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. 62,732 reviews and counting.
Hello Hivers, an happy Tuesday to you all!
Today I'm here to share with you my own review about a tv series I just finished to watch: HIP, high intellectual potential (the original title is the French "HPI Haut potentiel intellectuel").
It's a French crime comedy series along 5 seasons for a total of 40 episodes.
Here in Italy the title is "Morgane, detective geniale" that means "Morgane, brilliant detective", from the name of the character who is a very brilliant woman who has a IQ of 160, but the story started while she was working as a cleaning lady at Lille police headquarters. Her life looks a little difficult because she has 3 children from 2 different ex partners so she has to manage her family and working time. At the start of the first episode, while she was cleaning inside the police headquarter, she finds a clue to a murder case, and so, when the chief of police understand how Morgane could be useful to solva murder cases, she assigns her to the case as consultant with the inspector Adam Karadec. You have to know that Morgane dresses are really fancy (I'm not sure the word "fancy" is right, but she uses to wear animalier clothes, bright tops, colorful boots and very large earrings) and even if her outfit is total opposite of mine, I love her style!
Morgane (played by Audrey Fleurot) and Karadec (played by Mehdi Nebbou) work together to salve the cases, but it's not so simple because Morgane often disobeys orders, but her flashes (that are unusual and funny flashes) of brilliance help to solve the case.
I can't tell you more about Morgane and Karadec, because it could be a spoiler, but I can tell you that there are also recurrant funny characters all around them who help them during the cases, included the police team and the children of Morgane.
See ya soon and stay safe,
Silvia
***If you like my artworks, you can find them on my online shops on Artfinder ( https://www.artfinder.com/silviabeneforti#/), on Etsy (https://www.etsy.com/shop/vumap) and on my Patreon page too (https://www.patreon.com/silviabeneforti). If you are interested about my artworks, you can by my catalogue here:
I watched Suicide Squad (2016) recently, and I had heard a lot of different opinions about it before I watched it myself, some people really enjoy the characters, the crazy style of the movie, and others have a bunch of problems with it, too. I finally will decide to watch it. I will decide to see where I stand.
This review is spoiler free, so if you have not seen the movie yet, you can read it without worrying about major plot details.
Suicide Squad is a DC superhero movie but it's different from the usual superhero formula since instead of following heroes it brings together a group of criminals and gives them a mission that only these people would be crazy enough to do.
So the team includes characters like Deadshot, Harley Quinn, Captain Boomerang also Killer Croc, which makes the group interesting to watch because they all have different personalities, abilities and, motivations.
The basic idea behind the movie is probably one of its strongest parts.
One thing I really liked about Suicide Squad is that it does not feel like a normal superhero team.
These people did not become heroes to save in today's society, they are mostly criminals or killers who just do not care about the rules.
That creates some funny situations because you have all these completely different personalities forced to work together.
Some characters take the mission seriously, some do not care, and, some are there because they do not have another choice.
I think Deadshot was one of the characters I enjoyed most, Will Smith brings personality to the role , the character has a balance between being dangerous and, having a human side, you know.
Then we've Harley Quinn, played by Margot Robbie.
Harley is the character most people associate with this movie, , I get why that happens, she has a personality that is different from everyone else, & Margot Robbie clearly seems like she has fun playing her, too.
She is energetic, unpredictable, and, completely crazy at times.
The movie definitely gives her a lot of attention, and whether you like that or not will probably depend on how much you enjoy the character.
Visually, Suicide Squad has a very specific style.
So the colors, costumes, music and, character designs all aim to make the movie feel energetic in addition to rebellious, but it doesn't have the same serious atmosphere as other DC movies.
The movie features bright colors, neon lights, graffiti style visuals, and a lot of music.
I actually enjoyed this part quite a lot.
So the soundtrack is one of the things I remember most from the movie and there are many songs used throughout and they help give scenes energy.
Sometimes I felt like the music was doing more work than the actual scene itself , but it still made the movie entertaining.
The costumes are memorable and, the filmmakers obviously wanted each team member to look different and, most of them have a distinct appearance.
Of course, a movie about a group of superpowered criminals is going to have plenty of action.
The film contains shootouts explosions fights and, supernatural elements & some action scenes are fun to watch especially when abilities of characters start coming together.
So everyone on the team has their own thing.
You have someone who is a marksman, someone with a boomerang, someone who can transform, someone who is a walking tank and characters with supernatural abilities.
This gives the action scenes some variety.
So I wouldn't say the action is the strongest part of the movie & there are moments where it starts feeling a little repetitive, especially later in the movie.
I think the villain side of the movie is one of the weaker areas without giving anything away.
The movie starts with an interesting concept and introduces a threat that is supposed to be very serious, but I did not find the main threat as interesting as some of the characters in Suicide Squad itself.
This is actually something I noticed quite a lot while watching the movie.
So I was more interested when the movie focused on the team interacting but sometimes felt less engaged when it shifted to the villain &, the larger conflict.
The movie was acceptable, but I think it had greater potential in this area.
Some jokes worked for me, while others felt added because the movie needed another funny moment.
The chemistry between some of the characters is what makes the comedy work best.
These people aren't supposed to be friends, and, watching them argue, insult each other or react differently to dangerous situations can be pretty entertaining.
There are moments in the movie where it does not take itself seriously at all.
And honestly, I think that's important for this particular movie.
If Suicide Squad had been serious from beginning to end, I don't think the characters would have worked as well.
Suicide Squad (2016) works best if you don't expect superhero perfection.
It contains a concept, a visual style, characters, a soundtrack, also action.
The story could have been better developed. The villain did not impress me. The movie feels like many events happen at once.
But I enjoyed watching it.
The movie's biggest strength is its characters like Deadshot in addition to Harley Quinn, their personalities stand out and watching these very different people forced to work together is the most entertaining part.
It is not a perfect movie but it has its own identity.
And sometimes that's enough to make a movie worth watching.
Without a doubt, this has been the worst installment of Ryan Murphy’s Monster anthology series. Oh, Ryan Murphy... I’ve said it every time I write about one of his productions: sometimes the man goes too far, and not exactly in a good way. Here we have a fourth installment focused on female killers who have become part of American criminal folklore. What they’ve done made me laugh—and also feel indignant—because they’ve turned this into "woke" propaganda.
The progressive, feminist, and "woke" movement must be in a desperate state if they have no choice but to take female killers and transform them into feminist icons. I’m not lying, and this isn't a joke. That is exactly what the writers—and the entire team behind this—wanted to force-feed us. Their audacity is such that they don’t even try to hide it or convey it subliminally; no, the message is direct.
With this production, they try to sell us the idea that the Hungarian Countess Erzsébet Báthory (who murdered hundreds of virgins to bathe in their blood), Lizzie Borden (the axe murderer who killed her father and stepmother), and serial killer Aileen Wuornos were actually victims: victims of the system, of society, and of men—who are portrayed as extremely and terribly evil beings. Seriously, Ryan Murphy is telling us that everything these women did was justified because they were victims of male wickedness. The message is clear: you have to kill men to be free. They even imply that these women went to paradise—a paradise where, presumably, they will all be together as killers. It really seems like a joke. By the way, you might be wondering what on earth Erzsébet Báthory and Aileen Wuornos are doing in this story. Well, when I found out this season would be about Lizzie Borden, I suspected Murphy would have to throw in a lot of filler. Eight episodes is far too many for the story of the "Axeman's Lady." The show has done this in previous installments—with Ed Gein, for instance—shoehorning in subplots or even entire episodes set in different eras. Here, the attempt to interweave the stories of these three female killers feels incredibly forced.
I would have preferred a season focused exclusively on Aileen Wuornos. In case you don't know who she is: a movie was made about her years ago, and Charlize Theron won an Oscar for playing her. She was a prostitute who murdered a large number of men, placing her in the category of serial killer. But it’s a good thing they didn't focus solely on her, because what they do with her character here is insufferable. Every time Aileen Wuornos appears, it is only to lecture the viewer. To justify her crimes. To play the victim—not just of her family, but of society as a whole and of her clients, who are all "evil" and deserve to die. That is the seed they want to plant in the minds of viewers who swallow everything without question.
There isn't a single episode where we don't have to endure a feminist lecture on how evil men are. The murderess Countess Erzsébet Báthory also suffered abuse and great hardship. So, apparently, that justifies all the atrocities she committed. Then there’s Lizzie Borden: another woman who does nothing but suffer at the hands of parents who seem like a joke; the way the cruelty of Lizzie’s parents is portrayed here feels like a parody. It’s all too exaggerated. It simply isn't credible.
And as if that weren't enough, there’s something else. Brace yourself for the most absurd part of all: the character of Bridget "Maggie" Sullivan. She is the maid who starts working at the Borden home—a totally anachronistic character. Just looking at her, she gives off the vibe of those feminist activists who exist solely to stir up trouble. She dyes her hair purple, red, blue, etc. She has that typical feminist activist attitude and, to top it off, she’s a lesbian who ends up having a romance with Lizzie. She has suffered greatly at the hands of the patriarchy, yet she has no qualms about selling her body for money. I mean, that’s what modern feminists are like: they have that attitude, they work as prostitutes and call it "female empowerment," they hate men, they’re lesbians, and all they want is to live with a woman.
