral de Doris Wells, quien asume con creíble complejidad tres facetas de un mismo personaje: la vulnerable Ana, la ausente Jacqueline y la resuelta Melissa. Jean Carlo Simancas sostiene el contrapunto emocional como el marido confundido y dividido entre el deber y la pasión. El guion (Barrios & Michelena) y la dirección de César Bolívar construyen un ritmo de misterio que mezcla melodrama clásico con recursos de suspense psicológico; la reconstrucción facial y el intercambio de identidades funcionan como motores dramáticos que mantienen la intriga hasta el final. La pieza musical “Tú y yo” subraya el tono romántico-melancólico de la serie.

¿Qué pasó con Jacqueline? es una telenovela notable dentro del catálogo de RCTV por su audacia narrativa (el uso del doble papel, la suplantación y la reconstrucción de identidad) y por la calidad de sus protagonistas. Es una obra clave con personajes femeninos complejos y de cómo el melodrama televisivo puede incorporar recursos de suspenso psicológico sin perder su pulso emotivo.

Bueno amigos hasta aqui la ediciòn de hoy, espero que sea de mucho agrado y que rememoremos esta obra, que sin lugar a dudas vale la pena recordar por sus grandes actores y su trama que luego vendrias muchas obras con este mismo formato de historia. Bendiciones.

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The Survivors (S03E03)

Airdate: October 8th 1989

Written by: Michael Wagner Directed by: Les Landau

Running Time: 45 minutes

Star Trek has long cultivated its reputation as the pre-eminent "thinking person’s science fiction," a franchise where the exploration of strange new worlds is intrinsically linked to the examination of profound philosophical, ethical, and sociological questions. It is therefore unsurprising that The Next Generation (TNG) is frequently heralded as the pinnacle of this tradition. Central to this acclaim is Captain Jean-Luc Picard, a figure consistently portrayed as an intellectual par excellence; his zeal for spacefaring stems less from a thirst for adventure or glory, and far more from a deep-seated desire to decipher the universe’s enigmas and uphold principles of reason and diplomacy. One such profound mystery, serving as the chilling foundation for the third-season episode The Survivors, exemplifies this core Trek ethos, even as it remains curiously overshadowed within the series' canon.

The narrative commences with the USS Enterprise-D responding to a distress call from Rana IV, a Federation colony supporting approximately eleven thousand inhabitants. Upon arrival, the crew confronts a scene of utter devastation: the planet’s surface lies scorched and lifeless, a testament to catastrophic violence. The sole anomaly is a miraculously preserved, verdant patch of land housing a solitary, idyllic house. Picard dispatches an away team, led by Commander Riker, who encounters two seemingly elderly human botanists, Kevin and Rishon Uxbridge (portrayed by John Anderson and Anne Haney). Their presence is deeply incongruous. The couple offers no explanation for the planetary annihilation, displaying an unsettling calm. Kevin Uxbridge, in particular, insists the Enterprise depart immediately, asserting their perfect safety and dismissing any need for Federation intervention. Simultaneously, Counselor Deanna Troi begins experiencing a persistent, dissonant melody within her mind – an auditory intrusion so profoundly disturbing and invasive that Dr. Crusher is compelled to place her in a medically induced coma to alleviate the torment.