We all know Ryan Murphy is gay and progressive, but for this season, he seems to have sought out the most "woke" people in Hollywood to write this fictionalized story, making up all sorts of things about the famous Lizzie Borden case. He could have told a good story, but he chose instead to push the agenda of the political movement he supports. He went too far, though; you can't turn a murderess into a leader of the women's rights movement. Now, the new idols of progressive extremists will be female murderers, because, after all, they hate men; they want us all to be gay and stop reproducing our species.
You can see for yourself. If you are a true feminist—one who doesn't hate men—you’ll agree that it’s a mistake for these people to try to turn female murderers into heroines. What would happen if the roles were reversed?
I hope you watch it—if you can make it through all eight episodes, some of which have rather tedious parts—and let me know what you think in the comments.
Sin duda, esta ha sido la peor entrega de la serie antológica Monster de Ryan Murphy. Ay, Ryan Murphy... lo he dicho cada vez que publico algo sobre una de sus producciones: a veces este hombre se pasa de la raya, y no precisamente para bien. Aquí tenemos una cuarta entrega centrada en asesinas que han pasado a formar parte del folclore criminal estadounidense. Lo que han hecho me ha provocado risa —y también indignación—, porque han convertido esto en propaganda woke.
El movimiento progresista, feminista y woke debe de estar en una situación desesperada si no les queda más remedio que tomar a mujeres asesinas y transformarlas en iconos feministas. No miento, y esto no es ninguna broma. Eso es exactamente lo que los guionistas —y todo el equipo detrás de esto— querían meternos a la fuerza en la cabeza. Su audacia es tal que ni siquiera intentan ocultarlo o hacerlo de forma subliminal; no, el mensaje es directo.
Con esta producción, pretenden vendernos la idea de que la condesa húngara Erzsébet Báthory (que asesinó a cientos de vírgenes para bañarse en su sangre), Lizzie Borden (la asesina del hacha que mató a su padre y a su madrastra) y la asesina en serie Aileen Wuornos fueron, en realidad, víctimas: víctimas del sistema, de la sociedad y de los hombres, a quienes se retrata como seres extremadamente y terriblemente malvados. En serio, Ryan Murphy nos está diciendo que todo lo que hicieron estas mujeres estaba justificado porque eran víctimas de la maldad masculina. El mensaje es claro: hay que matar hombres para ser libre. Incluso insinúan que estas mujeres fueron al paraíso; un paraíso donde, presumiblemente, todas ellas estarán juntas como asesinas. Realmente parece una broma. Por cierto, tal vez te preguntes qué demonios hacen Erzsébet Báthory y Aileen Wuornos en esta historia. Bueno, cuando me enteré de que esta temporada trataría sobre Lizzie Borden, sospeché que Murphy tendría que meter mucho relleno. Ocho episodios son demasiados para la historia de la "loca del hacha". Ya ha hecho esto en entregas anteriores —como con Ed Gein, por ejemplo—, donde metió con calzador tramas secundarias o incluso episodios enteros ambientados en épocas distintas. Aquí, el intento de entremezclar las historias de estas tres asesinas resulta increíblemente forzado.
Habría preferido una temporada centrada exclusivamente en Aileen Wuornos. Por si no sabes quién es: hace años se hizo una película sobre ella y Charlize Theron ganó un Óscar por interpretarla. Era una prostituta que asesinó a una gran cantidad de hombres, lo que la situó en la categoría de asesina en serie. Pero menos mal que no se centraron solo en ella, porque lo que hacen con su personaje aquí es insoportable. Cada vez que aparece Aileen Wuornos, es solo para sermonear al espectador. Para justificar sus crímenes. Para hacerse la víctima: no solo de su familia, sino de la sociedad en su conjunto y de los clientes, que son todos «malvados» y merecen morir. Esa es la semilla que quieren plantar en la mente de los espectadores que se tragan todo sin cuestionarlo.
No hay ni un solo episodio en el que no tengamos que soportar una lección feminista sobre lo malvados que son los hombres. La asesina condesa Erzsébet Báthory también sufrió abusos y grandes penurias. Así que, al parecer, eso justifica todas las atrocidades que cometió. Luego está Lizzie Borden: otra mujer que no hace más que sufrir a manos de unos padres que parecen una broma; la forma en que se retrata la crueldad de los padres de Lizzie aquí parece una parodia. Todo es demasiado exagerado. Simplemente no resulta creíble.
Y por si fuera poco, hay algo más. Prepárate para la parte más absurda de todas: el personaje de Bridget «Maggie» Sullivan. Es la criada que empieza a trabajar en casa de los Borden; un personaje totalmente anacrónico. Con solo verla, transmite la imagen de esas activistas feministas que solo existen para buscar problemas. Se tiñe el pelo de morado, rojo, azul, etc. Tiene esa típica actitud de activista feminista y, para colmo, es lesbiana y acaba teniendo un romance con Lizzie. Ha sufrido mucho a manos del patriarcado y, sin embargo, no tiene reparos en vender su cuerpo por dinero. O sea, así son las feministas modernas: tienen esa actitud, se prostituyen y lo llaman "empoderamiento femenino", odian a los hombres, son lesbianas y lo único que quieren es vivir con una mujer.
Todos sabemos que Ryan Murphy es gay y progresista, pero para esta temporada parece haber buscado a la gente más "woke" de Hollywood para escribir esta historia ficcionalizada, inventando todo tipo de cosas sobre el famoso caso de Lizzie Borden. Podría haber contado una buena historia, pero prefirió impulsar la agenda del movimiento político que apoya. Sin embargo, se pasó de la raya; no se puede convertir a una asesina en una líder del movimiento por los derechos de la mujer. Ahora, los nuevos ídolos de los extremistas progresistas serán las mujeres asesinas, porque, al fin y al cabo, odian a los hombres; quieren que todos seamos gais y dejemos de reproducir nuestra especie.
Puedes comprobarlo tú mismo. Si eres una feminista de verdad —una que no odia a los hombres—, estarás de acuerdo en que es un error que esta gente intente convertir a asesinas en heroínas. ¿Qué pasaría si se invirtieran los papeles?
Espero que la veas —si logras aguantar los ocho episodios, algunos de los cuales tienen partes bastante tediosas— y me cuentes qué te parece en los comentarios.
I finally watched Jagun Jagun. I can say for certain that this is not the type of epic you watch casually and then forget. In the heart of Jagun Jagun there is Gbotija, a man whose life changes dramatically after he loses his father. Gbotija’s determination to become a warrior leads him to Ogundiji, a feared warlord. What starts as a quest for knowledge and strength in Jagun Jagun turns into a bond between Ogundiji and Gbotija.
What grabbed my attention in Jagun Jagun was Gbotija’s transformation. Gbotija does not simply learn to fight and instantly become a warrior. In Jagun Jagun we see Gbotija grow step by step. Gbotija begins as a man looking for purpose. With training, experience and exposure Gbotija’s confidence rises. Soon Gbotija’s skills become impossible for those around Gbotija to ignore. That is where the real tension in Jagun Jagun starts.
Ogundiji is already a figure. Ogundiji has built Ogundiji’s name through warfare. People both. Fear Ogundiji in Jagun Jagun. Gbotija’s rapid growth brings something Ogundiji cannot fully control. In my view Ogundiji is the intriguing character in Jagun Jagun.
Ogundiji is not a villain who chooses evil one morning. Ogundiji’s character in Jagun Jagun shows how someone who has grown used to power can be swallowed by it. The more Ogundiji strives to keep Ogundiji’s position the destructive some of Ogundiji’s decisions become.
I also appreciated that Jagun Jagun does not make Gbotija’s journey about physical strength. Gbotija’s relationship with Ogundiji, the discoveries about Gbotija’s family and the people Gbotija meets along the way all help shape Gbotija’s growth in Jagun Jagun.
The fight scenes were a draw for me in Jagun Jagun. The film invested heavily in making the battles feel vast and dramatic. Costumes, makeup, locations, weapons and visual effects all helped recreate the era in Jagun Jagun. Some scenes truly gave me the sense of watching an epic, not just a film that tries to copy one.
Femi Adebayo added a presence to Ogundiji in Jagun Jagun. Ogundiji’s performance made Ogundiji feel intimidating even when he was not shouting or fighting. Every time Ogundiji appeared on screen in Jagun Jagun there was a seriousness. Lateef Adedimeji also portrayed Gbotija well. I especially enjoyed watching Gbotija evolve from a man into someone who could stand among warriors in Jagun Jagun.
At times I felt Jagun Jagun carried characters and subplots than needed. A few moments felt predictable especially when the film built toward revelations. Some scenes could have been tighter. I think a little more focus on the characters would have made Jagun Jagun even stronger. Still those issues did not ruin the experience for me.
What stayed with me after watching Jagun Jagun was not the fighting all. It was the message about power. You can spend years building an empire. You can destroy it yourself when pride, fear and the desire for control become more important than everything around you in Jagun Jagun.
That is what makes Ogundiji’s story in Jagun Jagun especially interesting. Ogundiji’s greatest battle is not always against another warrior. In ways it is, against Ogundiji’s own desire to stay in control. Overall I enjoyed Jagun Jagun. Jagun Jagun offers action, drama, ambition, betrayal, romance, impressive visuals and strong performances. Importantly Jagun Jagun shows that Nollywood can take on historical stories and give them the scale they deserve.
My good old movies. I watched the Trinity first before going to watch the 1 and 2.
I have always enjoyed movies where the main character is not fighting for himself but is carrying a much bigger responsibility on his shoulders. That is what makes Blade interesting. He is not your ordinary vampire hunter. He is a Daywalker. He is incredibly strong, and he has made hunting vampires his life's mission. Things become much more complicated when he comes up against a threat far more dangerous than the vampires he has been fighting.
Dracula is the original vampire and the one responsible for the existence of the vampire bloodline. After being awakened from his long sleep, Drake becomes the biggest threat Blade has ever faced. And honestly, I liked the way the movie made him feel different from the ordinary vampires Blade had already dealt with.
I felt pity for blade when the FBI begins hunting him. After a human is murdered and evidence is deliberately arranged to make Blade look responsible, he becomes a wanted man. The authorities believe he is a dangerous killer, while the real people behind the situation are trying to destroy him and his reputation.
Blade eventually comes into contact with Abraham Whistler's daughter, Abigail, and Hannibal King, a former vampire who has been turned back into a human. They are members of a group known as the Nightstalkers
And when their enemies become too powerful to handle individually, Blade and the Nightstalkers have to work together.
I love movie where the villain is not a weakling. An drake is not. he is a worthy opponent to blade.
Drake wants to create a new generation of vampires that will be immune to the weaknesses that have always affected them. If that succeeds, humanity could have a very serious problem. And when you realize how many vampires are already hiding among humans, you understand why Blade cannot afford to fail.
Leo is a Tamil film released in 2023, directed by Lokesh Kanagaraj. The film stars Joseph Vijay as Parthiban/Leo Das, Trisha Krishnan as Sathya, Sanjay Dutt as Antony Das, and Arjun Sarja as Harold Das. From the very beginning of the film, I was drawn in by the way the story initially seems to depict the life of an ordinary man, before gradually transforming into a tale of secrets, family, and the past, with a main character desperately trying to escape his former self.
At first, I’m introduced to Parthiban, a calm man living in Theog, Himachal Pradesh, with his wife Sathya and their two children. He owns a café and is simply trying to lead a peaceful life with his family. What I particularly appreciated in this first part is that Parthiban doesn’t come across as someone who seeks out conflict or trouble. Rather, he gives the impression of being a man who genuinely wants to leave his past behind.
Parthiban also has a good relationship with his surroundings. His friend Joshy Andrews asks him to help deal with a hyena that is terrorizing the town. Parthiban then shows that he understands animals and doesn’t shy away from dangerous situations. Even as he grows accustomed to the hyena, it eventually becomes part of his family’s life. This part gave me the impression that Parthiban was sincerely trying to build a new life.
But this peaceful life won’t last. One night, a group of criminals breaks into Parthiban’s café and endangers his family and the people who work with him. Parthiban is forced to defend himself to protect his daughter and his staff. After the incident, the police arrest him, but he is ultimately deemed to have acted in self-defense. What particularly interested me at that point was that this event which at first seemed like a simple incident would completely change his life, because a photo of him ended up in the media.
When Parthiban’s photo begins circulating, a man named Harold Das sees it. Harold believes Parthiban is someone he used to know: Leo Das,Leo Das, whom everyone had believed to be dead for several years. Harold then tells his brother Antony Das, a powerful man involved in the criminal underworld. From that point on, the peaceful life of Parthiban’s family begins to change, as someone believed to be dead seems to have reappeared in their lives.
Antony Das then comes to see Parthiban and seems immediately convinced that this man is his son Leo. But Parthiban categorically denies it. He insists that he is Parthiban, a married man with children, and that he has no connection to Leo Das. This part made me ask myself a lot of questions: Is Parthiban really telling the truth, or is he hiding something important? The film deliberately keeps this mystery alive.
Antony then speaks with Sathya and tells her that her husband is actually Leo Das, a man who was allegedly once involved in a life of crime. At first, Sathya finds it hard to believe, but Antony’s words force her to question everything she thought she knew about her husband. From my perspective, this part perfectly illustrates the weight of the family secret, as Sathya begins to wonder if the man she’s lived with for years has another identity she’s never known.
Meanwhile, Joshy begins investigating Leo’s past. He meets Hridayaraj D’Souza, who knew Leo, and discovers what happened several years earlier. It is at this point that the film flashes back to 1999, and the name of the Das family, as well as the criminal activities of Antony and Harold, begin to emerge. I particularly enjoyed this part because the film doesn’t reveal the whole truth right away; it gradually unravels Leo’s past.
I then discovered that Leo used to be part of the Das family and that he had a twin sister named Elisa. Antony and Harold were involved in illegal activities, and Leo was also part of that world. But Leo began to oppose what his family was doing, especially when his sister Elisa fell victim to their father’s schemes. This part particularly moved me, because Leo even though he had once been immersed in a dark world—was ultimately trying to distance himself from it and protect his sister.
Tragic events then befall the Das family. Elisa dies, and Leo is also presumed dead. From that point on, Leo disappears from that life and seems to be trying to become a different person. That’s how I came to understand why Parthiban insists so strongly that he is a different person: he probably doesn’t want the man he once was to return to his life.
But Antony isn’t going to let Parthiban get away that easily. Even as Parthiban tries to protect his family, the pressure continues to mount. Sathya seeks to uncover the truth while Parthiban tries to protect his loved ones. I particularly enjoyed the relationship between Parthiban and Sathya, because the story isn’t just about battles and secrets; it’s also about trust between a married couple.
When Antony kidnaps Siddhu, Parthiban’s son, the situation takes on a whole new dimension. Parthiban realizes that if he wants to save his son, he can no longer keep running from his past. He confronts Antony, and a major showdown ultimately leads to Antony’s death. But Parthiban still hasn’t found his son, which shows that the problems are far from over.
When Harold learns of Antony’s death, he contacts Parthiban and promises to return his son to him if he brings Antony’s body. Parthiban agrees, but when he arrives at the location where Harold is, he discovers it’s a trap. Harold then tries to attack his family, forcing Parthiban to once again confront what remains of the Das family.
As I reach the final parts of the film, the biggest question that comes to mind is: Is Parthiban really Leo or not? Harold even ends up believing that Parthiban isn’t Leo and lets him leave with his family. But that’s when the film reveals one of its biggest plot twists. Parthiban starts laughing and eventually admits that he really is Leo Das.
This revelation really surprised me, because throughout the entire movie, I kept wondering if Parthiban and Leo were two different people. In the end, it’s confirmed that Parthiban is indeed Leo, but the most important thing isn’t just his identity. What matters most is that Leo was trying to escape who he used to be in order to give his new family a life completely different from the one he’d known before.
Leo then confronts Harold one last time and saves his son Siddhu. Next, he destroys the Das & Co. factory, with the aim of severing all ties to his former life once and for all. To me, this scene represents Leo trying to close the door on his past, even though he knows that what he’s been through can’t disappear from his life that easily.
When he finally returns to his family, the situation seems to calm down again. But the film doesn’t end there. Leo receives a call from someone who knows his true identity. This person explains to him that destroying a single location isn’t enough to eliminate the drug problem across the entire country and invites him to take part in a much more important mission. This ending clearly opens the door to a broader universe connected to Lokesh Kanagaraj’s films.
When I finished watching Leo, what really stuck with me was the conflict between Parthiban and Leo. They are actually one and the same person, but one represents the man he has become, while the other represents the man he is trying to leave behind. This gives the film a depth that goes beyond that of a simple action movie. I saw the story of a man trying to protect his family while constantly being confronted by the past he was trying to escape.
The relationship between Parthiban and his family also brings a lot of emotion to the film. Sathya and his children are the reason he wants to distance himself from his old life. Thus, his struggle isn’t just about defeating Antony or Harold; it’s primarily about protecting the life he’s built and not becoming the man he once was again.
I also really appreciated the way Lokesh Kanagaraj builds the film’s mystery. At first, I’m simply introduced to a man who owns a café and lives with his family, but gradually, the film begins to make me question his true identity. As Leo’s secret is revealed, I felt as though the film’s opening scenes were gradually taking on new meaning.
For me, Leo is a film that blends action, mystery, family, the past, and the desire to become a new person. What drew me in the most was the character of Parthiban/Leo and the question of who he really is. Vijay does a great job portraying both sides of this character: the man who wants to live peacefully with his family, and Leo, who carries a past he can’t easily escape. The film’s ending and the mysterious phone call also left me feeling like his story was far from over.
Leo es una película tamil estrenada en 2023, dirigida por Lokesh Kanagaraj. La película está protagonizada por Joseph Vijay en el papel de Parthiban/Leo Das, Trisha Krishnan en el de Sathya, Sanjay Dutt en el de Antony Das y Arjun Sarja en el de Harold Das. Desde el principio de la película, me llamó la atención cómo la historia parece contar, en un primer momento, la vida de un hombre corriente, para luego transformarse poco a poco en una historia de secretos, familia y pasado, con un protagonista que busca desesperadamente escapar de lo que fue en el pasado.
Al principio, conozco a Parthiban, un hombre tranquilo que vive en Theog, en Himachal Pradesh, con su mujer, Sathya, y sus dos hijos. Es dueño de una cafetería y simplemente intenta llevar una vida apacible con su familia. Lo que más me gustó de esta primera parte es que Parthiban no parece alguien que busque conflictos ni problemas. Más bien da la impresión de ser un hombre que realmente quiere dejar atrás su pasado.