Frustrated by the Uxbridges’ secrecy and the inexplicable psychic assault on Troi, Picard prepares to withdraw. However, the Enterprise is violently attacked by an unknown vessel possessing technology impervious to all Federation weaponry. Forced into a tactical retreat, Picard remains troubled by the inconsistencies surrounding the colony’s destruction and the Uxbridges’ implacable composure. Honouring his duty, he orders the Enterprise to return. Confronting the couple, Picard delivers a pivotal ultimatum: the starship will remain in orbit for as long as Kevin and Rishon Uxbridge draw breath. Shortly thereafter, the mysterious vessel reappears, obliterating the Uxbridges’ home. The Enterprise then seemingly destroys the attacker with unexpected ease. Yet, Picard’s intuition proves correct; scans reveal the Uxbridges miraculously survived. Beaming them aboard, Kevin Uxbridge unveils the shattering truth: he is not human, but a member of the Douwd, an ancient, near-omnipotent alien species. He had adopted human form, fallen deeply in love with Rishon, and chosen a simple life amongst humanity. When the Husnock – a predatory alien race – attacked the colony, Kevin, bound by a profound pacifist philosophy, was unable to intervene. Witnessing Rishon’s death ignited an uncontrollable, all-consuming rage within him. In that moment of grief-stricken fury, he utilised his godlike powers to commit an act of genocide, annihilating every single Husnock across the galaxy – billions, perhaps trillions, of lives extinguished in an instant. The preserved house, the "surviving" Rishon, the entire pastoral illusion – all were fabrications conjured by Kevin to isolate himself and mourn. The melody tormenting Troi was a psychic barrier, designed to shield his unbearable secret from the empath’s perception. Confronted with this unimaginable atrocity born of love and loss, Picard, rendered momentarily speechless by the sheer scale of the horror, can only state, "We have no laws for your crime." Ultimately, recognising the depth of Kevin’s self-imposed penance, Picard grants him his exile, leaving him alone with his memories and his guilt on the desolate world he has chosen.

Written by Michael Wagner, a television veteran whose tenure on TNG was regrettably brief, The Survivors is frequently cited by discerning critics and fans as a "hidden gem" or an "underrated masterpiece" within the series. This relative obscurity likely stems from two factors: the sheer density of iconic episodes emerging from Season 3 onwards, which created fierce competition for attention, and the episode’s deliberate narrative simplicity and focus on an elderly romance. This aesthetic and thematic choice, while potent, inadvertently positioned it closer in spirit to the intimate, often melancholic parables of The Twilight Zone than the grander space operas typically associated with Star Trek.

Nevertheless, the concept executes with remarkable effectiveness. Picard’s journey stems from unwavering intellectual and moral determination to solve the puzzle. The resolution is devastatingly poignant – a testament to the fragility of love juxtaposed against the terrifying potential for cosmic-scale destruction inherent within even the most benevolent beings. Kevin, as the Douwd, embodies the quintessential Trek alien superbeing, yet his motivations are heartbreakingly human: profound love and overwhelming grief. His story serves as a stark, unforgettable reminder that the universe Trek portrays is not merely wondrous; it is also profoundly terrifying, where the line between guardian and destroyer can be obliterated by a single moment of anguish. Picard’s quiet acceptance of Kevin’s self-imposed sentence, rather than any legalistic condemnation, underscores the episode’s mature exploration of guilt, punishment, and the limits of justice when confronted with godlike power wielded in extremis.

The episode’s emotional resonance is significantly amplified by its guest performers. John Anderson, a seasoned television actor, delivers a masterclass in understated tragedy. His portrayal of Kevin’s quiet dignity, simmering grief, and ultimate despair is imbued with an authenticity that feels deeply personal; it is poignant context that Anderson himself had recently experienced the loss of his wife, lending an unspoken layer of raw vulnerability to his performance. He shares excellent, believable chemistry with Anne Haney (Rishon), whose ethereal presence perfectly embodies the constructed illusion. Haney would later reappear in the Deep Space Nine episode Dax, further cementing her connection to the Trek universe.

Furthermore, the episode benefits immensely from the assured direction of Les Landau. Landau seized the rare opportunity for location shooting, meticulously reconstructing the Uxbridges’ house and its idyllic surroundings on the shores of Malibu. This tangible sense of place, a stark contrast to the sterile confines of the Enterprise sets, provided a welcome visual and atmospheric shift for the regular cast and crew, who reportedly relished the production’s variety and the chance to work in a more naturalistic environment.

The Survivors ultimately transcends its initial Twilight Zone comparisons. It is a powerful distillation of Star Trek: The Next Generation’s core strength: using the vast canvas of space to explore the intimate, often contradictory, landscapes of the heart and mind. While perhaps less bombastic than its contemporaries, its quiet horror, profound emotional weight, exceptional performances, and unwavering commitment to Picard’s intellectual and moral compass solidify its status as a deeply affecting and enduringly relevant chapter in the Trek saga – a true, if too often overlooked, gem shimmering in the shadow of more famous neighbours.