Parthiban también mantiene una buena relación con su entorno. Su amigo Joshy Andrews le pide que le ayude a resolver una situación relacionada con una hiena que aterroriza a la ciudad. Parthiban demuestra entonces que sabe entender a los animales y que no huye fácilmente de las situaciones peligrosas. Incluso cuando se acostumbra a la hiena, esta acaba formando parte de la vida de su familia. Esta parte me dio la impresión de que Parthiban intentaba sinceramente construir una nueva vida.
Pero esa vida tranquila no va a durar. Una noche, un grupo de delincuentes irrumpe en la cafetería de Parthiban y pone en peligro a su familia y a las personas que trabajan con él. Parthiban se ve obligado a defenderse para proteger a su hija y a su personal. Tras el incidente, la policía lo detiene, pero finalmente se considera que actuó en legítima defensa. Lo que me llamó especialmente la atención en ese momento es que este suceso, que al principio parecía un simple incidente, va a cambiar por completo su vida, ya que una foto suya acaba apareciendo en los medios de comunicación
Cuando circula la foto de Parthiban, un hombre llamado Harold Das la ve. Harold cree que Parthiban es alguien a quien conocía en el pasado: Leo Das, a quien todo el mundo creía muerto desde hacía varios años. Harold se lo cuenta entonces a su hermano Antony Das, un hombre poderoso vinculado al mundo del crimen. A partir de ahí, la tranquila vida de la familia de Parthiban empieza a cambiar, ya que alguien a quien se creía muerto parece haber vuelto a la escena.
Antony Das va a ver a Parthiban y parece convencerse de inmediato de que ese hombre es su hijo Leo. Pero Parthiban lo niega rotundamente. Insiste en que él es Parthiban, un hombre casado y con hijos, y que no tiene ningún vínculo con Leo Das. Esta parte me hizo plantearme muchas preguntas: ¿está diciendo Parthiban realmente la verdad o está ocultando algo importante? La película mantiene deliberadamente este misterio.
A continuación, Antony habla con Sathya y le asegura que su marido es, en realidad, Leo Das, un hombre que, al parecer, estuvo involucrado en el pasado en actividades delictivas. Al principio, a Sathya le cuesta creerlo, pero las palabras de Antony la obligan a cuestionarse todo lo que creía saber sobre su marido. En mi opinión, esta parte muestra a la perfección el peso del secreto familiar, ya que Sathya empieza a preguntarse si el hombre con el que lleva años viviendo tiene otra identidad que ella nunca ha conocido.
Mientras tanto, Joshy comienza a investigar el pasado de Leo. Se encuentra con Hridayaraj D'Souza, que conocía a Leo, y descubre lo que ocurrió hace varios años. Es en ese momento cuando la película retrocede a 19991999 y empiezan a aparecer el apellido Das y las actividades delictivas de Antony y Harold. Esta parte me gustó especialmente, porque la película no revela toda la verdad de inmediato, sino que va desvelando poco a poco el pasado de Leo.
Entonces descubro que Leo formaba parte antiguamente de la familia Das y que tenía una hermana gemela llamada Elisa. Antony y Harold estaban metidos en actividades ilegales, y Leo también formaba parte de ese mundo. Pero Leo empieza a oponerse a lo que hacía su familia, sobre todo cuando su hermana Elisa se convierte en víctima de los planes de su padre. Esta parte me conmovió especialmente, porque Leo, aunque en el pasado se había visto sumido en un mundo oscuro, al final intentaba alejarse de él y proteger a su hermana
Entonces, unos acontecimientos trágicos sacuden a la familia Das. Elisa muere y a Leo también se le da por muerto. A partir de ese momento, Leo desaparece de esa vida y parece intentar convertirse en alguien diferente. Así es como entendí por qué Parthiban insiste tanto en que es otra persona: probablemente no quiere que el hombre que era antes vuelva a su vida.
Pero Antony no quiere dejar que Parthiban se aleje tan fácilmente. Incluso cuando Parthiban intenta proteger a su familia, la presión sigue aumentando. Sathya busca descubrir la verdad, mientras que Parthiban intenta proteger a los suyos. Me ha gustado especialmente la relación entre Parthiban y Sathya, ya que la historia no solo trata de luchas y secretos, sino también de la confianza entre dos personas casadas.
Cuando Antony secuestra a Siddhu, el hijo de Parthiban, la situación adquiere una nueva dimensión. Parthiban comprende que, si quiere salvar a su hijo, ya no puede seguir huyendo de su pasado. Se enfrenta a Antony y un gran enfrentamiento acaba provocando la muerte de este último. Pero Parthiban aún no ha encontrado a su hijo, lo que demuestra que los problemas están lejos de haber terminado.
Cuando Harold se entera de la muerte de Antony, se pone en contacto con Parthiban y le promete devolverle a su hijo si le lleva el cadáver de Antony. Parthiban acepta, pero cuando llega al lugar donde se encuentra Harold, descubre que se trata de una trampa. Harold intenta entonces atacar a su familia, lo que obliga a Parthiban a enfrentarse una vez más a lo que queda de la familia Das.
Cuando llego a las últimas escenas de la película, la pregunta más importante que me viene a la mente es: ¿es Parthiban realmente Leo o no? Harold llega incluso a creer que Parthiban no es Leo y le deja marcharse con su familia. Pero es en ese momento cuando la película revela uno de sus mayores giros argumentales. Parthiban empieza a reírse y acaba reconociendo que, en realidad, es Leo Das
Esta revelación me sorprendió de verdad, porque durante toda la película me preguntaba si Parthiban y Leo eran dos personas diferentes. Al final, se confirma que Parthiban es, efectivamente, Leo, pero lo más importante no es solo su identidad. Lo que más cuenta es que Leo intentaba huir de quien había sido para ofrecer a su nueva familia una vida completamente diferente a la que había conocido antes.
Leo se enfrenta entonces a Harold por última vez y salva a su hijo Siddhu. A continuación, destruye la fábrica de Das & Co., con el objetivo de romper definitivamente los lazos con su antigua vida. Para mí, esta escena representa a Leo intentando cerrar la puerta a su pasado, aunque sabe que lo que ha vivido no puede desaparecer tan fácilmente de su vida.
Cuando por fin regresa con su familia, la situación parece volver a la calma. Pero la película no termina ahí. Leo recibe una llamada de alguien que conoce su verdadera identidad. Esa persona le explica que destruir un solo lugar no basta para acabar con el problema de las drogas en todo el país y le invita a participar en una misión mucho más importante. Este final abre claramente la puerta a un universo más amplio vinculado a las películas de Lokesh Kanagaraj.
Cuando terminé de ver Leo, lo que más se me quedó grabado fue el conflicto entre Parthiban y Leo. En realidad son una misma persona, pero uno representa al hombre en el que se ha convertido, mientras que el otro representa a aquel que intenta dejar atrás. Esto le da a la película una profundidad que va más allá de la de una simple película de acción. He visto la historia de un hombre que intenta proteger a su familia mientras se enfrenta constantemente al pasado del que intentaba huir.
La relación entre Parthiban y su familia también aporta mucha emoción a la película. Sathya y sus hijos son la razón por la que quiere alejarse de su antigua vida. Así pues, su lucha no consiste solo en vencer a Antony o a Harold; consiste, sobre todo, en proteger la vida que se ha construido y en no volver a ser el hombre que era antes.
También me ha gustado mucho la forma en que Lokesh Kanagaraj construye el misterio de la película. Al principio, simplemente se me presenta a un hombre que regenta una cafetería y vive con su familia, pero, poco a poco, la película empieza a hacerme cuestionar su verdadera identidad. A medida que se va desvelando el secreto de Leo, tuve la impresión de que las primeras escenas de la película iban adquiriendo poco a poco un nuevo significado.
Para mí, Leo es una película que mezcla acción, misterio, familia, pasado y el deseo de convertirse en una nueva persona. Lo que más me atrajo fue el personaje de Parthiban/Leo y la pregunta de quién es realmente. Vijay interpreta muy bien las dos facetas de este personaje: el hombre que desea vivir tranquilamente con su familia y Leo, que arrastra un pasado del que no puede escapar fácilmente. El final de la película y la misteriosa llamada también me dieron la impresión de que su historia estaba lejos de haber terminado.
Hello, cine fans. Today we’re back with a suspense-filled film that I’ve wanted to review on my blog for a long time. So I’m going to take advantage of this opportunity that @wiseagwnt is giving us with its horror and suspense contest to tell you about a classic, a cult favorite, and a priceless gem of cinema. Based on a screenplay by Andrew Kevin Walker, Se7en was directed by the famous David Fincher. The film stars Morgan Freeman, Brad Pitt, Gwyneth Paltrow, and John C. McGinley. Discover this masterpiece of the suspense genre.
Hola, fanáticos del cine. Hoy regresamos con una película repleta de suspenso que hace mucho he querido reseñar en mi blog. Así que voy a aprovechar esta oportunidad que nos da @wiseagwnt con su concurso de terror y suspenso para hablarles de un clásico, una obra de culto, una joya invaluable del cine. Basada en un guión escrito por Andrew Kevin Walker, Se7en fue dirigida por el famoso David Fincher. La película cuenta con el protagonismo de Morgan Freeman, Brad Pitt, Gwyneth Paltrow y John C. McGinley. Conoce la obra maestra del género de suspenso.
The film begins by introducing us to the protagonists of this story: William Somerset and David Mills. While William comes across as a calm, orderly, and solitary person who often asks questions that reveal a certain lack of empathy, David is a newcomer brimming with energy and eager to excel in his field, no matter the cost. Both are detectives, but one is old enough to retire, while the other has little experience working on extreme homicide cases. However, neither of them is prepared for what’s to come.
Trama
La película inicia presentándonos a los protagonistas de esta historia: William Somerset y David Mills. Mientras Williams demuestra ser una persona apacible, ordenada y solitaria que suele realizar preguntas que revelan cierta falta de empatía; David es un recién llegado repleto de energía y ganas de destacar en su campo, sin importar lo que le cueste. Ambos son detectives, pero uno de ellos ya tiene la edad suficiente para jubilarse mientras que el otro apenas tiene experiencia trabajando como detective en casos de homicidios extremos. Sin embargo, ninguno de los dos están preparados para lo que se viene.
Before I tell you about this amazing movie, I want to share an interesting fact about Se7en. For as long as I can remember, this movie has been widely regarded by audiences as a “horror movie,” when in reality it isn’t. This film by David Fincher is a psychological and detective thriller, but with dark undertones and gruesome scenes that evoke a sense of horror in the viewer. I myself only recently found out that it isn’t a horror movie per se, but rather a suspense film.
This is because I have a habit of doing a little research and reading up on any movie I’ve seen and plan to review. Nowhere—not on official websites or platforms—is Se7en classified as a horror movie, but that doesn’t mean it’s a film you can watch with the family, far from it. Still, I got carried away by the excitement, watched it one more time, and here I am telling you about this gem of modern cinema. I’ve watched this movie very few times, which isn’t surprising since it’s not the kind of thing you normally see on TV during the day.
Antes de hablarles de esta grandiosa película, quiero mencionarles una curiosidad sobre Se7en. Algo que es común desde que tengo uso de razón es que esta película ha sido considerada por el público como una “película de terror”, cuando en realidad no lo es. Esta obra de David Fincher es un thriller psicológico y detectivesco, pero con tonos oscuros y escenarios atroces que generan esa sensación de horror al espectador. Yo mismo hasta hace poco me enteré también de que no es una película de terror como tal, sino que es de suspenso en realidad.
Esto se debe a que tengo la costumbre de investigar y leer un poco de una película que he visto y que pienso reseñar. En ningún lado (páginas o plataformas oficiales) catalogan a Se7en como una película de terror, pero eso no significa que sea una cinta que se pueda ver con la familia ni mucho menos. Igualmente, me dejé llevar por la emoción, la vi una vez más y aquí estoy hablándoles de esta joya del cine actual. Son muy contadas las veces que he llegado a ver esta película y no es una sorpresa esto ya que no es algo que normalmente uno vea en la televisión durante el día.
Even so, its story, as well as its characters and its unforgettable ending, remained etched in my memory for a long time. I don’t know if the first time I saw this movie was when I was a child, but I remember it more clearly from when I was a teenager. Se7en is one of those movies that leaves a lasting impression—not because it has scary scenes or is filled with tension, but because of the way it draws you into a spiral of disturbing deaths that seem to be trying to convey a message. The movie itself makes it clear that the inspiration and source of this story is the theme of “The Seven Deadly Sins.”
In fact, here in Latin America, the movie is known by that name—just to give you an idea. What’s interesting is not only that the director shows us, in certain scenes, the literary works that inspired the film, but also that they’re actually part of the story itself—as the twisted mind of our antagonist seeks to recreate them through his murders. However, it’s hard not to miss some detail or hidden message in this film because it’s so well crafted from start to finish. It has moments of tension, but it also has quiet moments—all well balanced.
Aún así, su historia como también sus personajes y su inolvidable final quedaron grabadas en mi memoria durante mucho tiempo. No sé si la primera vez que llegué a ver esta película fue cuando niño, pero más la recuerdo cuando era adolescente. Se7en es de esas películas que te impactan, no porque tengan escenas de miedo o estén repletas de tensión, sino por la forma en la que la cinta te envuelve en una espiral de muertes perturbadoras que intentan transmitir algo. La propia película nos deja clara la inspiración y fuente de esta historia con el tema de “Los Siete Pecados Capitales”.
Es más, aquí en Latinoamérica se conoce esta película con ese nombre, para que tengan una idea. Lo curioso no solo es que el director nos muestra en ciertas escenas las obras literarias que sirvieron de inspiración para esta película, sino que incluso forman parte de la misma historia como lo que la mente retorcida de nuestro antagonista busca recrear en sus asesinatos. Sin embargo, es difícil no perder de vista algún detalle o mensaje oculto en esta película debido a lo bien elaborada que está de principio a fin. Tiene momentos de tensión, pero también tiene momentos tranquilos, todo bien equilibrado.
But before I talk to you about that, I’d first like to share my thoughts on the story this movie tells. Centered on a pair of detectives who serve as the protagonists, the film reveals the two perspectives that exist in this dark and dangerous world David Fincher portrays. First, there’s William Somerset, an older detective—single, solitary, and highly experienced in the field—who has plenty of reasons to feel disillusioned with the society around him.
On the other hand, there’s David Mills, a young married man who’s passionate about his work but struggles to control his emotions. These two detectives are complete opposites, but they’ll have to set aside their differences as they work to solve the series of murders they’ve been encountering during a rather turbulent week. The most harrowing moments come when we’re shown the various victims and the ways in which they died, with each subsequent murder becoming increasingly gruesome and ruthless.
Pero antes de hablarles de eso, primero me gustaría contarles lo que opino de la historia que nos cuenta esta película. Enfocada en una pareja de detectives que sirven como protagonistas, la película nos revela los dos puntos de vista que existen en este oscuro y peligroso mundo que nos muestra David Fincher. Primero tenemos a William Somerset, un detective de tercera edad, soltero, solitario y con bastante experiencia en el campo y con muchas razones para sentirse desilusionado por la propia sociedad que lo rodea.
Por otro lado tenemos a David Mills quien no es más que un joven casado, apasionado por su trabajo, pero con serios problemas para controlar sus emociones. Esta pareja de detectives son unos completos opuestos, pero tendrán que lidiar con sus diferencias mientras se encargan de resolver el caso de los diferentes homicidios que han estado topándose durante una semana un tanto turbulenta. Lo fuerte llega justo cuando nos muestran a las distintas víctimas y la manera en la que han muerto, siendo el siguiente cada vez más atroz y despiadado que el anterior.
But what stands out about both these murders and the perpetrator is their connection to the Seven Deadly Sins. While they do not rule out the possibility that all of this is linked to a radical Christian belief held by the antagonist, the sources of inspiration are more directly tied to literary works such as Geoffrey Chaucer’s “The Priest’s Tale” and Dante Alighieri’s “The Divine Comedy.” Or at least that’s how it appears from Detective Somerset’s perspective. However, from Detective Mills’s point of view, the killer is simply a sadist with mental health issues.
Although they manage to get closer to the killer as they analyze the various murders he has committed, in the end, everything seems to be part of a macabre plan far more elaborate than what our pair of detectives can ever uncover. What’s interesting about this film isn’t the way it uses the deadly sins to categorize each murder, but how the murders were carried out—including spending an entire year with one of his victims trapped with no way out, without food, and unable to even move. We can also see his clear intentions as he reveals a glimpse of his sick and twisted mind.
Pero lo que llama la atención tanto de estos homicidios como del perpetrador es la relación que tienen con Los Siete Pecados Capitales. Si bien no descartan que todo esto esté relacionado con una creencia cristiana y radical por parte del antagonista, las fuentes de inspiración son más directas a obras literarias como “El Cuento del Párroco” de Geoffrey Chaucer y “La Divina Comedia” de Dante Alighieri. O bueno, al menos eso es lo que parece ser según el punto de vista del detective Somerset. Sin embargo, por el lado del detective Mills el asesino es simplemente un sádico con problemas mentales.
Si bien logran acercarse al asesino mientras analizan los diferentes homicidios que ha realizado, al final todo parece ser parte de un plan macabro y mucho más elaborado de lo que nuestra pareja de detectives pueden llegar a descubrir. Lo interesante de esta película no es la forma en la que utiliza los pecados capitales para catalogar cada asesinato que realiza, sino cómo los ha realizado, llegando incluso a pasar todo un año con una de sus victimas atrapadas y sin salida, sin comida y sin poder moverse siquiera. También podemos notar sus claras intenciones al revelarnos una parte de su mente enferma y retorcida.
But before I go on about this radical antagonist, I want to mention why he has gone to such extremes. This is something we can see even in the first few minutes of the film, when Detective Somerset investigates the scene where a man has brutally murdered his wife and son. The world that Se7en shows us, while quite dark, bleak, and apathetic, is nothing more than a visual, neo-noir representation of the real world. The violence, injustice, greed, lust, envy, and other things that our deranged antagonist “preaches” in this film are “everyday occurrences” in reality.
That is why—because we live in a world as cruel and violent as the one we see in this film—madmen like John Doe end up emerging. The same thing happens in real life, with certain countries becoming notorious due to the massive proliferation of serial killers and the mentally ill who pose a grave danger to society. It is this same elitist, apathetic, simplistic, and superficial society that creates these monsters of the devil—not horror and gore movies. And speaking of horror, while this movie doesn’t exactly generate terror or fear as such, its grotesque and quite graphic scenes, combined with its level of suspense, blow your mind and leave you with a sense of unease that’s hard to shake.