RATING: 7/10 (+++)

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I've been craving some more Asian cinema lately, wanting to find some inspiration in their often colourful scenes and beautiful narratives that explore everyday people. The New Wave ere of Hong Kong, the Taiwan arthouse era that came around the same time. Even that brief few years of highly experimental and artistic Chinese cinema. Each of which have somewhat faded off into time and replaced in one way or another with something that doesn't quite land the same. Perhaps a result of changing times and techniques as well as ideas. As well as the film industry itself. That last one seemingly more important regarding this title: Goodbye, Dragon Inn. A film from a very visionary Tsai Ming-liang. Known for his lengthy films often with the same cast, which feature very real concepts on life and characters. Often with minimal editing done. In recent years the director has shifted his interests quite a bit with the way he directs and tells stories, though his past shows a stronger connection to his environments.

Goodbye, Dragon Inn is a film that displays a strong sadness for the ways in which cinema has changed. It directly reflects the changing times as it handles the concepts of cinemas dying. Their closures as art is cared for less and less. Tsai Ming-liang looks at the past in which films were cared for, where films were more experimental and visionary, trying to pursue meaningful ideas and tell stories to the world. Where those stories are now rarely given any attention. It speaks on the collapse of the storytelling medium, with the pursuit of cultural shifts as well as economical factors. Upon seeing the director's name attached to the title, I knew this was going to be an interesting ride.

Cinema can be more than mere entertainment for the masses. It can be a way to look back into our pasts and connect us with those before. To show us stories that portray our greatest challenges and achievements. To display the beauty of our cultures and keep us connected with them. Many don't quite realise this, nor the importance of preserving such concepts through the arts. When a society begins to forget the importance of the cinema, the very surroundings of the area begin to crumble. Goodbye, Dragon Inn displays the impacts a cinema's closure has on those who have spent so many years there spreading stories. As well as the few that hold the strong feels of nostalgia for the previous, more energetic times in which both films and the cinema was full of the vibrancy of life. The way the film starts off this concept is really beautiful, and is typical still to this day with how the director displays spaces.

Wide angle perspectives with leading lines that have us looking throughout the image to see the different actions of people as well as the changing of space. The film taking place on a dull and rainy night, with the constant ambience of rainfall to be heard. Tsai Ming-liang loves using simple ambience to connect the audience to the location. Where there's no music. No dialogue. Just raw sounds of people living and moving within the rooms. It gives us a more personal look into the characters, their motions and the speed of them, telling us much about their character and lifestyles with so little. Here it's really effective; near silence within the ticket hall of the cinema, where all that can be heard is the rain outdoors and the cluttering of metallic pans from food and drink for warmth. What adds to this is the cinematography. The look of an old and rundown Taipei. Where buildings are met with darker colours holding contrast with artificial light. It gives the environment that end of life feeling. That forgotten in time aesthetic in which places look very much lived-in and now abandoned. Where the care is now long gone.

For the most part the film is like being a silent observer watching ghosts roam around a place they once held a stronger connection to. Though we're watching life unfold as it is. Fixed camera perspectives in some more unique angles gives this feeling at times. As the final film continues to play to a small audience. As people roam around the cinema performing various actions. From using the toilets to roaming the corridors almost as if to imply a restless spirit that has been searching for something for generations. With a short runtime of 120 minutes you really feel each passing minute. There's a melancholy to each scene in one way or another.

This felt exactly like a film from this director would. The same style he holds to this day. The same slow pace of very photographic imagery with minimal movement. The scenes of life unfolding with little to no dialogue. This won't be a film for everyone, his films definitely don't manage to land with the majority of audiences. But if you're into the slower, more artistic style of filmmaking in which most is said through visuals, then this is definitely for you.

**

Hola amigos, buenas vibras para todos.

Hello friends, good vibes to all.

Source!