Pero antes de seguir hablando de este antagonista tan radical que nos ofrece, quiero mencionarles la razón por la que él ha llegado a tales extremos. Esto es algo que podemos ver incluso en los primeros minutos de película cuando el detective Somerset revisa el lugar donde un hombre ha asesinado a su esposa e hijo de manera atroz. El mundo que nos muestra Se7en, si bien es bastante oscuro, desolador y apático; no llega a ser más que una representación visual y neo-noir del mundo real. La violencia, la injusticia, la codicia, la lujuria, la envidia y las demás cosas que nuestro enfermo antagonista “predica” en esta película es el “pan de cada día” en la realidad.
Es por eso, por vivir en un mundo tan cruel y violento como el que vemos en esta película, que lunáticos como John Doe terminan surgiendo. Lo mismo ocurre en la vida real, siendo ciertos países populares debido a la enorme proliferación de asesinos seriales y enfermos mentales que son completamente peligrosos para la sociedad. Es la misma sociedad elitista, apática, simplista y superficial la que crea a estos engendros del demonio, no las películas de terror y gore. Y hablando de terror, si bien no genera terror o miedo como tal esta película, sus escenas grotescas y bastante gráficas junto con su nivel de suspenso te hacen volar la cabeza y te generan una inquietud difícil de borrar.
We see different perspectives on the world in this movie: first, there’s our detective Somerset, who believes that “apathy is the answer”to all the problems out there, while on the other hand, Detective Mills never stops believing that there’s a chance for him to find a happy life, despite all the evil in the world. And then, of course, there’s John Doe, who is nothing more than a radical religious fanatic with mental health issues who sees the world as a place without forgiveness and seeks to send a “message” to society through the various murders he commits.
While that message is clear and quite obvious, it doesn’t take away from the fact that it’s one of the most disturbing and sadistic things we can see in a psychological thriller like this. Each and every character in this film delivers a solid performance and manages to stand out in some way, but the one who most captures the audience’s attention is the antagonist, especially in the film’s final act. And how could he not, when John C. McGinley’s performance portrays a cold, calculating, sadistic, and extremist character who becomes utterly unpredictable at the most unexpected moment?
Tenemos diferentes puntos de vista del mundo en esta película: primero tenemos la de nuestro detective Somerset quien cree que “la apatía es la respuesta” a todos los problemas que hay, mientras que por otro lado el detective Mills no deja de creer que hay posibilidades de que consiga una vida feliz, a pesar de los males que hay en el mundo. Y bueno, al final tenemos a John Doe quien no es más que un religioso radical y con problemas mentales que ve el mundo como un lugar sin perdón y que busca crear con los distintos homicidios que realiza un “mensaje” para la misma sociedad.
Si bien dicho mensaje es claro y bastante evidente, no quita el hecho de que sea de lo más perturbador y sádico que podamos ver en una película de suspenso psicológico como ésta. Todos y cada uno de los personajes que vemos en esta película no lo hacen mal y logran destacarse de alguna manera, pero el que más logra captar la atención del público es el antagonista, sobre todo en el arco final de esta película. Y cómo no hacerlo cuando John C. McGinley nos demuestra con su actuación a un personaje frío, calculador, sádico y extremista que llega a ser de lo más impredecible en el momento menos esperado.
On the other hand, Detective Somerset demonstrates his insight and approach to the case by thinking like the killer—even with all his apathy toward the world and society itself. Somerset turns out to be nothing more than the voice of reason and the coldness inherent in that world. Morgan Freeman does a spectacular job here, not only because he shows a different side of himself—far removed from his typical image as a believer and idealist—but rather by portraying a solitary, cold, and difficult-to-deal-with character. Finally, we have Detective Mills, played by Brad Pitt.
One thing I really admire about this actor is his ability to take on roles that are quite different from the typical “sexy leading man” in Hollywood. He pulls this off quite well here, especially thanks to the incredible character development he undergoes. His involvement, along with his haughty, troubled, and impulsive attitude, leads both of them to face some very difficult moments. But what really changes everything is the raw and fascinating ending of this film. My goodness, what an impressive and shocking ending this movie has.
Por otro lado, el detective Somerset nos demuestra su visión y forma de trabajar al pensar como piensa el asesino, aún con todo y su apatía con el mundo, con la propia sociedad. Somerset resulta no ser más que la voz de la razón y la frialdad que dicho mundo posee. Morgan Freeman hace un trabajo espectacular aquí, no solo porque demuestra una faceta diferente, alejado de su ideal visión de creyente e idealista, sino más bien siendo alguien solitario, frío y complicado de tratar. Por último, tenemos al detective Mills interpretado por Brad Pitt.
Algo que sí admiro de este actor es su capacidad de interpretar papeles que se alejan bastante del típico “protagonista sexy” de Hollywood. Aquí logra esto y bastante bien, sobre todo por el increíble desarrollo de personaje que tiene, también. Su participación, actitud altanera, problemática o impulsiva lo llevan a ambos a afrontar momentos bastante difíciles. Pero lo que sí lo termina de cambiar todo es el crudo y fascinante final que tiene esta película. Dios mío, pero qué final tan impresionante e impactante tiene esta película.
That ending is literally worth studying—really. I’m not just saying this because of how unpredictable, shocking, powerful, and tense it is, but because of everything it ultimately comes to represent—both for the movie and for us as viewers. I’m not going to give you any spoilers; I’ll just say that this ending accomplishes a couple of things: first, it reaffirms the antagonist’s twisted and dark worldview—which is described very well just minutes earlier—and, second, it destroys the only innocent character who still has faith in this violent and chaotic world. The fall of a hero and the victory of a cruel villain.
This ending isn’t a happy one; it’s not at all satisfying, nor does it leave any of the film’s protagonists looking good. It’s a heart-wrenching, unjust, violent, cold, and cruel ending—just like the entire world we encounter in Se7en. It’s because of this ending and everything it represents that I consider this film a horror masterpiece, at least in the most personal sense of the word. True horror comes neither from ghost stories nor from any curse or monster invented by man. True horror comes from human beings themselves and what they are capable of doing.
Literalmente es digno de estudio dicho final, de verdad. No solo lo digo por lo impredecible, impactante, fuerte y tenso que es; sino por todo lo que termina representando tanto para la película como para nosotros como espectadores. No voy a darles spoilers, solo les diré que dicho final logra un par de cosas: primero, reafirmar la visión retorcida y oscura que tiene el antagonista y que nos lo describe muy bien minutos antes y, segundo, logra destruir al único personaje inocente y con fe en este mundo violento y caótico. La caída de un héroe y la victoria de un villano cruel.
Este final no es un final feliz, no es un final que te satisface para nada ni es un final que deje bien a ninguno de los protagonistas de esta película. Es un final desgarrador, injusto, violento, frío y cruel; tal y como lo es todo este mundo que conocemos en Se7en. Es tanto por este final y por todo lo que representa que considero esta película como una obra de terror, al menos en el sentido más personal de la palabra. El horror auténtico no viene ni de los cuentos de fantasmas, ni de ninguna maldición o monstruo inventado por el hombre. El verdadero horror viene del mismo ser humano y lo que es capaz de hacer.
Let’s now talk about another quite remarkable aspect of this film—as if its story, narrative, and characters weren’t enough. I’m talking about the direction and audiovisual elements of Se7en. Something I really admire about David Fincher’s work is his audiovisual and artistic direction in most of his films. Here we can appreciate his talent for cinematography, as he presents us with precise and well-defined shots and framing. The static and moving camerawork, the cool, dark color palette, and the shots and atmospheres are top-notch.
Another thing this great director does well is not worrying about censorship in the film’s murder scenes or deaths. The graphic and grotesque nature of each scene is one of the film’s most striking features. The same goes for the level of visual detail, clues, and well-constructed settings used to bring each scene to life. Another interesting aspect worth noting is the cold, dark vision of the city that the film consistently presents. For example, most of the city scenes show it raining constantly.
Hablemos ahora de otro punto bastante destacable de esta película, como si su historia, narrativa y personajes no fueran suficientes. Estoy hablando de la dirección y el apartado audiovisual que tiene Se7en. Algo que sí admiro bastante del trabajo de David Fincher es su dirección audiovisual y artística en la mayoría de sus películas. Aquí podemos apreciar su talento para la fotografía mostrándonos planos y enfoques bastante exactos y bien definidos. Las cámaras fijas, y en movimiento, la paleta fría y oscura de colores, los planos y ambientes son de lo mejor.
Otra cosa que hace bien este gran director es no preocuparse por la censura en las escenas de asesinatos o las muertes que tiene esta cinta. El nivel gráfico y grotesco de cada escena es de lo más llamativo que tiene. También ocurre lo mismo con el nivel de detalles visuales, pistas y entornos bien construidos para recrear cada escena. Algo interesante a destacar también es la visión fría y oscura que siempre nos muestra de la ciudad en esta película. Por ejemplo, la mayoría de escenas de la ciudad nos muestran lloviendo todo el tiempo.
Another standout aspect of this film is its use of practical visual effects. Both the death scenes and the rest of the settings are quite well done, combining cinematographic styles and excellent shots with visual effects that are seamlessly integrated. The bodies of the dead, the spilled blood, the remains of the bodies, the messages, the photographs, the costumes, the makeup, etc. The sound effects are also excellent. Ultimately, the soundtrack is the most remarkable aspect of all because of the level of suspense it creates. In short, here’s a gritty movie that I highly recommend watching.
Personally, I give it a well-deserved 10/10 rating in the psychological thriller and mystery genres.
Otra cosa bastante resaltante de esta película es su trabajo en cuanto al uso de efectos visuales prácticos. Tanto las escenas de muertes como el resto de escenarios están hechos bastante bien, combinando estilos de fotografía y excelentes planos con efectos visuales muy bien añadidos. Los cuerpos de los muertos, la sangre esparcida, los restos de los cuerpos, los mensajes, las fotografías, las vestimentas, el maquillaje, etc. Los efectos de sonido también son excelentes. La banda sonora, al final, es de lo más destacable de todo debido al nivel de suspenso que genera. En fin, aquí les dejo una película cruda que recomiendo ver.
Personalmente, le doy una merecida calificación de 10/10 en lo que respecta al género de suspenso psicológico y detectives.
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.
My name is Nattosheru. On Hive, you can find me as @nattosenpai, but you can call me Natto. I'm a young Venezuelan who likes to talk about anime, movies, and music on my Hive Blog. I'm 28 years old and I'm working toward my dream of "living doing what I love" online. My profile picture was created by Gemini AI based on the main character from the movie Blade Runner 2049, but with my real face.
Good evening, Hive platform! I'm pleased to be back with you, presenting a new review of my favorite group, The Beatles. I also want to say hello to the formidable https://scrobble.life/ project. I hope you're all well.
Today I bring you a very particular song. This track has always caught my attention, and I'll explain why. The song in question is "Glass Onion." Starting with that strange title—at least that's how I see it—the song, or rather the lyrics, are woven together from the titles and main ideas of other songs, like when you start peeling an onion. You find one layer, then another, and so on. Lennon conceived this song like an onion, and by adding the "glass" element, he shows us that everything is visible, or that it's very fragile and easily broken, as well as striking.
On another note, believe it or not, this is the first song on that album where Ringo Starr plays drums. He had been absent for several days for various reasons, which is why the first two songs were recorded without him, and Paul McCartney played drums in his place (this song is the third track on section A of the first disc of the legendary White Album, released in late 1968). I'd like to tell you that my parents got married in October 1968, and whenever I hear any song from this extraordinary album, I think that if they had recorded a song from this material at the same time, my parents would have been vowing eternal love to each other before an altar. It's wonderful to think about and imagine that reality, as it was perfectly feasible and viable for that era, and it's very moving for me. In addition to this, the original album where this song appears came with a full-color poster and a songbook with all the lyrics to the songs—masterful.
I should mention that this song was recorded at EMI Studios in London, and it belongs to the Apple Records label, credited, of course, to Lennon-McCartney and produced by George Martin.
The music features John on acoustic guitar and lead vocals, Paul on bass, George on lead guitar, and Ringo on drums and tambourine. But we can also hear four violins, two violas, and two cellos in this piece. As was common at that time, George Martin incorporated classical instruments into The Beatles' work, giving it a profound and stately feel. In the song's final section, George Martin uses a string arrangement to add a mysterious touch (I always thought that sound was like entering a tunnel or narrow passage where the unknown abounds or predominates). We can also hear special sounds of breaking glass, sounds of a comb and paper, various voices or comments in the background, and a Mellotron, which is a type of piano.
It impresses me to know that by that time, they had accumulated enough material to release a double album with more than 30 songs in total. And when I think about the album they recorded the following year, it's breathtaking to see the creativity they put into their work. So much so that after their breakup in 1970, George Harrison released a triple album with all the material he had accumulated during that period (this George Harrison album is called "All Things Must Pass").
Well, my dear friends, I hope you enjoyed this short review, made with much love and dedication for all of you... Have a wonderful time, everybody, Blessings..!!
Starting 3% for the first time, and this opening episode did a pretty good job of pulling me into its world.
The idea is simple but disturbing: everyone gets one chance at the age of 20 to go through The Process, but only 3% will earn a place in the Offshore. What I liked most about this first episode is how quickly that idea becomes uncomfortable. The tests aren't just about intelligence. They expose ambition, desperation, selfishness, and how far someone might go when they believe a better life is within reach.
Michele immediately feels important, but I'm probably even more curious about characters like Joana and Rafael. It's already difficult to know who can actually be trusted.
The cube test was a particularly good introduction to the philosophy of the show. Something that looks like a simple puzzle quickly becomes much more about the people taking it.
It's not a perfect premiere, and I'm still getting used to the world and characters, but it definitely made me want to continue.
📸 Gossip Girl — S1E4: Bad News Blair | When Being Perfect Isn't Enough
Four episodes in, and I think “Bad News Blair” is the first episode that really made me feel for Blair.
At first, everything seems perfect for her. Eleanor chooses Blair to model her new clothing line, and you can immediately see how much her mother's approval means to her. Unfortunately, what should have been a special moment quickly becomes another reminder that Blair never feels quite good enough.
I especially liked seeing Serena and Blair together during the photoshoot. For once, their friendship feels genuine and fun instead of being completely dominated by secrets and competition. Of course, things don't stay that simple for long.
Dan and Serena also continue to be interesting. Their chemistry is obvious, but this episode makes their differences impossible to ignore. Serena lives in a world of money and privilege that Dan can observe but doesn't really belong to.
And then there's Nate and Chuck's weekend... which definitely shows us another side of their friendship.
⭐ My Rating: 87/100
Maybe not as dramatic as “Poison Ivy,” but I really enjoyed the extra focus on Blair. Seeing the insecurity behind her confidence makes her much more interesting, and her complicated relationship with Eleanor adds something deeper to all the Upper East Side glamour.
I remember the day I saw this movie for the first time as if it were yesterday; those were the days when I used to go with a group of friends every Monday to one of the movie theaters in town. That day, tickets were half price, which was great for us because we didn’t have to spend much money to have a good time. We hadn’t planned on seeing a specific movie that day; we were at what was then the best theater, in the Sambil shopping mall in Barquisimeto. Suddenly, we saw a movie on the posters called “Rush: Passion and Glory,” and it seemed to have something to do with Formula 1—a sport that interested all of us in the group—so we decided to give it a try, not knowing that that day we’d be watching the most intense movie we’d ever seen together and that, so far, that experience hasn’t been topped.
Recuerdo como si fuese ayer el día que vi esta película por primera vez, eran los tiempos en que iba con un grupo de amigos todos los lunes a alguna de las salas de cine de la ciudad. Ese día se pagaba la mitad de la entrada y era genial para nosotros porque no teníamos que invertir mucho dinero para pasarla bien. Ese día no teníamos en la planificación una película para ver, estábamos en la mejor sala para entonces, en el centro comercial Sambil de Barquisimeto. De pronto vimos en los carteles una que se llamaba "Rush, pasión y gloria" y al parecer tenía alguna relación con la Fórmula 1, deporte que nos llamaba la atención en común al grupo, así que decidimos darle una oportunidad sin saber que ese día íbamos a ver la película más brutal que hayamos visto en conjunto y que, por ahora, ese momento no ha sido superado.
This film, based on true events, is set in the late 1970s, when Formula 1—the “king of motorsports”—was the scene of one of the most spectacular rivalries ever seen in this great sport. On one side was Niki Lauda, played by Daniel Brühl, and on the other, James Hunt, portrayed by Chris Hemsworth. In my opinion, both actors delivered exemplary performances as their respective characters, paying tribute to the world of racing and the contributions these two men made to the world of motorsports.
Esta película, basada en hechos reales, está ambientada en los finales de los años 70, cuando en el deporte rey de los motores, la Fórmula 1, había una de las rivalidades mas espectaculares que se ha visto en este gran deporte. Por un lado, Niki Lauda, interpretado por Daniel Brühl, y por el otro, James Hunt, representado por Chris Hemsworth, quienes, a mi entender, hicieron una actuación ejemplar con cada uno de los personajes para dar una especie de homenaje a las carreras deportivas y el aporte que realizaron estos dos personajes al mundo automovilístico.
The film is based specifically on the 1976 Formula 1 season, focusing on the battle between the two drivers for the world championship and the accident Niki Lauda suffered during one of the races. It also briefly touches on how their rivalry began in Formula 3 in their early days and how it later culminated in the sport’s most prestigious competition.
La película se basa precisamente en la temporada de 1976 de Fórmula 1, en el duelo que protagonizaron por el campeonato mundial de pilotos y el accidente que sufrió Niki Lauda en una de las carreras. También se paseó ligeramente en cómo comenzó su rivalidad en la Fórmula 3 en sus inicios y que después coronaron en la competición mas relevante de este deporte.
Hunt is a daring man, popular with people, with a great natural talent behind the wheel, but he lacks the discipline to settle down and build something for the long term; he lives day to day. Niki, on the other hand, is a reserved, methodical man, the son of a very influential businessman in his country who, after Niki told him of his intention to become a race car driver, cut him off from the family. But with a keen talent for fine-tuning race cars—able to extract their maximum potential—he would go on to become a multiple Formula 1 champion.
Hunt es un hombre atrevido, popular entre las personas, con un gran talento innato para ir detrás de un volante, pero que no tiene esa disciplina para sentar cabeza y construir algo a largo plazo, vive el día a día. En cambio, Niki, es un hombre reservado, metódico, hijo de un empresario muy importante en su país y que, luego de que este le contara sus intenciones de ser corredor de automovilismo, lo dejara a un lado de la familia. Pero con un talento preciso para poner a punto los carros de carrera, capaz de sacar el máximo de su potencial y que sería suficiente para convertirse en múltiples veces campeón de la Fórmula 1.