I've often said that sequels aren't as necessary as people might think. I believe that for them to be worthwhile, there needs to be a really substantial backstory that allows the film to develop. Wanting to make a sequel just because the first one was a "success" has always seemed like a mistake to me. Does Black Phone 2 fit this description? - Perhaps. I feel that the 2022 film was quite good, and its story could have ended there, but if we look closely at the plot of this second part, it might be somewhat justified. The life of Finney's sister, along with her gift, is quite interesting and provides plenty of material to continue the storyline.

This takes place some time after the events of the first film (approximately four years). Finney is left with lingering trauma from his experience with the Raptor, which manifests in his behavior. Gwen, the sister with the visions, begins to be haunted again by the infamous black phone, which suddenly starts ringing in her dreams. These visions lead her to a camp that hides a secret that may finally reveal everything. It's important to note that the Raptor himself is behind it all; yes, even after his death.

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I've never seen this film as paranormal; for me, it's your typical slasher horror movie about a killer stalking everyone. But of course, now that this guy is dead and still haunting these siblings, things change. Despite this, the film doesn't lean into the supernatural genre, so it's not scary. It remains a psychological thriller where an entity that isn't in the physical realm pursues some people. The plot gradually becomes clearer as it's presented through visions or dreams that we have to interpret, and these will be the key to solving everything. Personally, I wasn't bored; it's entertaining, but for me, it doesn't reach the level of the first film.

I can understand why they made this film; I think they used what was left unexplained from the first one and then expanded the plot from there. Now, whether it was really necessary, well, that's another matter. For me, it wasn't, but it doesn't bother me because the film, I repeat, is good, and that's saying a lot. That said, the film is quite slow for almost the first hour; it takes a little while to get into it and find its rhythm, but it improves a lot afterward. It's not so bad that you should turn it off, but you do need a bit of patience. There's gore, there's violence, and there's still suspense and intrigue, so the elements of horror are definitely present.

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As for the cinematography, what can I say? It's all very well done. The violent scenes and those filled with blood and gore are the most enjoyable because they're what bring the film to life. The character's nature is like that: ruthless and solely intent on causing suffering. At this point, I have to say that Ethan Hawke was excellent once again; he's truly one of the best things about the film. But now we must add Madeleine McGraw, who plays Gwen, and she also gave a great performance, delivering powerful moments filled with terror, anguish, and sadness; everything that was asked of her, I suppose, she did flawlessly.

It's a good film, watchable, but not better than the first one. I don't think it needed to be remade, but at least it's a pretty decent movie with great acting and some scary scenes. I give it a 6.5/10. It's under two hours long. I've included the trailer below.

Source!

***

Bueno mi gente por hoy es todo, espero que les haya gustado. ¡Un abrazo a todos, nos vemos en la próxima!

Well folks, that's all for today. I hope you enjoyed it. ¡Hugs to everyone, see you next time!

Portada diseñada por mi en el editor de Canva

Brevemente les daré un contexto sobre las cuatro temporadas que tiene la serie hasta ahora. Se trata de un pueblo llamado Hawkins en el cuál comienzan a haber sucesos extraños, el primero de ellos, la desaparición de Will, un niño que regresaba a casa después de haber estado jugando con sus amigos, sin embargo su madre, con ayuda del jefe de policía y los amigos del niño no descansaron hasta traerlo de vuelta, pero en el proceso descubrieron que había un laboratorio que experimentaba con armas biológicas como un terrible monstruo llamado Demogorgón, que además habitaba en una dimensión alternativa llamada “El otro lado” o “El mundo al revés” pero podía pasar de una dimensión a otra.

Por otra parte también aparece una extraña niña con poderes que dice llamarse Once (un número que tiene tatuado en la muñeca) lo cuál evidencia que fue una de las victimas de los crueles experimentos del laboratorio Hawkins.

Posteriormente se descubre que los rusos han invadido USA y que tenían una base de operaciones en la cuál también estuvieron haciendo algunos peligrosos experimentos, en especial, tratar de abrir el portal que conducía al otro lado.