One of the most dramatic moments was when Niki suffered a crash in one of the races that sidelined him for a prolonged period of the championship. Before the race began, he had warned that it was impossible to race in such rainy conditions, but Hunt pushed for the race to go ahead without realizing that this would trigger the accident that nearly cost his archrival his life. In the end, this gave Hunt the opportunity to become world champion as well.
Una de las partes mas impresionantes fue cuando Niki sufre un accidente en una de las carreras que lo deja fuera de competencia por un periodo prolongado del campeonato. Antes de comenzar la carrera, él había advertido que era imposible correr así por la lluvia, pero Hunt promovió que la carrera se diera sin saber que esto iba a ser el detonante de ese accidente que casi le cuesta la vida a su archirrival. Al final, esto le dio la posibilidad a Hunt de convertirse también en campeón mundial.
The ending came as a real surprise to me, after Hunt won that championship. They find themselves off the track by sheer chance. They have a brief conversation, filled with intense emotions, and for the first time, they’re able to show their human side—and other things I won’t reveal here so you’ll go see this movie—without the helmets they wore during the races. The truth is, it was the last time they spoke.
El final fue una verdadera sorpresa para mí, luego de ese campeonato obtenido por Hunt. Se encuentran fuera de la pista por una mera casualidad. Realizan una conversación rápida, cargada de muchas emociones, y que por fin los dos se pudieron mostrar esta vez sin el casco que usaban en las carreras para mostrar su parte humana y otras cosas mas que no les contaré para que vayan a ver esta película. Lo cierto es que fue la última vez que hablaron.
Los dejo con algunas fotografías reales mostradas en la película... // I'll leave you with some real photographs featured in the movie...
Mi nombres es Suisver Freites me considero una persona inteligente y carismatica, me gustan muchos los videojuegos y mantenerme en condicion, antes entrenaba...
Hello everyone in the community! @suisver here with a new post for the channel! 👋 I’m back with another Jujutsu Kaisen review—specifically for Episode 3, where we meet the third member of the first-year sorcerer group.
Join me as I go over my thoughts on this episode, sharing my personal viewing experience. Don't miss it; it’s an exciting and very revealing episode.
The Third Member: Nobara Kugisaki Enters the Scene!
The first thing we need to learn is that the Jujutsu High School isn't a normal school: there are only three first-year students! This is because, in this world of sorcery, very few people have the ability to see Curses. That is why, for now, we only see three sorcery students, each with different powers. Nobara/fandom
The group finally meets up with the third student, Nobara Kugisaki—the so-called "Steel Girl."Nobara arrives with a vibrant, entertaining personality; she is self-confident and eager to explore Tokyo. Professor Satoru Gojo and Megumi Fushiguro welcome her, completing the rookie team alongside Yuuji Itadori.
Once the three students are gathered, Professor Gojo takes them to an abandoned building where curses are lurking; there, he puts them to the test, observing them from behind his blindfold and preparing them for future battles.
Gojo instructs Yuuji to keep Sukuna under control so he doesn't break free, and sends Yuuji and Nobara in together to exorcise the building. The highlight here is seeing Professor Gojo in his role as an observer: he is analyzing them meticulously. Gojo is already aware that Yuuji possesses the brutal strength of a great warrior, astonishing power, and a touch of madness, but this battle serves as the perfect test to evaluate Nobara's effectiveness and true power.
Upon entering the building, the atmosphere grows heavy. Yuuji encounters a hideous monster and, without hesitation, pulverizes it with his fists! Meanwhile, Nobara runs into some ghastly mannequins and annihilates them with incredible coldness and precision—taking them out in a single strike.
Suddenly, the situation takes a complicated turn. A monster takes a frightened child—who had been hiding—hostage. Here, we witnessed a true moral test for Nobara: weighing the value of lives. To avoid putting the child at risk, Nobara decides to drop her weapons and surrender, only to realize the curse has no intention of letting him go.
In that moment of peak tension—boom!—Yuuji smashes right through the wall with sheer punching power. Nobara is stunned to discover Itadori's superhuman strength. Seizing the distraction, Yuuji rescues the child, and Nobara—without a moment's hesitation—executes her technique to completely annihilate the curse from the inside. Great teamwork! It was a striking battle; from that moment on, both realized that by working together, they could successfully destroy curses.
During this conflict, we also get a glimpse into Nobara's past and meet Saori, a girl from her childhood who was driven out of town by the locals' intolerance. Saori was the reason Nobara wanted to leave her hometown and come to Tokyo. I found it to be a lovely story that adds a sweet touch to the plot.
After winning the intense battle and saving the child, Professor Gojo—satisfied with the combat results—celebrates the success by treating the group to sushi and a shopping trip in the city. Fushiguro joins them; although he didn't participate in the fight, he had been keeping a close watch on the situation.
However, the anime doesn't let us rest easy: the final scene takes a radical shift in tone. Suddenly, and without much context, alarming information is revealed: an egg-shaped object 🥚 appears in the sky while a voice foretells something dark... It speaks of three first-year sorcerers and suggests that one of them will disappear or die. The chapter ends on this note, leaving us eager to see what happens in Chapter 4.
Things are getting exciting, folks! In the next post, we’ll review Chapter 4—stay tuned. Bye for now!
¡Hola a todos en la comunidad aquí @suisver con un nuevo post para el canal! 👋 Regreso con una reseña más de Jujutsu Kaisen, y el capítulo 3 un capitulo donde vamos a conocer la tercera integrante del grupo de hechiceros de primer año.
Acompañenme a repasar lo que me dejó este episodio, contado totalmente desde mi experiencia viéndolo, no te lo pierdas, es un capítulo emocionante y muy revelador.
La tercera integrante: ¡Nobara Kugisaki entra en escena!
Lo primero que tenemos que aprender es que la Academia de Hechicería no es un colegio normal: ¡solo hay tres alumnos de primer año! esto es debido a que en este mundo de hechicerías hay muy pocas personas que tienen la capacidad de ver a las maldiciones. Es por ello que por ahora solo vemos a 3 estudiantes de hechicería, cada uno con poderes diferentes.
El grupo finalmente se reúne con la tercera alumna, Nobara Kugisaki, la llamada "chica de acero".** Nobara** llega con una personalidad arrolladora y muy divertida, segura de sí misma y con ganas de conocer la ciudad de Tokio. El profesor Satoru Gojo y Megumi Fushiguro la reciben para completar el equipo de novatos junto a Yuuji Itadori.
Una vez reunidos los tres estudiantes el profesor Goyo los lleva a un edificio abandonado donde se encuentran las maldiciones, allí los pondrá a prueba y bajo sus ojos vendados los observará y preparará para los próximos combates.
Gojo le pide a Yuuji que controle a Sukuna para que no salga, y manda a Yuuji y a Nobara juntos a exorcizar la edificación. Lo super aquí es ver al profesor Gojo en su rol de observador: él los está analizando minuciosamente. Gojo ya sabe que Yuuji tiene una fuerza brutal de gran guerrero y un poder asombroso y también una gran locura, pero este combate es la prueba perfecta para evaluar la eficacia y el verdadero poder de Nobara.
Al entrar a la edificación la atmósfera se vuelve pesada. Yuuji se cruza con un monstruo horrible y, sin dudarlo, ¡lo vuelve polvo a puñetazos! Por su parte, Nobara se topa con unos maniquíes espantosos y los aniquila con una frialdad y precisión increíbles de un solo zarpazo.
De pronto, la situación se complica. Un monstruo toma como rehén a un niño asustado que estaba escondido. Aquí vimos la verdadera prueba moral para Nobara: poner vidas en la balanza. Para no arriesgar al niño, Nobara decide soltar sus armas y entregarse, pero se dio cuenta de que la maldición no piensa liberarlo.
En ese instante de máxima tensión, ¡boom! Yuuji rompe la pared a puro puñetazo limpio atravesando el muro. Nobara queda impactada al descubrir la fuerza sobrehumana de Itadori. Aprovechando la distracción, Yuuji rescata al niño y Nobara, sin dudar un segundo, ejecuta su técnica para aniquilar por completo a la maldición desde adentro. Un gran trabajo en equipo! Fue una lucha impactante, a partir de ese momento ambos se dieron cuenta que juntos pueden lograr destruir maldiciones si trabajan en equipo.
Durante este conflicto también nos presentan un vistazo al pasado de Nobara y conocemos a Saori, una chica de su infancia que fue expulsada del pueblo por la intolerancia de los lugareños. Saori fue la razón por la que Nobara quiso salir de su pueblo natal y llegar a Tokio. Me pareció una historia muy linda que le da un toque dulce a la trama.
Después de salvar al niño haciendo una gran batalla y obteniendo la victoria. El profesor Gojo, satisfecho con los resultados del combate, celebra el éxito invitando al grupo a comer sushi y a hacer compras por la ciudad junto a Fushiguro, quien no participó en el combate pero estaba muy atento a lo que sucedía.
Sin embargo, el anime no nos deja tranquilos: la escena final cambia radicalmente de tono. De repente y sin mucho contexto se da una información alarmante, aparece un objeto en el cielo parecido a un huevo 🥚, mientras una voz presagia algo oscuro... habla sobre tres hechiceros de primer año, y sugiere que uno de ellos desaparecerá o morirá. Con esta información cierra el capítulo y nos deja con mucha curiosidad de lo que pasará en el capítulo 4.
Esto se pone bueno amigos, en el próximo post reseñaremos el capitulo 4, espérenlo muy pronto. Chao, chao, chicos.