Con el paso del tiempo las criaturas del otro lado evolucionan significativamente pero también lo hace la amistad de los chicos de Hawkins, que a pesar de la distancia que los separa (Ya que Once, Will, Jonathan y Joyce deben mudarse a California) continúan apoyándose mutuamente y uniendo fuerzas para investigar lo que sucede y derrotar el mal.

Pero lo más llamativo como tal de la serie es su trama, es fascinante y el ritmo de la narrativa es tan dinámico que no hay cabida al aburrimiento, cada episodio termina de una manera tal que te deja con ganas de ver el siguiente, siempre deseas estar al tanto de todo, conocer los detalles y el origen de las criaturas o ciertos personajes. Hay giros de trama impresionantes que le dan más sazón a la historia, y hasta ahora estoy muy feliz con la manera en que han manejado el desarrollo de personajes, a excepción de Nancy, la cuál me resulta irritante en algunas ocasiones, o mejor dicho, más que Nancy, lo que me molesta es la manera en que los hermanos Duffers (creadores de la serie) han manejado a los personajes de Steve, Nancy, Jonathan y Robin, porque la historia parece encaminarse hacia una dirección con ellos y de pronto da un giro inesperado pero francamente innecesario.

La serie nos muestra como la mistad verdadera puede ser la clave y la diferencia entre la vida y la muerte, pues los amigos se defienden entre sí y son capaces de romper cualquier barrera y enfrentar la adversidad por aquellos que aman, pero también nos muestra que la familia es una fuerza poderosa que no tiene límites, que el amor de la familia también puede salvarte porque su amor incondicional no descansa, pero la familia no solo se limita a lazos sanguíneos, sino a aquellos miembros que adoptas como parte de ese círculo que para ti es sumamente importante.

Y algo que definitivamente no puedo pasar por alto es la gran cantidad de referencias que hay en cuanto al cine de los años 80, es brutal y maravilloso, lo que sucede es que Stranger Things no es una serie netamente sobre ciencia ficción, sino que involucra muchos elementos propios del horror, en especial en su cuarta temporada con la llegada de Vecna, con esto vemos muchas escenas que recuerdan bastante a Fredy Krueger, y de hecho el mismo actor que lo interpretó hace un pequeño papel interpretando a Victor….. (acusado de haber asesinado a su familia) también hay escenas que recuerdan al Silencio de los inocentes (cuando Robin y Nancy van a visitar a Victor Creel al hospital Psiquiátrico) y todas estas son escenas que realmente generan impacto.

De la misma manera la estética que se maneja en El otro lado, para mi puede contener referencias a dos universos diferentes (al menos es lo que percibo) En las primeras temporadas me recuerda a Silent Hill, incluso con la ceniza cayendo del cielo, y en la cuarta temporada más bien me recuerda a las películas de Freddy Krueger, sigue teniendo un aura opresiva pero más aterradora, donde predomina el rojo como un elemento visual impactante, mientras Vecna juega un papel importante como cazador, torturador y juez, pues castiga a sus víctimas atormentándolas con sus propias culpas.

En síntesis, es una serie digna de darle una oportunidad pues te aseguro que al menos te atrapará por la nostalgia, ya que sí, es posible sentir nostalgia hasta de épocas que no vivimos, ya que todos los elementos como la caracterización de los personajes,, los objetos y el soundtrack te trasladan a esa época, y eso resulta fascinante.

Imagen diseñada por mi en el editor de Canva.

Hollywood has never lacked ideas, but of late they have become increasingly unoriginal or unsuccessful. Such an impression could be gleaned from a trend that appears to be a sort of reprise of what happened some thirty years ago, when police films set in Los Angeles gained a certain 'spice' through the use of fantastical characters, be it cartoon protagonists in Who Framed Roger Rabbit, or extraterrestrial beings in Alien Nation. In 2017, Goyer’s Bright employed a similar formula, in which Will Smith, as a Los Angeles police officer, is partnered with an orc and must uphold law and order in a city where orcs, elves, and other Tolkien-esque fantasy creatures coexist with humans. A year later, meanwhile, the crime comedy The Happytime Murders, directed by Brian Henson, son of the legendary Jim Henson—creator of what is arguably the most popular puppet TV series, The Muppet Show—has arrived in cinemas, showing the City of Angels inhabited by puppets alongside humans.

The film opens with a narration stating that the city embodies all noble ideals of interracial, interfaith, and every other form of tolerance—but only where humans are concerned. Puppets, on the other hand, are universally despised and treated as second-class citizens, a fact most keenly felt by the protagonist, puppet Phil Phillips (voiced by Bill Barretta), who was kicked off the police force due to a mistake and forced to earn a living as a private detective. His new client, puppet Sandra White (voiced by Dorien Davis), hires him to track down a blackmailer, leading Phil to a pornographic den in a troubled part of the city. There, during his investigation, his acquaintance, rabbit puppet Mr. Bumblypants (voiced by Kevin Clash), who was once a star of the popular puppet TV series The Happytime Gang, is murdered. The police believe it was a robbery, but Phil suspects his acquaintance was the actual target—a suspicion confirmed when Phil’s brother, former puppet actor Larry (voiced by Victor Yerrid), also a series star, becomes the next victim. Phil resolves to find the killer but is forced to work with human detective Connie Edwards (played by Melissa McCarthy), his former partner who dislikes him. However, they must overcome their differences to uncover and stop the murderer before Jenny (played by Elizabeth Banks), the human star of the series whom Phil once loved, becomes the next victim.

Happytime Murders shares similarities with Bright in that critics have torn it to shreds with a unanimity not seen since Soviet party congresses in Stalin’s era. Such consensus should generally be viewed with scepticism, and it is reasonable to assume that Happytime Murders has drawn ire not due to poor quality but because of its content, which superficially appears as a parody of 'political correctness' and everything perennial SJW do-gooders hold sacred. Henson, however, has not meddled much with political engagement or 'deeper' themes, instead employing a relatively simple plot to deliver a typical Hollywood comedy built on a high-concept idea. This concept posits that puppets from popular family-oriented TV series, akin to those from the elder Henson’s works, lead just as dysfunctional lives off-camera as humans—indulging in drugs, crime, and the most depraved forms of sex. Henson correctly calculated that such content—including explicit sex and violence—would more easily pass through the censor’s scissors if the participants were puppets rather than humans. The result closely resembles Meet the Feebles, Peter Jackson’s relatively obscure 1989 cult film, offering audiences not only a blend of explicit content and black humour but also occasionally testing the boundaries of good taste.

Critics are thus somewhat justified, and it is highly likely that, like Jackson’s earlier film, this one will soon be forgotten. The reason lies in the inconsistent quality of humour, with some gags and lines repeated unnecessarily, and certain scenes—like the 'romantic' encounter in Phil’s office—feeling entirely superfluous, included solely to stretch the film to a minimum runtime of an hour and a half. On the other hand, Happytime Murders is sufficiently short enough that these flaws do not overly grate, and the script—despite its lack of originality and reliance on clichés—keeps the film afloat with a coherent plot, engaging characters, and even a few well-crafted, competently directed scenes. What makes Happytime Murders watchable is primarily its excellent casting, particularly the consistently reliable Melissa McCarthy, who excels in the ungrateful role of the grumpy partner in this police buddy cop film, as well as her longtime collaborator Maya Rudolph in the equally thankless role of Phil’s human secretary. Happytime Murders is a film better than its critics suggest, though audience enjoyment will largely depend on whether viewers arrive at the cinema in a good or bad mood.

RATING: 5/10 (++)

(Note: The text in the original Croatian version was posted here.)

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Before I was even fully aware that this film was being released there were already people that were tearing it apart. I think that a lot of this might come from general hatred towards Disney that has been going on because of various semi-political reasons, and also because Disney pissed off basically all Star Wars fans and continues to do so.

Because it was such a huge-budget production, quite a ballsy one at that, I was always going to watch it anyway though and I am glad I did.

I wouldn't say that plot understanding is really all that necessary to enjoy Tron films but in a shell there are two existences, the real human world, and the digital world. The digital world is filled with a bunch of things that aren't possible in the real world, but two competing companies have figured out how to transfer the things from the digital world and 3D print them in the real world. There is just one very big problem and that is that everything that they print can only exist in the real world for 29 minutes.

There are two competing companies, ENCOM and Dillinger Systems. The former is more interested in printing out things that can benefit humanity such as food, energy, and medicine, whereas the latter wants to print unstoppable weapons of war for profit.

I think it is pretty easy to determine which one of these companies is considered the evil one and therefore the ones that will end up glowing red, just like in the original 80s film.

The story is kind of stupid to be honest with you and not just because since it is a Disney film you automatically know before the movie even tells you the details which side is going to win. It's just kind of a nonsensical plot and of course it is absolutely addled with ongoing plotholes that only get larger the longer the film goes on. But still, you can enjoy it simply because it is a visual marvel and it also has some fan-service with some throwbacks to the original film. I know that made me happy when I saw it.

Jared Leto is getting a lot of flack for his involvement in this film and I think much of this is because of his role in Morbius which is a film that the internet and meme community was able to trick the distributors into believing there was enough interest in the film to re-release it and they did so only to have no one go see it an 4-chan and Reddit were just laughing their asses off.

Leto actually does a decent job in this movie as he plays a program in the digital world. He is a Master Control Program and is a leader of the evil red team. He is called "Ares" and he doesn't actually know that he is on the evil side. He figures this out after visiting the human real world a couple of times (for 29 minutes each time) and starts to understand the concept of empathy and "feelings." This results in an overall momentum shift for the two warring companies and while many critics thought this shift was hokey, I kind of enjoyed it.

Ares is emotionless and exacting as well as quite robotic in his movements... you know, similar to Keanu Reeves in every single role that he plays.

His role is rather critical as he is the only member of the digital world that develops an almost human-like consciousness whereas all the other individuals (who are actually programs) remain restricted by their programming and can't disregard orders even if it to their own detriment.

I thought they did a good job at hinting at the dangers of introducing too much computer-controlled aspects into human life as things quickly get out of hand as it is showcased how much more powerful the digital versions of things are compared to the real-life counterparts. I suppose this was a nod of sorts towards AI taking over the world, but in a subtle way. Mostly it's just raw, loud, and sometimes kind of stupid entertainment.

Even if you aren't all that familiar with Tron at all, you probably recognize this silly thing. It is a vehicle that has appeared in all the Tron movies and it is called a "Recognizer." I thought is was an absurd vehicle but I'll tell you want, they made it extremely bad-ass in Ares although they still make no attempt to explain how its shape is at all beneficial.

The real star of this film is not the plot or the actors, but the CGI and well, this was always going to end up being the case. They spent a fortune on making this film and it wasn't just money getting paid to Jared Leto and Jeff Bridges.

The man-on-man fights are unfortunately kind of lame but there are some decent effects in them. In my mind the choreography was pretty toned down and maybe because it is Disney or maybe for the sake of scoring a kid-friendly rating, nobody really dies in this either, which in my mind is kind of lame but understandable from a sales perspective.

The soundtrack includes songs from Nine Inch Nails and for the youngsters of today, maybe you don't even know what that is. It was really popular when I was in college and it was nice to hear them on the scene again. They fit right in with the cyberpunk soundtrack and the music and sound is another high point of this film.

Should I watch it?

Well, despite the fact that I say almost entirely positive things above I know that this is because I am a die-hard sci-fi fan and have been my entire life. I realize that not everyone is like that and for many, especially if they are not sci-fi fans, might end up thinking not only is this not entertaining, but aside from the visual spectacle on a big screen, they may actually find it boring.

The story is nothing special and some of the actors are actually, dare i say, annoying. I thoroughly enjoyed it and don't really understand all the hate it is getting or how it ended up with a 54% rating on RT and a bit higher on IMDB. But again, I am a sci-fi nerd and that is probably affecting my objectivity.

If you are a fan of sci-fi or if you just have a really great home theater, I think this being the visual spectacle that it is will be enough.

This movie is slated to lose Disney over $130 million and I don't really understand why. Maybe the days of making $200 million films are coming to a close.